Power Field Studio

Power Field Studio

segunda-feira, 29 de janeiro de 2018

Spotify Reavalia Regras Para Dar Aos 'Remixadores' Mais Respeito

Spotify Reworks Rules to Give Remixers More Respect





Music is one of those art forms that sits at the cutting edge of technological development, and yet the industry itself is often slow to catch up. It took the Grammys until 2014 to consider work with samples in every category, and it wasn't until 2016 that the awards institution made free mixtapes and releases eligible for consideration.
Even Spotify, who arguably leads the charge in the streaming revolution, has only now changed its rules to credit remixers for the streams their remixes garner. Until now, only the original artist received the streaming numbers, and the remixer's popular songs list on their page wouldn't reflect popular remixes streamed either.
"Remixes are a major part of the way music evolves in the 21st century," Spotify said in its official announcement. "They build bridges between genres and they connect cultures around the world. Now Spotify is making some changes designed to give remixers the credit they deserve."
Spotify also interviewed famed and Grammy-decorated remixer Louie Vega to talk proper remixes from start to finish. Read all about it on Spotify's website.

sexta-feira, 26 de janeiro de 2018

Os Indicados Ao Grammy Atingem O Top 40 Da Billboard 200

Billboard 200 Chart Moves: 'Grammy Nominees' Series Scores 24th Top 40-Charting Album



On the latest Billboard 200 albums chart (dated Jan. 27), Camila Cabello arrived at No. 1 with her debut solo effort, Camila. The set earned 119,000 equivalent album units in the week ending Jan. 18, according to Nielsen Music. Of that sum, 65,000 were in traditional album sales.
The Billboard 200 chart ranks the week’s most popular albums based on their overall consumption. That overall unit figure combines pure album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA).
Now, let’s take a closer look at some of the action on the rest of the Billboard 200:
Various Artists, 2018 Grammy Nominees – No. 22 — The long-running Grammy Nominees series collects its 24th top 40-charting album on the Billboard 200, as the 2018 Grammy Nominees compilation bows at No. 22. The set earned 17,000 equivalent album units in the week ending Jan. 18, according to Nielsen Music. The entirety of that sum is driven by traditional album sales. On the Top Album Sales chart, the title launches at No. 4, and on Compilation Albums at No. 1.
The 2018 Grammy Nominees album features 21 tracks that celebrate the nominees of the 60th annual Grammy Awards, including Bruno Mars’ “24K Magic,” Portugal. The Man’s “Feel It Still” and Kenny Chesney’s “All the Pretty Girls.”
The series, which began in 1995, has visited the top 40 with each of its 24 titles in its main series. (In the late 1990s and early 2000s, there were a few genre-specific compilations -- like 1999 Grammy Rap Nominees -- that did not hit the top 40.)
Collectively, the 24 installments of the main Grammy Nominees series have sold 9.58 million copies. 
— Black Veil Brides, Vale – No. 14 — The band’s new studio set starts with 24,000 units (22,000 in traditional album sales), granting the act its fifth consecutive top 40-charting effort. On Hard Rock Albums, it debuts at No. 1 -- their first leader.
— The CranberriesStars: The Best of 1992-2002 – No. 16 — Following the death of The Cranberries’ lead singer Dolores O’Riordan on Jan. 15, the band’s greatest hits collection Stars: The Best of 1992-2002 debuts on the Billboard 200 at No. 16. The set, released in 2002, earned 22,000 equivalent album units in the week ending July 18, according to Nielsen Music (up 1,843 percent). The album sold 8,000 in traditional album sales (up 7,129 percent). Stars is the group’s highest-charting album since 1999’s Bury the Hatchet hit No. 13.
— Chris YoungLosing Sleep – No. 60 — The album surges 184-60 with the chart’s largest percentage gain (up 105 percent) as the set benefits from further sales generated by a concert ticket/album sale redemption promotion.
— The Beatles1 – No. 114 — The Beatles’ hits package 1 celebrates its 300th week on the list. The former No. 1 -- which was released in 2000 and steps 106-114 on the latest tally -- has racked up more weeks on the chart than any other Beatles album. The Fab Four’s runner-up is Abbey Road, with 249 weeks. It is followed by Sgt. Pepper’s Lonely Hearts Club Band (219), the act’s self-titled set (known as The White Album, with 184) and the best-of set The Beatles 1967-1970 (182).
1 is also the 20th album to spend at least 300 weeks on the list, and follows Lana Del Rey’s Born to Diewhich hit the 300 threshold on the Jan. 20-dated chart.
The all-time longevity champ remains -- and will likely remain for many years to come -- Pink Floyd’s The Dark Side of the Moon, with 937 weeks. The runner-up is Bob Marley and The Wailers’ greatest hits set Legend: The Best of Bob Marley and The Wailers, with 505 weeks. Among all greatest hits sets, The Beatles’ is one of just six titles with at least 300 weeks on the tally.
1 spent eight weeks at No. 1 on the Billboard 200 in late 2000 and early 2001 and has sold 12.87 million copies in the U.S. Since Nielsen Music began tracking sales in 1991, The Beatles’ 1 is the band’s biggest selling album, the fourth-largest selling title overall among all acts, and the best-selling greatest hits album. Ahead of on Nielsen’s best-sellers list: Metallica’s self-titled album (known as The Black Album) with 16.71 million, followed by Shania Twain’s Come On Over (15.7 million), Alanis Morissette’s Jagged Little Pill (15.13 million) and then The Beatles' 1.

