Tag Archives: music

Enter to Win an a Transformerless Microphone in Music Connection’s Friday Freebie!


Music Connection | November 9, 2018

Every week Music Connection partners up with one of our many advertisers and gives away a music related product to one of our email subscribers. The prize could be anything from a new guitar, voice lessons, recording time, production software, etc. The winner’s email is chosen at random every Friday by one of our staff members. Winners are announced every Friday after 1pm and then notified by email and/or phone.

This week one lucky winner will receive the new MA-50 microphone from Mojave Audio. Designed by Technical Grammy® award winning microphone designer David Royer to produce the clarity and realism that Mojave microphones are known for––at an entry level price––the MA-50 outperforms well-known transformerless mics costing many times more. The MA-50 is the perfect microphone for pro’s and semi-pro’s alike. Utilizing the same capsule as the MA-200 and MA-201fet, it handles the fastest transients with ease––even up to 140 dB.

Mojave Audio was founded in 2005 to bring David Royer’s condenser microphone designs to the world. Their mission is to build world-class sounding microphones at affordable prices. From the upper echelons of recording royalty to the humblest home studio, Mojave mics are making recordings better around the world every day.

Product Info:
Retail Value: $495.00

Source: https://www.musicconnection.com/friday-freebie-page/


Governor Abbott And BMI Announce Opening Of New Office In Austin

Texas Music Office | November 8, 2018

logoNew York, NY/Austin, TX – Governor Greg Abbott and Broadcast Music, Inc. (BMI), the global leader in performing rights management, today announced that BMI is expanding its presence in the Lone Star State and will open its first creative office in Austin, Texas.

The new office, expected to open in early 2019, will allow BMI to work directly with the talented songwriters, composers, publishers and emerging songwriters and artists in the thriving Austin music community and help enhance their ability to earn a living by writing music. The BMI office is being opened with the support of Governor Abbott and the Texas Music Office and Entrepreneur Gary Keller, co-founder of the Austin Music Movement, who is signing on as a key sponsor of BMI’s Texas music initiatives.

“Today we are proud to announce that BMI’s support of Texas songwriters, composers and music publishers will become even more Texas-focused,” said Governor Abbott. “This capital investment expansion represents a real commitment to continue Texas’ rise as a music industry business center. I thank the Texas Music Office for their work in making this expansion possible and look forward to working with BMI to grow our thriving music industry.”

Mike O’Neill, President and CEO of BMI, added, “BMI has been active in the Texas music community for decades, and as their creative community has grown, we’ve grown along with them. Having a permanent presence in Austin is the next logical step, and we look forward to building on our many relationships within the industry to help give Texas songwriters all the support they need to create their greatest music. We’re thrilled to call Austin our newest home.”

Temporary office space has been identified and BMI is aiming to open its permanent office in either the Business District or South Congress area by March of 2019, to coincide with the 33rd annual edition of SXSW. BMI is actively conducting a search for the Creative executive to lead this office; the Austin team will report to BMI Vice President, Creative, Jody Williams, and BMI Assistant Vice President, Creative, Mason Hunter, who are both based in Nashville.

“BMI has a long track record of music industry community building in cities such as Nashville and Atlanta, and we look forward to working with them as they continue their work here in Texas,” said Texas Music Office Director Brendon Anthony. “BMI’s move to Austin represents a significant investment towards supporting Texas songwriters and their compositions. We are proud to welcome BMI and will work alongside them to increase opportunities for Texas musicians in the years to come.”

“The new BMI office adds to the incredible momentum we’re seeing behind the growing Austin Music Movement,” added Gary Keller. “Austin is the Live Music Capital of the World and having a company like BMI with the support of Governor Abbott establishes a presence in our city that helps further our efforts to support local music and provide resources to the many great musicians who call Austin home.”

BMI has played a major role in the development of Texas artists and writers who have gone on to great heights in the music industry, such as Robert Earl Keen, Willie Nelson, Waylon Jennings, Ray Benson, Bruce Robison, Joe Ely and Gary Clark Jr. Through its collection and distribution of public performance royalties, as well as its support of signature events like SXSW and the Austin City Limits Music Festival, BMI has been a steadfast supporter of the growth of the Texas music economy. The Austin office is the newest location for BMI, which currently has offices in New York, Los Angeles, Nashville, Atlanta, London, Puerto Rico and Washington D.C.

Source: https://gov.texas.gov/music/post/governor-abbott-and-bmi-announce-opening-of-new-office-in-austin

Join The Discussion

We’re currently building our discord channel to help guide aspiring and indie musicians through the wacky maze of music publishing and licensing.

The channel is just getting started so we’re asking for those interested (artists & professionals) to sign up and help begin the discussion at https://discord.gg/FDT6yy8

patreon-logo-white discord_join_dark

Spanish Rights Society SGAE Has Record Low Turnout for Board Elections NEWSLEGAL AND MANAGEMENT

By Judy Cantor-Navas | October 31, 2018


Teddy Bautista, disgraced former president of the Spanish Authors Society, fails in effort to regain control of the embattled entity.

Teddy Bautista failed in his effort to make a comeback at SGAE, the troubled Spanish Authors Society, which held its board elections on Oct. 26. Bautista, who was arrested seven years ago in a federal sting operation and charged with misappropriation of funds, ran for a seat and possible return to the presidency while still awaiting trial in the case, which authorities say cost the organization 20 million euros (almost $26 million) and for which he could be sentenced to seven years in prison.

