Paul McCartney 'One on One Tour' Faturou $132 Milhões Em 2017

Paul McCartney's One on One Tour Earns $132 Million in 2017

Final 2017 box-office sales totals for Paul McCartney’s One on One tour have been reported during the final days of the year, earning the rock legend the top slot on the weekly roundup of Hot Tours (see below). With $67 million in sold ticket revenue from 15 performances added to the concerts that were already reported earlier in the year, the tour’s overall gross in 2017 rises to $132 million. The trek included a total of 37 concerts from April through December with the number of sold tickets totaling 907,610 during the eight-month span.

The One on One tour covered four continents in 2017 beginning with a string of four concerts at two venues in Japan from April 25 through 30. Three of those shows were held at the Tokyo Dome and grossed $22.8 million from 143,826 sold seats. The sold out run ranks as McCartney’s highest-grossing concert engagement in 2017 but is his second highest on record at the venue, based on Billboard’s Boxscore archives. He also sold out three nights at the Tokyo stadium during his Out There tour that ran for two and a half years from May 2013 through October 2015. That three-show stint in November 2013 earned $23.4 million from 146,845 sold tickets.

This past summer the tour was booked at arenas in twelve North American markets including eight shows in the metropolitan New York City area that drew over 113,000 fans to four venues. Following in October the tour played stadium dates in five Latin American cities, four of them in Brazil.

The final leg of the tour was a sweep through Oceania in December with shows in Perth, Melbourne, Brisbane and Sydney, Australia and a finale in Auckland, New Zealand. All were stadium dates except Sydney’s two arena shows.

The One on One tour launched originally in 2016 and included two legs in North American markets as well as a trek through Europe and also Argentina. Just as he did this year, McCartney played both arenas and stadiums during the first year of the tour. He wrapped his 2016 schedule with his two appearances at Desert Trip, the $160 million grosser that featured six iconic rock acts and six performances on the Coachella festival grounds in Indio, Calif. during October.

Not all of the 2016 shows were reported to Boxscore, but based on per-show averages throughout the run, the tour is estimated to have surpassed $240 million overall in sales during it’s two-year run with about 1.8 million tickets sold worldwide.    

	HOT TOURS - Dec. 26, 2017
	Ranked by Gross.  Compiled from Boxscores reported Dec. 19-25
Rank	ACT
	Total Gross
	Show Date Range
	Venue/City (Shows/Sellouts)
	Total Attendance (Capacity)
1	PAUL MCCARTNEY
	$67,566,928
	April 25-Dec. 16
	Nippon Budokan, Tokyo (1/1)
	Tokyo Dome, Tokyo (3/3)
	Chesapeake Energy Arena, Oklahoma City (1/1)
	Hollywood Casino Amphitheatre, Tinley Park, Ill. (2/2)
	Little Caesars Arena, Detroit (2/2)
	Estadio Azteca, Mexico City (1/1)
	nib Stadium, Perth, Australia (1/1)
	AAMI Park, Melbourne (2/2)
	Suncorp Stadium, Brisbane, Australia (1/1)
	Mt Smart Stadium, Auckland, New Zealand (1/1)
	449,175 (449,175)
2	QUEEN + ADAM LAMBERT
	$3,572,980
	Dec. 12-13
	O2 Arena, London (2/0)
	35,049 (36,922)
3	THE KILLERS
	$3,021,730
	Nov. 27-28
	O2 Arena, London (2/0)
	35,629 (36,748)
4	LITTLE MIX
	$2,924,410
	Nov. 25-26
	O2 Arena, London (3/0)
	48,030 (50,235)
5	OZUNA
	$2,672,415
	Dec. 14-16
	Amway Center, Orlando (1/0)
	American Airlines Arena, Miami (1/1)
	Prudential Center, Newark, N.J. (1/0)
	34,086 (35,795)
6	JAMIROQUAI
	$2,295,730
	Dec. 3-6
	O2 Arena, London (2/0)
	29,909 (35,215)
7	GORILLAZ
	$2,072,630
	Dec. 4-5
	O2 Arena, London (2/0)
	27,549 (29,787)
8	KASABIAN
	$1,854,650
	Dec. 1-2
	O2 Arena, London (2/0)
	28,772 (36,078)
9	MARIAH CAREY
	$1,525,000
	Dec. 11
	O2 Arena, London (1/0)
	15,074 (16,290)
10	DEPECHE MODE
	$1,446,430
	Nov. 22
	O2 Arena, London 1/0)
	17,366 (19,151)

10 Segundos De Técnica: Dicas Para Melhorar O Seu Efeito Sonoro

10 SECOND TECHNIQUE: TIPS TO IMPROVE YOUR SOUND DESIGN BY BARNEY ORAM

First of all thanks to Barney Oram for this article.

