Netflix 'Perdidos No Espaço' Apresenta A Música De Christopher Lennertz

Netflix’s ‘Lost in Space’ to Feature Music by Christopher Lennertz

This week, Christopher Lennertz is recording his score for multiple episodes of the upcoming Netflix original series Lost in Space. The show based on the 1960s sci-fi classic stars Toby Stephens, Molly Parker, Ignacio Serricchio, Taylor Russell, Maxwell Jenkins, Parker Posey and Mina Sundwall.The drama follows the Robinson family as they must come together to survive when they are stranded light years from their destination. Zack Estrin serves as the project’s showrunner and is executive producing the Legendary Television, Synthesis Entertainment and Applebox production with Jon Jashni (Kong: Skull Island, Godzilla), Kevin Burns, Marc Helwig and Neil Marshall (The Descent) who is also directing several episodes. Lost in Space will premiere in 2018 on Netflix.

7 Coisas Que Um Músico Deveria Fazer Antes De 2018

7 things every musician should do before 2018

Don’t waste your downtime this holiday season.

For musicians, the holidays can be a time of either frenzy or famine. You may find yourself rushing down the freeway from your tenth corporate gig of the month to your fifth holiday house concert, finally getting a second to to check the Spotify for Artists app to see how your new Christmas single is doing while stopped at a red light.

Either that, or you’re on the couch in a food coma while A Christmas Story loops endlessly on the TV, longing for the New Year to arrive so you can put this holiday haze behind you and start playing club gigs again.

Whether December provides you with only a few free moments or gives you all the time in the world, there are a handful of important things you should do as a musician before the end of the year.

An end-of-year checklist for independent musicians:

1. Professionalize your publishing rights

Even if you don’t consider yourself a “songwriter,” you ARE one if you create original music.

As a songwriter, you’re owed publishing royalties for the usage of your music, including mechanical royalties for global streaming and international downloads, performance royalties for radio plays and live shows, and more. But these kinds of royalties are not usually paid through a distributor, and only a portion of them are collected by Performing Rights Organizations such as ASCAP and BMI.

If you don’t have a publisher or publishing administrator working to collect these royalties, you’re missing out on YOUR money.  But there’s a simple fix: CD Baby Pro Publishing!

Sign up or upgrade your releases to CD Baby Pro Publishing and we’ll make sure you’re paid everything you’re owed.

2. Get verified as an artist on Spotify

Spotify is the dominant player in the streaming world, and they give you a number of tools to boost your music’s profile on the platform. But not if you aren’t verified. It’s a pretty easy process though.

Go HERE to learn how to get verified, what you can do as a verified artist, and how to build your following on Spotify.

3. Create a Show.co account (it’s FREE!)

Show.co is a super elegant suite of music marketing tools that have been used by major labels and major artists like Maroon 5, Tove Lo, OASIS, and more.

Show.co campaigns give you a way to turn casual fan interest into concrete, action-driven results. As a CD Baby artist, you get to use Show.co for free to boost your presence on Spotify, grow your email list, drive views or subscribes on YouTube, and more.

Claim your Show.co account and launch a campaign in minutes by logging into your CD Baby members account and clicking “Free Marketing Tools.”

4. Buy your early-bird ticket for the DIY Musician Conference

It’s our event, so this might sound hyperbolic (or at least biased), but we’ve heard it from so many attendees: The DIY Musician Conference can be career-changing, giving you a super affordable opportunity to learn from experts, get one-on-one mentoring, meet reps from important music and tech brands, network, showcase, and make friends that will support you for the long-haul, because they understand exactly what it’s like to be committed to a life in music.

Our fourth annual DIY Musician Conference will be happening in Nashville from August 24-26, 2018, and tickets right now are only $79. Get ’em before the price goes up.

5. Sign up with SoundExchange

SoundExchange collects royalties for the digital transmission of a sound recording. Think satellite radio or Pandora. These royalties are paid to the artist, performers, and label — not the songwriter and publisher — so if you’re the artist and/or label, you can collect these in addition to any publishing royalties generated for the use of the underlying composition.

Like lots of royalties, if they go unclaimed for too long they’ll disappear, so register with SoundExchange today to collect what’s yours.

6. Submit your set lists for 2017

If you perform original songs live, you can earn publishing royalties for your shows (in addition to whatever fee the venue is paying you).

In order to collect, you must file your set lists with your Performing Rights Organization. HERE are the deadlines.