Hans Zimmer Vai Compor A Trilha De ‘X-Men: Dark Phoenix’


Hans Zimmer to Score ‘X-Men: Dark Phoenix’


Hans Zimmer has been tapped to score the upcoming superhero movie X-Men: Dark Phoenix. The film marks the directorial debut of writer/producer Simon Kinberg (X-Men: Days of Future PastThe MartianDeadpool) and stars James McAvoy, Michael Fassbender, Jennifer Lawrence, Nicholas Hoult, Tye Sheridan, Sophie Turner, Alexandra Shipp, Kodi Smit-McPhee, Evan Peters and Jessica Chastain. Kinberg is also producing the project with Bryan Singer (X-MenThe Usual Suspects), Hutch Parker & Lauren Shuler Donner (Logan). 

Zimmer’s involvement was mentioned by actor Evan Peters on the Happy Sad Confused podcast. We previously heard that the composer was scoring the film this past December, but it was unclear whether he would be sharing scoring credit with anyone else. Zimmer has previously scored the Kinberg-produced sci-fi movie Chappie and Kinberg-scripted Sherlock HolmesX-Men: Dark Phoenix is set to be released on November 2, 2018 by 20th Century Fox.

terça-feira, 23 de janeiro de 2018

Como Você Deveria Usar Um 'email list' Entre Os Lançamentos E Shows?

How should you use your email list in between new releases or gigs?


Setting up an automated (and authentic) stream of emails that will interest your fans.

Email can be a drag. I write a bit on how to make the most of it here. But in this article, I want to dig in with you. Deep dive style.
Let’s start with a simple question: How do you use your email list in between projects?
I mean, it’s easy to send an invite to your next show or to tell people about your newest album, single, or video release.
But what about in-between that stuff? And how can you write and send emails without having it take up a ton of brain power and time? (Every time I knew I wanted to send a newsletter out, I would take an entire afternoon thinking, outlining, writing, editing, testing links, re-reading, sending.)

A plan to rock your email list for over a year

It starts with a content-creation challenge…

Write 30 emails.

(You’ll see why and what to write in a minute).
There are a bunch of ways to do this. You could take one day and just bang out all 30. Part of what took me so long every time I wanted to send out one email was that I really needed to focus and transition into email-writing mode to do this. Writing a bunch at once came WAY more easily than writing one at a time. Another way to bang out 30 emails is by writing one email a day for a month. Or by taking downtime on a tour and have all your bandmates each write 5-10. Either way, set a serious goal.
Reminder: you’re just writing these emails, you are not actually sending them… yet (we’ll get to that in a second).
If you’re using MailChimp or another email system, it helps to write these in Word or Pages first before formatting them. Formatting and posting take different brain power, and for now you want to focus on the writing, not the technology.

Here’s how to split the 30 into different kinds of emails, covering different topics:

  1. First ten emails: Grab 10 of your favorite songs and write a short (2 paragraphs, tops) essay on how you came up with the lyrics, what the recording process was like, or some anecdote about the tune. Then, of course, link to that song on iTunes or Bandcamp or wherever you sell your music. That’s 10 emails.
  2. Next ten emails: The next 10 emails you’ll write will tell your story. Not just “I was born here and went to college here.” But 10 little secrets or moments about yourself or your past that people don’t know yet. Pro Tip: The first place to look for these moments is in transitions. Where were you deciding something, choosing to live in one place over another? Choosing one job over another? One guy over another? If you can come up with 10 of these, you’ll have a great bunch of content emails ready to go. Bonus points if those memories inspired a song. Again, you can link to your own music.
  3. Next five emails: Next, write five emails about what you love to do most. For example, this may be touring. Here you can share a specific story or two from your past tours, and/or sell tickets to your upcoming shows if you have any. Include photos, videos, anything. Pro Tip: ideally, you will send readers to a page on your website that is kept current so you can automate this email and not have to change it… see below. You won’t want to say specifics in the email, like “Come to our show February 23rd,” but instead “we’ve got a show coming up and you can get tickets here [link to your SHOWS page on your website].”
  4. Last five emails: Lastly, write 5 emails asking your fans their opinion of something. You can create a poll, ask them their opinion of songs they want to hear next, or what their favorite song you play live is, or what the next video should be.
[Side note: if writing this much content sounds super daunting, then hop onto one of the most productive, results-generating workshops you’ll ever be a part of and bang it out there. Click here to enroll in the inspiring productivity program MX4!]
Now, once you have 30 emails, you can schedule these to go out once a week, or once every two weeks. If you do the latter, you will have created awesome content to send to people for over a YEAR.
They don’t need to be in order. In fact, I’d mix them up just a little. The story series can be just that, a series. And you can let people know what you’re doing. “Over the next few weeks, I would like to share some stories I haven’t shared anywhere else.” In between, you can pepper some of your other emails based on where they fit into the story.

Now, let’s talk about how to AUTOMATE all this!

What about new subscribers?
In a perfect world, your list is growing. You’re playing out and telling people about your email list and requesting that they sign up. You are sharing the signup link on social media.
So how do the new subscribers get all 30 emails? You can automate. All of the main email list providers like MailChimp allow you to do this, depending on the plan you have. I PROMISE this is worth the small monthly fee to have it set up (if your platform doesn’t offer it for free).
Automation is just that, automatically sending emails for you. This is different than scheduling because instead of sending an email on a specific date, the email program is sending emails out drip-style over a specific length of time. You can have a whole welcome series automated, making sure the new subscriber knows where to buy your music and how to find you live. Then you can assign the delay on each of the 30 emails… so 2 weeks after the person subscribes they get email #1. Two weeks after that email is sent, they get sent email #2. And so on and so forth. So it is not date-dependent.

Pro Tip

I would schedule all of these emails for the same day of the week, say, a Tuesday. I do this for when I want to send out a real-time update. Like something cool happened or I have a big last-minute show I want to share with my whole list. I don’t want people to get two emails in one day from me, so if I know that my list gets the automated emails on Tuesday, I can schedule my blast for Thursday.
Yes, it’ll take some time to write these emails, BUT once they’re done you’ll have some great content to build relationships with your fans, and hopefully make some sales.

What about authenticity?

If you’re concerned that your emails won’t feel as “real” or “you” if they’re not sent hot off the press, then take a look at how you’re writing them. Just because you’re using a marketing strategy doesn’t mean you have to sound like a marketer.
Keeping it present is important, as in, I write each of my emails as if I’m about to press send. Additionally, I also write each of my emails as if I was writing to ONE fan. I don’t say “hey guys” because chances are, each person reading my email is actually alone, by themselves. I say things I’d say in person. Because, after all, we’re all people, wanting to connect.
Let me know if you have questions about automation. I love diving into this newfound love I have and would be happy to geek out on it with you! If you liked this article, please share with your networks!

Como Os Músicos Independentes Podem 'Monetarizar' No Facebook Com O CD BABY

How indie musicians can monetize music on Facebook With CD BABY


Facebook music monetization for indie artists: What you need to know!

Big news: Facebook has been inking deals with labels, publishers, and other rights administrators in order to properly monetize music usage across the still-dominant social media platform, plus Instagram and Oculus. If you’re an independent artist, label, or songwriter, CD Baby  has got you covered for all three of those platforms.
CD Baby clients have already seen enormous value in collecting royalties for the usage of their music on YouTube via Content ID, and we can expect the same thing with Facebook. Think of it: all those videos people have posted to Facebook over the years containing your music can now earn you money.
With the massive amount of music being used on Facebook, and with the introduction of a system-wide solution to help avoid copyright issues, this is going to be huge for the music industry — and it’s not just a win for the majors; independent artists and songwriters will greatly benefit too.

If you’re a CD Baby artist, it’s easy to start collecting money for your music on Facebook

IMPORTANT: a lot of reports out there are encouraging artists to “act fast,” with messages that suggest you only have a limited window to opt in to a direct license with Facebook, or urging you to create a new account with some third party where you have to add all your release info to yet another database.
Once Facebook starts paying, many existing CD Baby clients won’t even have to lift a finger to start collecting revenue. More to the point, you don’t have to do anything else assuming you’re already taking advantage of CD Baby’s YouTube Monetization Program and CD Baby Pro Publishing.