The 10 second sound design technique is a method I’ve been using over the last few years as a tool to rapidly improve my sound design skills. It’s a simple principle, and encourages depth and detail your sound design work, without demanding a big time investment to complete. I think this technique is best suited to those starting their sound design journey, or those who are looking to improve their skills in a specific niche of sound design.


Improvement comes from iteration; doing something over and over, learning from each attempt

One of my aims, in all of my work as a sound designer, is to make great sounds. I want to design sounds that tell stories, sounds that inform the audience, sounds that build a world. These aren’t trivial tasks; in fact, it can be very challenging to make sounds that both have depth, and sound cool. I think it can seem daunting, especially when starting out, to compare your work to major films and games, that have seemingly incredible sound design work – and wonder if you’ll ever be as good as that. For me, that was scary, but also a motivator. It made me want to figure out what they were doing – how they were creating their sounds – and how I could do the same thing. What I wanted to do was improve my skills – and improvement comes from iteration; doing something over and over, learning from each attempt, and slowly getting better. It’s as simple as that – you’ve just got to practice.


The key to being able to create great sound design is to practice it

Practice makes perfect. It’s taken some years to realise this for myself, but I think the key to being able to create great sound design is to practice it. As with everything, the more practice you put into something, the better you become. Through practice you develop taste, you develop an understanding for how sound, textures, and frequencies function together, and you become quicker at making the decisions that lead to creating great work. It might seem like an obvious concept – but I think it’s an important one to remember.

But how do you practice sound design effectively? I found that doing small and frequent work is a great way to learn. I’m a big fan of doing sound re-designs – taking a clip of media and re-designing the sound for it. This is a helpful exercise to do, as it allows you to practice your craft, and enables you to develop your perception of how sound functions alongside visuals. I wasn’t interested in doing huge, long clips – or full mixes – I just wanted to focus on really in-depth, complex sound design, and for this to be something I could do on a regular basis – once every few weeks.


So I started by taking really short clips, and working with them. I think 10 seconds is the perfect length to start with. I’ve been teaching myself cinematic sound design in the last year or so – and I’ve been taking clips of visual media, choosing content that pushed me to explore interesting and challenging sounds – and spending 4-6 hours focusing on this tiny piece. This amount of focus, for a fairly considerable amount of time, has encouraged me to really dig deep into designing complex and original sounds. It’s encouraged me to experiment, to explore sound creation, and has led me to create work that I would’ve never considered myself capable of.


A big part of skill improvement is taking feedback from others

I’ve also found that a big part of skill improvement is taking feedback from others – preferably those who you consider to be better than you. Do a few 10 second re-designs, and send them to people you look up to. Often they’ll be able to suggest improvements and changes, even within such a short piece of work. Taking their advice forward into the next piece of work you do is crucial – this is part of how you improve.


It’s best to select a visual piece that focuses on the elements you want to work on the most

I think it’s best to select a visual piece that focuses on the elements you want to work on the most. For example, I try to avoid clips that contain dialogue – and if they do, I generally don’t address it – because this isn’t really my area of expertise. I try to push myself and pick clips that are challenging and complex, so that I can aim to expand my ability and capability in that area.
How to find material to re-design:
There are several ways to find material to re-design. Get permission from the original author of the video you’re looking to re-design, license stock footage, or seek out Creative Commons material from sites such as these: Vimeo – Creative Commons material • Pexels • Pond 5


You can also use Youtube’s search filtering option to filter by Creative Commons (Filter/Features/Creative Commons)

Next you have to decide if you want to reference the original sound, or not. If you’re wanting to take a clip and imitate the style of sound design used in it, then working with the original as a close reference is a good thing to do. For me, I’ve always tried to approach a clip with my own fresh perspective; so I think avoiding listening to or analysing the original sound of the clip is a good approach, thus not allowing it to influence your work.