Keep in mind, some venues you perform at might not be doing things by-the-book, meaning they haven’t paid any fees to the P.R.O.s. If you file a set list for such a venue, the P.R.O.s might come knocking on that venue’s door. That puts you in a weird spot. On the one hand, that venue SHOULD be paying songwriters and publishers for the very music that brings in customers and gives them a reason for existing as a venue in the first place. On the other hand, you don’t want to be the person the venue blames when they get a threatening letter in the mail. So use your judgement, and don’t be afraid to ask venues if they’re paying one or more of the P.R.O.s before you play your show.

7. Make a plan

5-year goals are great, but c’mon; we’re musicians. We usually can’t see past our next gig. That’s why the holidays are a great time to plot out some small, medium, and large goals for the coming year. It forces you to give some shape to your efforts, set some metrics for success, and something even more important: get excited and inspired to put in the work.

Book a tour, launch a crowdfunding campaign, shoot a video, whatever. Set the goal, plan accordingly, and do it. 

4 Razões Para Você Usar O LinkedIn Para Ajudar Sua Carreira Na Música

4 reasons you should be using LinkedIn to advance your music career

So you’re a music professional. You have the standard social media apps (i.e. Facebook, Instagram, YouTube, and Twitter). You may be rocking these sites and already have 50 zillion followers. Now, what does your LinkedIn profile look like?

For many musicians, LinkedIn doesn’t seem like a site to bother with. They assume it’s mostly utilized by people with corporate jobs. It’s not really the scene they’re after. This misconception is why many musicians are missing out on amazingly beneficial connections.

So why should you use LinkedIn to promote your music?

Contacts, Contacts, Contacts

LinkedIn is only for professionals. Many people use it to get jobs or connect with those in their fields of industry. This is what you should be doing too. A LinkedIn profile has tons of benefits, the biggest being increasing your contact list. LinkedIn being a purely professional site means that when you send a contact request, it will probably be accepted. No one gets on their LinkedIn account to look at the newest cat video. There are a lot of music industry professionals on LinkedIn and if you’re planning to build a profitable music career, you’ll need them. Think studio managers or booking agents.

Other people worth sending requests to:

• Music Bloggers
• Music Journalists
• Booking Agents
• Promoters

Music Industry Groups

The groups on LinkedIn are a vital part of what makes it a true social media site. While there is a myriad of music-related groups, try to stick with the ones focused on the music industry. Once you’ve requested to join and have been approved, be active. Ask and answer questions, start conversations, and make your name a common sight for the big fish who read the group content.

A few LinkedIn groups to join:

• Music Biz
• Music Industry Forum
• Music and Marketing

Look Like a Professional

The beauty of a Linkedin profile is that it can be designed to look extremely professional. To attract connections from the music industry, you need to appear like a business professional yourself. When designing your profile, use a headshot or a face shot at a minimum. Avoid using a band logo or live performance shot, as these aren’t considered quite as business savvy.

List your actual experience instead of what your music is about or where your inspiration comes from. These are more useful on a Facebook or Instagram page to attract fans. Have you ever been featured on a blog? List it. You want other professionals to see you when they do a search, so if your profile looks more professional than someone else’s, it may give you a leg up. Finally, stick keywords into your profile that relate to your musical niche.

Questions to ask yourself when designing your profile:

• What is your niche?
• Who do you most want to see your profile?
• What can you offer other professionals?

Keep Your Connections

Once you’ve established industry connections, it’s important to manage and maintain them. Fortunately, LinkedIn doesn’t drop connections with a lost phone number or change of email address. Ideally, once you’ve made a connection, these people will begin to recognize you from the groups you’ve joined. Until this happens, you need to keep working up the connections you actually know. LinkedIn has a lovely recommendation feature, which allows others to recommend you in one of your listed skills. Hit as many of these connections up as you can and ask for a recommendation. It will add to your credibility. Also, send a small thank you message when someone accepts your request. This isn’t done often and will make an impression.

Crunch Digital Lança Novo 'Sandbox' Para Ajudar Startups å Licenciar Música

Crunch Digital Launches New 'Sandbox' to Help Startups License Music From Labels & Publishers

The digital music business is booming, representing more than 80 percent of U.S. recorded music revenue in the first half of 2017, according to the RIAA, with streaming alone accounting for 62 percent. But keeping this market growing -- and keeping it diverse, so that one or two companies can’t dominate it -- requires encouraging more startups to enter a market that’s generally perceived as difficult and complicated.