CD Baby can help you earn money from your music on Facebook in two ways

Depending on your contribution to the music, there are two different Facebook revenue streams that artists and songwriters can tap into. To make sure that your music is usable on Facebook and you’re collecting all applicable royalties, take advantage of:

There are two rights at play when your music is used on Facebook

The sound recording

Whenever your song is used (on ANY video on Facebook, not just ones you’ve uploaded to your page or profile), a royalty is owed to the owner of the actual recorded track.
If you’re already taking advantage of CD Baby’s YouTube Monetization Program, your music will also be set up to collect revenue from Facebook as soon as they start paying.

The composition

Any time a sound recording is used on Facebook, the underlying song composition should also generate a royalty. This money will be owed to publishers/songwriters.
If your publishing rights are already being administered by CD Baby Pro Publishing, we’ll collect those royalties for you as soon as Facebook starts paying. If you’re not, upgrade today!
As a Pro client, we’ll also help you earn publishing revenue that is almost impossible for independent artists to collect on their own, including royalties for:
  • global streaming activity
  • international downloads
  • YouTube plays
  • and more

segunda-feira, 22 de janeiro de 2018

O Grammy Tem Algum Problema Com O Rock?

Do the 2018 Grammys Have a Problem With Rock?


That zero rockers made this year’s Big Four categories isn't shocking: In 2017, the only rock act to score a Big Four nod was Twenty One Pilots. But as recently as 2015, Beck won album of the year over Beyoncé. In 2018, the genre is all but invisible. Imagine Dragons and Portugal. The Man -- rock’s biggest recent crossover acts -- earned pop nominations for their genre-melding hits. The rock categories simply feel stale.
Take the best rock performance nominees: Foo Fighters, a Grammy favorite closing in on the quarter-century mark; San Antonio quartet Nothing More, which -- though it may lack name recognition -- had a Billboard 200 top 20 album in 2017 and has been around since 2003; and (deceased) legends Leonard Cohen and Chris Cornell. Only the 20-something Icelandic blues-rock group Kaleo actually qualify as young.
So what about acclaimed Philadelphia rockers The War on Drugs; or The Killers, back and glam as ever; or even Harry Styles, who made a well-received, classic rock-infused solo debut? All three released albums that cracked (and, in The Killers’ and Styles’ cases, topped) the Billboard 200 top 10 while making strong cases for an enlivened genre.
The best alternative music album nominees, too, feel like textbook Grammy-world acts. LCD SoundsystemFather John Misty and The National all made vital new music in 2017, but Arcade Fire put out the most inert album of its career, and Gorillaz’s cartoon-band concept didn't deliver anything daring this year.
The category seems particularly tone-deaf in the wake of a year in which women fought so hard to be heard. Only Arcade Fire and LCD Soundsystem have female members. HAIMParamore and Feist all released lauded albums during the year, and female-led indie acts -- Waxahatchee, Priests, Charly Bliss, Julien Baker -- made some of 2017’s most exciting music. The Grammys ignored them all. (Two woman-fronted acts, Alabama Shakes and St. Vincent, have, however, won the category in the last five years.)
Which makes the best rock song nod for 32-year-old rapper turned rocker K. Flayespecially noteworthy. Her “Blood in the Cut”-- a propulsive, darkly sexy track that hit No. 4 on Billboard’s Alternative Songs chart -- makes her the only stand-alone woman in a rock category. With her sinister synths and hip-hop swagger, she is proof that the genre’s nominations need not feel moribund. More like her in 2019, please!

Onde Estão As Mulheres Produtoras De Música?

Where Are All the Female Music Producers?


Why no woman has ever been awarded the Grammy for producer of the year, non-classical -- and what female producers face behind the boards. 