Break the clip down into sections of focus, and try to build a narrative flow

Starting the piece, I like to spot through the clip and decide what the main ‘beats’ are going to be. This essentially means I’ll break the clip down into sections of focus, and try to build a narrative flow to guide my work. This can mean highlighting the particularly visually impressive moments, or perhaps sections with a specific tone or mood, or even aspects that have a clear narrative arc already strongly defined in the visual content. Practically I do this by adding markers to my timeline, and noting down a few ideas for each element.

JIMMY PAGE Diz Que Material Nunca Escutado Do LED ZEPPELIN Será Liberado No Aniversario De 50 Anos Da Banda

JIMMY PAGE Says Previously Unheard LED ZEPPELIN Product Will Arrive In Time For Band's 50th Anniversary

Jimmy Page says that previously unheard LED ZEPPELIN material will be released next year to coincide with the band's 50th anniversary.

In a new 50-minute video interview for the Academy Of Achievement, Page was asked about ZEPPELIN hitting the half-century mark, and he said: "There'll be LED ZEPPELIN product coming out, for sure, that people haven't heard, because I'm working on that. Next year will be the 50th year, so there's all manner of surprises coming out."

You can watch the video below.

All nine of LED ZEPPELIN's albums were reissued over a two-year period starting in 2014. The LPs were released in chronological order, each remastered by Page and featuring dozens of unheard studio and live recordings, with each album featuring a second disc of companion audio comprised entirely of unreleased music related to that album.

Since John Bonham, John Paul Jones, Jimmy Page and Robert Plant came together in 1968 as LED ZEPPELIN, the band has sold more than 300 million albums worldwide.

Engineer John Davis, who worked with Page on the remasters, revealed in a since-deleted October Facebook update that he was "mostly mastering LED ZEPPELIN" on the day that the post was made. It is not clear which project Davis was referring to or if it had anything to do with the aforementioned ZEPPELIN "product" Page had brought up in the Academy Of Achievement interview.

Universal Music Compra Stiff Records e ZTT Dois Ícones Da Indústria Inglesa

Universal Music Acquires Iconic British Labels Stiff Records and ZTT

Two of the most influential British record labels of the 1970s and 1980s, responsible for hits by Frankie Goes To Hollywood, Kirsty MacColl and Elvis Costello, among many others, are now under the ownership of Universal Music.

The acquisition of Stiff Records and ZTT from Trevor Horn’s SPZ Group was announced this morning (Dec. 19) with Universal Chairman and CEO Sir Lucian Grainge hailing the imprints as "truly unique and iconic labels that captured the zeitgeist of their generation" and influenced "contemporary music entirely on their own terms."

The deal with SPZ Group, founded by Jill Sinclair and record producer Trevor Horn, covers master rights to the entire ZTT catalogue, including records by Frankie Goes To Hollywood, Wreckless Eric, Art of Noise, Propaganda, 808 State, Kirsty MacColl, Shane MacGowan and Lisa Stansfield, as well as select titles from the Stiff catalog -- although notably not any titles by Stiff’s most famous signing, Elvis Costello.

Also included in the terms of the deal is Perfect Songs Publishing, which includes songs by Seal, De La Soul, Eminem, Michael Jackson, Alicia Keys, Busta Rhymes, Lisa Stansfield and Art of Noise (sampled by everyone from Charlie XCX to Lil Wayne to The Prodigy) among its catalog.

"With Perfect Songs, we are adding an award-winning publishing catalog, rich with hits, acclaim and global success," said Grainge in a statement. He went on to say that Universal is "committed to building upon the legacy of these revolutionary labels, in keeping with the spirit of their founders."

Started in 1976 by Jake Riviera and Dave Robinson, Stiff Records was at the forefront of the British punk and new wave movements, with Elvis Costello, Kirsty MacColl, Madness and Ian Dury among its early discoveries. The London-based label also released what is widely recognized as the first ever punk rock single, "New Rose" by The Damned and later landed one of the biggest Christmas hits of the 1980s with "Stop The Cavalry" by Jona Lewie.

ZTT was born out of the same independent singular vision as Stiff Records and was founded in 1983 by producer Trevor Horn, Jill Sinclair and music journalist Paul Morley. Within a year of its emergence, ZTT was dominating the British charts thanks to a string of hit singles from Frankie Goes to Hollywood, including "Relax" and "Two Tribes," and its all-conquering debut album Welcome To The Pleasuredome. 

In a statement announcing the label’s acquisition by Universal, Horn paid tribute to his late wife, Jill Sinclair, who died in 2014, eight years after suffering brain damage in a shooting accident.