In the end, Bautista did not get enough votes to bring him back to SGAE.

The 35 members of the new board include flamenco guitarist Josemi Carmona, Grammy-winning conductor José de Eusebio, Asturian gaita player Hevia and rock singer Huecco.

The 18,970 members of the rights organization with the right to vote in the elections turned out in the lowest numbers ever. Only 1,373, or 7.25% percent voted.

Before the elections, 15 musicians who were on the docket withdrew their candidacies for the board because electronic voting was not permitted. Artists well-known in Spain including Kiko Veneno, Jota (Juan Rodríguez) from the group Los Planetas and singer Sole Gimenez also urged their fellow members to refrain from voting. Members were permitted to vote in person or by mail.

SGAE has been dogged by problems which have heated up since the summer of 2017, when Spanish agents again raided the organization’s Madrid headquarters, and arrested 18 people suspected of involvement in “the wheel,” a royalty scam involving late night television. This year, the International Confederation of Societies of Authors and Composers (CISAC) revealed its “serious concerns” about SGAE’s conflicts of interest, “distorted and inequitable distribution of royalties” and “lack of regard for the common good” in a 65-page report issued in May. Multinational publishing companies Warner/Chappell, peermusic and EMI Songs have threatened to pull their catalogues from SGAE after they were all ejected from the entity’s board.

The SGAE administration has also been at odds with Spain’s Ministry of Cutlure, which has threatened to intervene and take over the running of the organization. And SGAE is undergoing an audit to investigate possible errors in hundreds of publishing contracts registered with the rights society, according to Spanish newspaper El Pais. Last week, Spain’s Minister of Culture, José Guirao, warned that SGAE is “on the road to disaster,” adding that the government’s cultural department will do everything possible so that the organization “obeys the law.”

Source: Billboard.com

Adding Luster to Your Master

Incorporating a few fundamentals of mixing and mastering can help give your work the sheen it needs to get listeners’ attention
Posted in The Weekly on October 30, 2018
by Dave Simons

Think of one of your all-time favorite recordings, right now, then ask yourself: what is it about this particular track that makes me want to hear it over and over again in perpetuity? Is it the sound of the instruments, the way the vocals are mixed or processed, or some other element you can’t quite put your finger on?

Much of the credit for that sonic magic goes to those often unsung heroes of disc-making: recording and mix engineers, as well as their post-production partner the mastering engineer, whose sleight of hand has helped wring every last drop of goodness out of countless song classics.

In general, we at-home types are usually better off outsourcing our mastering needs to a qualified third party, if available (and affordable). That said, here are a few ideas for making a mixed & mastered product that will suffice in the meantime.

Mastering defined

In the big leagues, the master is the last stop in the recording cycle, the two-track package having already been preened and plucked from the multitrack by the recording and/or mix/balance engineers. Mastering techniques include making discreet equalization adjustments, using enhancers like compressors and expanders judiciously, while ensuring the entire mix is properly balanced throughout. As one pro once put it, “it’s what makes a record sound like a record.”

With DIY mastering, the idea is to tweak only as needed so that the end product sounds as good as possible. Some strategies might include:

Master limiting: If possible, insert a stereo compressor/limiter into the master output section of your recorder. Not only will this allow you to control the peaks but, by setting a uniform level, provides the “glue” that often gives the whole mix a bit more urgency. When doing so, take care to set the unit’s threshold so that the effect is barely audible—remember, just limiting, no pumping or squashing!

Faster master: Using your recorder’s play/record parameters, try incrementally raising the track speed, around 5-10% tops—in certain cases, just a touch faster can give the final a bit more “sparkle.”

Tone control: You can also make a few minor equalization adjustments to ensure the master mix is well balanced. To prevent any room deficiencies from getting in the way, preview the treated track through different sets of speakers (say, in your car, on your laptop or using earbuds, in addition to your regular mix station).

Frequency fixes

Speaking of EQ, bear in mind that your mastering tools can only do so much once you’ve made your multitrack reduction—therefore, be sure you’ve got a quality two-track in hand (or ideally several different mixes from which to choose or perhaps comp from) before applying the last coat of wax.

Something we’ve often discussed is using equalization to give each signal a well-defined “path.” For instance, problems often arise when there are several instruments with similar frequencies—when left untreated, bottom-heavy acoustic guitars or piano can leave you with an overly muddy mix, while also making the bass track difficult to hear. To remedy this, start by soloing the suspect tracks, gradually adjusting the EQs so that the frequencies no longer match (in the above example, you’ll probably want to trim more guitar than bass bottom).

Because the rules often change depending on a song’s dynamic range, type of instruments used as well as other factors, in reality there is no “master” approach to mastering—what might work for one set of tracks may be completely inappropriate on another. Regardless, trying a few of these simple tricks can help you avoid having a flaccid final product the next time out.

A Guide to the Business of Trailer Music with Position Music’s Emily Weber

By: SynchTank
Published on Oct 11, 2018

Want to learn more about the business of trailer music? Check out this recording from a recent webinar we hosted with Emily Weber, Position Music’s VP of Creative Licensing – Trailers | Promos | International.

We take a deep dive into the types of trailers out there, best practices for finding and pitching for trailer sync opportunities, emerging trailer music trends, and much more.