Eight years ago, when Alex Hope was 16 and first interested in music ­production, she Googled images of "female producers." "I only came across Linda Perry," recalls Hope, who has gone on to produce Troye Sivan and Tove Lo, among others. "We just learn early on that it's a man's job to be at the ­mixing desk."
Nowhere has that notion been reinforced more than in the Grammy category for producer of the year, non-classical. Since the trophy was first handed out in 1975, no woman has taken home the golden gramophone. Just a ­handful of women -- including Janet JacksonPaula ColeSheryl CrowLauryn Hill, Mariah Carey, and Lisa Coleman and Wendy Melvoin from Prince's band The Revolution -- have been nominated for ­producing their own music. Only one ­nominated female producer was not also the recording artist: The Matrix's Lauren Christy in 2004. (The ­situation is less bleak for producer of the year, classical: Three women have won in that category, including quadruple-winner Judith ShermanImogen Heapand Trina Shoemaker have earned Grammys for best engineered album, non-classical.)
It's not just a Grammy issue: During the last decade, only two women, Lady Gaga and Taylor Swift, have landed on Billboard's year-end Top Producers chart, for their own songs.
Why does record production remain the ultimate boys club of the music industry? There are myriad reasons, ­including a lack of role models. "I just don't think there are that many women interested," says songwriter-producer Perry, who, along with Missy Elliott, has been arguably the most successful female producer in pop and R&B, ­having worked with such hitmakers as P!nkChristina AguileraBritney SpearsCourtney Love and James Blunt. "Where are they if there are?"
Ebony Oshunrinde, aka WondaGurl, a 22-year-old ­producer who has created beats for JAY-Z, RihannaLil Uzi Vert, Drake  and Kanye West, is one rising star who has been busy in the studio. Like producer Trakgirl (Luke JamesOmarion), WondaGurl was ­spending time with computer programming and beats machines in middle school. By the time she began ­working with artists, "I knew what I was doing and how to make a good song," says WondaGurl.
Former M.I.A. ­ drummer Kiran Gandhi, aka Madam Gandhi, meanwhile, is working to push other female producers into the ­spotlight. In October, she released a remixed ­version of her Voices EP with each track ­produced by a woman of color. Last ­summer, Sister, a collective started by Swedish producer Toxe, released Sister:Volume One, featuring 20 tracks helmed by women and ­non-binary producers.
But when women first start to ­produce, some say that ­uncomfortable moments can arise.
"There have definitely been times you'll [suggest] an idea and the artist will pass over it and the guy in the room will say the same idea and they'll say, 'I love it,' and you're like, 'Oh, my Lord,' " says Hope. "You can't really show any signs of not knowing what you're doing. You are at the helm."
"Sometimes people are like, 'Why is this girl in the room?' " says WondaGurl. "Earlier, I would never talk; I'd just play the beat. I wouldn't give ­direction much, because they wouldn't take it. Now they take it seriously."
Catherine Marks, who has ­produced Manchester Orchestra and Wolf Alice, says the initial leap from engineer to producer was "a difficult and unexpected ­transition ... When I first started out I always thought, 'Ooh, I can't wait to be in that role.' And the more I learned and the more I began to ­understand the studio dynamics and the ­responsibilities that come with that role, I was like, 'Maybe I'm pretty happy where I am.' "
Many female producers say they were mentored by men. Marks studied with noted British ­producers Alan Moulder and Flood, Hope has worked with BleachersJack Antonoff, and pioneering engineer-producer Sylvia Massy, best-known for ­producing Tool's breakthrough album, Undertow, in 1993, took notes from Rick Rubin. Perry praises Interscope co-founder/Apple executive Jimmy Iovine and former Warner Bros. CEO Tom Whalley as being particularly ­supportive, and after her rock band 4 Non Blondes ended, Perry also learned the ropes from producer Bill Bottrell. "He sat me down in front of the ­console," she recalls. "I had asked those questions before and people were hush-hush. They didn't want to give up their secrets."
Whalley, now Concord Music's chief label executive, says the ­omission of female producers has never been by design. "I don't think myself or any other A&R person I know would say, 'We don't want to use this person because they're female,' " he says. "I just know there's always value to ­having unique, talented people ­making records."
While many male and female executives have been supportive, several female producers expressed dismay that more female artists don't seek out female producers. "It's ­interesting that a lot of female artists have this feminist message and they'll make their record with all men. It seems kind of ­hypocritical," says Hope. "This [woman] will get up to accept an award and be surrounded by straight, white, middle-aged men."
Massy thinks it is hard for women to balance the rigors of having children with the studio's ­isolating 14-hour days, so they choose a ­different path. "The risk in losing the ability to have a family is too great. They'll find better things to do. I know it's an unpopular position, but I've always felt that," says Massy. "I think there will be [women] like me that have decided, 'I can do without a family because the young musicians I work with have been a substitute for family.'"
Others posit that the general lack of encouragement for young women to enter the STEM fields -- science, technology, engineering and math -- bleeds into the gender gap in music production as well.
"[Fewer] females go to audio engineering schools," says one major-label A&R executive, who has never worked with an artist that's requested a female producer. Perry suggests any women interested in production should offer to produce a track for free, like she did with Stone Fox. "We cannot wait for people to find us," she says. Marks agrees: "We need to promote the women who are kicking ass so the next generation feels like it's ­something they could do too."