"Jill started Perfect Songs and ZTT in the 80’s and I’m extremely proud of what she achieved," said Horn. "Lucian Grange and Jill were really good friends so I’m pleased that these catalogs are going to Universal."

Financial terms of the deal were not disclosed.

Disturbed Lidera O Top TV Charts De Novembro Graças Ao Seriado "The Blacklist"

Disturbed Leads THR's Top TV Songs Chart for November, Thanks to 'The Blacklist'

Plus, Crosby, Stills & Nash enter the top five; Joywave debuts. 

Disturbed’s “The Sound of Silence” leads THR’s Top RV Songs chart, powered by Tunefind and Shazam, for November, thanks to its appearance in NBC’s The Blacklist on Nov. 15.

Rankings for the Top TV Songs chart are based on song and show data provided by Tunefind and ranked using a formula blending respective Shazam tags, as well as sales and streaming information tracked by Nielsen Music during the corresponding period.

“The Sound of Silence” leads all songs with 60,000 Shazam tags, 41,000 downloads sold and 12.6 million U.S. streams in November, according to Nielsen Music.

The song was also a massive hit on Billboard’s rock charts after its release in December 2015. It spent seven weeks at No. 1 on the Mainstream Rock Songs chart, two weeks atop the Rock Digital Song Sales chart and reached No. 3 on Hot Rock Songs. Further, the song reached No. 42 on the Hot 100.

Simon & Garfunkel’s original recording of the song spent two weeks atop the Billboard Hot 100 in 1966, and another cover of the song by Peaches & Herb hit No. 100 in 1971.

Elsewhere on the Top TV Songs chart, yet another song featured in The Blacklistmakes its debut. Crosby, Stills & Nash’s 1982 hit “Southern Cross” debuts at No. 3 after its appearance in the eighth episode of The Blacklist's fifth season. Thanks to the appearance in the show, the song logged 16,000 Shazam tags, 6,000 downloads sold and 1.2 million U.S. streams in the month.

“Southern Cross” reached No. 18 on the Hot 100 in 1982 and No. 39 on the Mainstream Rock chart.

The Blacklist last appeared on the Top TV Songs chart in February 2016, when two songs from the series entered the chart.

Indie rock group Joywave also debuts on the ranking at No. 10 with “It’s A Trip!” thanks to its appearance in Riverdale. The song was the second single from their new album Content, which the group released through Hollywood Records in July.

The song earned 11,000 Shazam tags, 2,000 downloads sold and 1 million U.S. streams in November.

Here’s the full Top TV Songs chart for November:

Rank, Title, Artist, TV Show (Network)

1. “The Sound of Silence,” Disturbed, The Blacklist (NBC)

2. “One,” Metallica, Marvel’s The Punisher (Netflix)

3. “Southern Cross,” Crosby, Stills & Nash, The Blacklist (NBC)

4. “Wish It Was True” The White Buffalo, Marvel’s The Punisher (Netflix)

5. “Tilted,” Christine and the Queens, Better Things (FX)

6. “Ends of the Earth,” Lord Huron, Longmire (Netflix/A&E)

7. “Roost,” Big Black Delta, Vice Principals (HBO)

8. “Sons and Daughters,” Allman Brown & Liz Lawrence, The Good Doctor (ABC)

9. “High Enough,” K.Flay, Riverdale (The CW)

10. “It’s a Trip!,” Joywave, Riverdale (The CW)

Music Reports Alcança 1 Milhão De Músicas Dentro Do seu Banco De Dados

Music Reports Hits 1 Million Songs Claimed Using Songdex Rights Database

Music Reports' rights database Songdex has hit a new milestone, helping music publishers claim more than 1 million songs since its claiming system was launched last year. 

The free Songdex Claiming System allows publishers to claim recordings that embody their songs, offering a valuable tool to clear up publishing information for the millions of tracks -- most of which come from independent artists -- that are digitally distributed online through such platforms as TuneCore and CD Baby. 

Songdex tracks more than song ownership, but also has the whole chain of rights from the composer to publishers to sub-publishers. It also includes related business information, such as contact information and the owner or administrator's preferred method of payment. 