Could another startup have the answer? Crunch Digital, which helps technology companies handle accounting and payments for the music they use, today announced that it’s launching Crunch Digital Sandbox, a platform that will expedite for app developers the process of licensing music from big labels and publishers. The idea isn’t to negotiate the kinds of complicated contracts needed by big online music distributors -- just to quickly create what Crunch Digital founder Keith Bernstein calls “an experimental license” so they can prove their concepts. 

Crunch will not license music itself. Rather, it will bring together startups with rightsholders that are participating in the Sandbox program, including BMG Rights Management. “Sandbox strikes the perfect balance, allowing startups to properly license music while ensuring that songwriters are fairly compensated,” says Keith Hauprich, BMG general counsel and senior vp business and legal affairs, North America. “This new model squarely addresses a long-standing concern of the industry.”

Essentially, the Sandbox business is one of efficiently connecting suppliers and distributors, in a business where making those deals can be time-consuming. “It solves the problem that there are a lot of entrepreneurs who don’t know what to do and they’re dealing with labels and publishers that have limited staff,” says Bernstein, who founded Crunch in 2013. (Before that, he worked at a senior level in operations and licensing for A&M Records and then at Universal Music Group.) Startups, which operate on Silicon Valley time, find the licensing process cumbersome and complicated, especially on the publishing side. Rightsholders, in turn, are approached by dozens of entrepreneurs who have interesting ideas but no numbers that show their concepts will work. 

Bernstein says Crunch Digital Sandbox will vet startups and bring their deals to rightsholders for short-term licenses that will help them get off the ground. Generally, these deals will include revenue participation but no minimum guarantee or equity. In some cases, startups won’t need to license music from all labels or publishers -- they’ll just need to get access to enough music to beta test an app or see if it can scale.

Crunch will charge startups an administration fee of between seven percent and 10 percent. “We’re creating a pipeline,” Bernstein says.

Bernstein expects startups to “graduate” from the Sandbox, with data they can bring to music companies in order to negotiate the kind of deals that best suit their businesses. Ideally, he says, they’ll also use Crunch to handle the back-office payments for those licenses. “The idea,” he says, “is that this fits right into the other part of our business.”

Demo - Trilha Sonora Para Um Game De Realidade Virtual - Video

VR Soundtrack - My Demo For Western Game 

Hi everyone! Has been a while! I'm still here producing and trying to create something new!

A couple months ago a receive a request from VR Game company about a soundtrack for their game.

I sent the demo, as I don't have any replay from them I decided to promote my soundtrack.

I used the "Red Redemption" teaser just as reference for my soundtrack, as usual, I always enjoyed what I did.

Enjoy the sound and video. If you need a soundtrack or sound design, keep in touch.

See you nest time.

Eric Clapton Planeja Um Novo Show No Hyde Park Com Santana, Steve Winwood, Gary Clark Jr.

Eric Clapton Plans Hyde Park Show With Santana, Steve Winwood, Gary Clark Jr. - Not Retiring Yet

First of all thanks to Mark Beech for this article.

Eric Clapton is not retiring quite yet. The guitar legend today announces a mega show in London with Santana, Steve Winwood, Gary Clark Jr. and other guests to be confirmed.

The guitar legend is 72 and has hinted at retirement for years, most recently saying he was no longer touring, partly because of nerve damage hindering his guitar-playing.

Fortunately, Clapton’s health problem was not obviously in evidence during his four-night run at the L.A. Forum in September, which took place amid speculation that those were his final shows. Clapton’s Madison Square Garden gigs immediately before also sold out fast, as with his two March 2017 shows at MSG, with fans fearing that he was about to say farewell.

The newly announced show on July 8 will be an exclusive U.K. concert for 2018 at Barclaycard Presents British Summer Time in London’s Hyde Park. A reappearance of “Clapton is God” posters may be expected to follow around the British capital city.

This year, apart from the shows in Inglewood, California and New York, Clapton has only played a handful of shows in Tokyo and his favorite venue, London’s Royal Albert Hall, where he has previously performed more than 200 times. The most recent concerts have celebrated his more-than-50-year career, with understated versions of his greatest hits – such “Tears In Heaven,” and an acoustic version of “Layla.” He also sprinkles in other favorite songs including blues and traditional numbers.

Clapton recently signed off sets with a cover version of Bo Diddley’s “Before You Accuse Me” with help from Gary Clark Jr., who will also be at the Hyde Park event. Clapton has for years been working with other top-rank musicians and friends such J.J. Cale, who died in 2013. Clark, 33, has already shared the stage with the likes of the Rolling Stones and others.