"We knew when launching the Songdex Claiming System that publishers would gradually realize how valuable a tool it is, and with more than 1 million tracks claimed, it's safe to say people are catching on," said Bill Colitre, vice president and general counsel of Music Reports, Inc. in a statement. "And while we're excited that so many publishers have now experienced the unprecedented transparency and access the system provides, we're even more excited to see that publisher engagement with the system has been accelerating over the past three quarters."

Music Reports says it processes upwards of 250,000 new sound recording metadata rows each day. Much of that is duplicative, but the technology platform says the total number of new recordings is growing and nearing 1 million per month. Many of those songs are recordings of songs that have never been registered anywhere by their owners, are cover recordings or tracks with metadata anomalies that cause errors in their matching with the correct corresponding song data. 

Indústria Da Música E Tech Industries Dizem Que 'Net Neutrality ' É Negativo Para Inovação

Music & Tech Industries Say FCC's Net Neutrality Vote Will 'Negatively Affect Innovation'

"This is a fundamentally anti-democratic action that will have unintended consequences for the American economy for decades to come." 

Time will tell the implications the Federal Communication Commission's vote on Thursday (Dec. 14) to repeal Obama-era net neutrality regulation will have, but critics have been quick to cry foul at the Republican-led decision. 

The decision could profoundly effect the way the internet is run by rolling back restrictions that keep broadband providers across the country from blocking websites or collecting tolls for faster access. And those music and tech companies and organizations who agreed to comment to Billboard on the ruling all all spoke out against it and what it might mean for the future of the industry. 

"Net neutrality is crucial to keeping the web a vibrant and powerful place that fosters innovation," said SoundCloud CEO Kerry Trainor. "Eliminating these protections not only reduces consumer choice and accessibility of services, but inhibits the open, creative expression that has flourished on countless internet communities, including SoundCloud."

While FCC Chairman Ajit Pai and broadband providers such as Comcast, Verizon and AT&T have said the negative response to the regulatory dismantling has blown the issue out of proportion and promised they will not change user's internet experience, those companies still lobbied hard to overturn the rules. 

"Today's vote represents a departure from more than a decade of broad, bipartisan consensus on the rules governing the internet. Relying on ISPs to live up to their own 'promises' is not net neutrality and is bad for consumers," said Internet Association president and CEO Michael Beckerman in a statement. "Let's remember why we have these rules in the first place. There is little competition in the broadband service market -- more than half of all Americans have no choice in their provider -- so consumers will be forced to accept ISP interference in their online experience. This is in stark contrast to the websites and apps that make up Internet Association, where competition is a click away and switching costs are low."

Beckerman added that the The Internet Association -- which represents internet companies including Spotify, Google, Amazon, Facebook, Pandora and others -- is currently weighing its legal options in a lawsuit against today's order and hopes Congress will bring "strong, enforceable net neutrality protections into law."

Added a Google spokesperson: "We remain committed to the net neutrality policies that enjoy overwhelming public support, have been approved by the courts, and are working well for every part of the internet economy. We will work with other net neutrality supporters large and small to promote strong, enforceable protections."

Under the new rules, internet service providers will be free to discriminate against websites and apps, while favoring others, so long as they post their policies online or tell the FCC. This, according to American Association of Independent Music CEO Richard James Burgess, will benefit the larger corporations who can afford to buy into the new system and negatively effect those smaller ones who cannot. 

"This decision will disadvantage all the small and medium-sized enterprises, including the ones that make up our membership, and will negatively affect innovation," said Burgess in a statement. "This is a fundamentally anti-democratic action that will have unintended consequences for the American economy for decades to come."

Kevin Erickson, national organizing director for Future of Music Coalition, said his organization will also be supporting legal efforts to overturn the FCC's move and petitioning Congress to intervene. 

"The FCC has ignored the voices of countless musicians -- from arena rockers to classical concert hall stars, hip-hop trailblazers to DIY singer-songwriters -- and dozens of independent record labels large and small, all united in opposition to this move," he said. "This move will hurt musicians' ability to reach their audiences on their own terms, express themselves and their communities' concerns freely, and build sustainable careers—while enriching huge ISPs, allowing them to get in between artists and their fans."

"The idea that all information online aka data should be treated equally is one of the core principles in an open internet," said Discogs CEO Chad Dahlstrom. "Threats to that principle are threats to open dialogue, freedom of speech and the ability to choose what and how you get information online. We should not allow content to be throttled, blocked or removed based on a telecom or influential individuals decisions. That is an open door to censorship and big corporations once again choosing what we can see, hear and learn about. The internet must remain open."