Some Clapton tours have been rumored as farewells. Music analysts said an officially-confirmed one could rank as among the biggest-grossing. Clapton’s 2015 Madison Square Garden shows had a secondary price of more than $750 each.

Clapton has sold more than 150 million albums, including those with Cream, Derek and the Dominos and more. His live album Unplugged sold more than 10 million copies in the U.S.

Clapton first played Hyde Park with Blind Faith in 1969 to an audience of 120,000. Winwood was in the band at the time. Clapton has also performed in Hyde Park in 1996 and 2008.

British Summer Time, an urban outdoor festival with a rolling weekend schedule, will next year also include Roger Waters, bringing his “Us + Them” Tour to Britain for the first time, on July 6. Michael Bublé will feature on July 13 and Bruno Mars on July 14.

Since 2013, the British Summer Time festival has hosted the Rolling Stones, Bon Jovi, Lionel Richie, Carole King, Stevie Wonder, Blur, Florence + The Machine, Kendrick Lamar, Taylor Swift, and The Who. This year it included Phil Collins, Green Day, Justin Bieber and Tom Petty & The Heartbreakers in what proved to be one of their last gigs.

Warm Music Quer Democratizar Os 'Royalties" Que As Rádios Deveriam Pagar

Warm Music Puts Heat On Broken Radio Royalty Business Model

First of all thanks to Monty Munford for this article.

It was one minute past midnight on August 1st, 1981 when the first-ever music video was aired on MTV.

To emphasis this new channel's impending dominance of music-as-a-commodity, that video was Video Killed The Radio Star by UK band The Buggles; a self-fulfilling prophecy in every respect. Radio was dead, long live video... the king is dead, long live the king!

The song was a huge success, it topped the charts in the UK and more than ten countries; my girlfriend at the time even bought me a copy of the vinyl single for my birthday. Those were the days when music ruled the world, but everybody knew that change was a-coming.

While the song emphasised the likely death of radio by video, the former has lasted a lot longer than many people expected and still remains a hugely influential channel for artist success while MTV has long been superseded by YouTube and the internet.

What is less widely known, however, is the broken model of radio and how artists are losing out on royalties because of how these payments are measured and how it is begging for disruption.

In 2013, the UN General Assembly nominated February 13th as the annual date to celebrate World Radio Day, a time to recognise the reach and power of radio to the poorer and more accessible parts of the world.

As part of these celebrations, UNESCO commissioned a report  that stated there are currently more than 51,000 global radio stations, but only a fraction of these stations are covered when it comes to evaluation royalties paid to artists.

According to tech disruptor Warm Music, existing monitors such as BMAT, Radio Monitor and Soundcharts only cover 3,500, 4,000  and 350 radio stations respectively. That means that thousands of stations could be playing music without paying the artist and without the artist gaining recognition for their work.

Warm Music wants to change this by taking the first step towards a more democratized music industry by delivering inexpensive data to anyone in the music industry, about how their music is performing on radio stations all over the world. 

The company says that today's radio royalties are in many cases being distributed, based on minor data samples and the result is a very uncertain and unfair distribution of the money in the industry.

Warm Music says that its technology enables artists (and their representatives) to know when and where their song is being played on a radio somewhere in the world, on not only the large commercial radio stations currently monitored, but on as many radio stations as possible. 

Warm says it is doing this by also including school, local, community and genre-specific radios and monitors 24,000 radio stations, a number that it want to increase to 45,000 stations 'the ones we think that would be relevant to be monitoring'. Consequently, by being able to track and monitor music on the radio on a true global scale, everyone in the music industry will be empowered.

Jesper Skibsby, CEO of the Copenhagen-based company is a vivid presence at the world's music and tech events, apparently being a collector of the kimonos he wears to such shows. However alternative his dress sense, he is focused on improving the efficacy of the radio business model.

"If there are 51,000 stations in the world and only 10% are used to measure success and playing time, then this needs to be improved. Musicians and songwriters have been hugely affected by changes in technology over the past two decades and we want our technology to acknowledge the importance of their work and creativity," he says.

Such recognition is crucial for any industry that by definition is always outside the mainstream. The long tail for artists that Warm is trying to fix is welcome. Video certainly didn't kill off the radio star, but hopefully the radio star can embrace a new model for everybody in the latest version of the music business.

Warm Music

Warm CEO Jesper Skibsby is disrupting the global radio revenue model.