This is an Excerpt from a review by SOUND on SOUND of the dbx 160S Compressor/Limiter

http://www.soundonsound.com/sos/jan98/articles/dbx.htm

Is the dbx 160S pure technology, a work of art, or a little of both? PAUL WHITE puts it to the test.

You can always tell when a valuable product comes in for review — it turns up in a flight case, not a cardboard box! The 160S is dbx’s top-of-the-range analogue compressor/limiter, and it’s pretty clear that the heavy, sculpted front panel and chunky metal knobs have been influenced by Focusrite’s high-end ‘Red’ styling, but the design aim seems to have been to capture the sonic signature of existing dbx classic products, rather than to go all out for sonic neutrality or attempt to create a new compressor characteristic.

INTRODUCTION

Housed in a 2U rack-mounting case, the 160S is a 2-channel compressor/limiter with the addition of dbx’s proprietary PeakStopPlus limiter on the output. Metering is via moving-coil meters rather than the more usual LED ladders, and full side-chain access is available. The heavy aluminium front panel is blue anodized, and all the controls, buttons included, have a heavy, smooth feel that inspires confidence.

Before going further, it’s probably helpful if I explain the presence of the PeakStopPlus limiter in a product that can already function as a limiter in its own right. The most obvious reason for including a separate limiter after a compressor is so that the user can apply gentle compression to the signal using the compressor section, but still have the limiter keeping watch for peaks that might otherwise exceed the safe limit for the next piece of equipment in line. This is particularly important with digital equipment, which doesn’t tolerate any overload. However, even if you were to configure the main compressor as a limiter, by using a high ratio and a very fast attack time, you’d find this setting less than ideal for low-frequency sounds, which are treated more kindly if the compressor attack time is set a little longer. Of course, setting anything other than the fastest attack time allows brief peaks to slip through the system unchecked, which is why a separate, very fast output limiter is so useful.

PeakStopPlus is actually a two-stage limiter designed to arrest excessive peaks with the minimum of side-effects, and it does this by first employing what dbx describe as their Instantaneous Transient Clamp, which controls the level using a soft logarithmic function to avoid harsh-sounding clipping effects. This effectively prevents overshoots of more than around 2dB above the set threshold, but then stage two comes into action, introducing another new dbx term — Intelligent Predictive Limiting. I interpret this as a type of look-ahead system that monitors the input level, providing a very short but still useful warning that a peak is about to hit the limiter. Apparently the top couple of dBs of the limiting process provide soft clipping rather than simple truncation which, again, helps produce a more natural sound. PeakStopPlus is provided as a kind of peak level safety net, so under normal circumstances the compressor output level would be set so that the limiter rarely operates (if ever). If desired, however, the limiter can be provoked into more frequent action, allowing its use as a creative effect.

dbx® 160 Plugin Overview with Eddie Kramer

Watch renowned producer/engineer Eddie Kramer (Jimi Hendrix, Led Zeppelin, the Beatles, the Rolling Stones) present the Waves dbx® 160 Compressor/Limiter, an authentic-sounding plugin version of the vintage dbx® 160 compressor heard on countless hit recordings from the 1970s, 1980s and beyond.

For more on this great product check out this link and learn more!

http://www.soundonsound.com/sos/jan98/articles/dbx.htm

Antelope Audio Introduces MP32:

32 Channels of Transparent, World Class Microphone Preamplifiers in a Compact 2U Rack Design

MP32 is the Ultimate Front-End Recording Device for both Live and Studio Applications and the Perfect Companion to Antelope’s Orion32 Interface

Antelope Audio As part of its most recent product unveiling at the 137th International AES Convention, leading professional audio gear manufacturer Antelope Audio announces the MP32, a 32-channel, console-grade microphone preamplifier with integrated software control. Housed in a 2U rack space, MP32 is specifically designed to complement Orion32‘s precise conversion and ensure even greater transparency while recording.

Antelope Audio MP32

Antelope Audio MP32

The combination of the Orion32 and MP32 — totaling just 3U in rack space — make it a perfectly suited solution for studios and live recording where rack space can be a precious commodity. The new MP32 expands on the analog preamplifier circuit design of the recently launched Zen Studio, which includes 12 studio quality mic preamps.

“With the MP32, the key idea was to incorporate an holistic approach,” says Antelope’s founder and CEO, Igor Levin. “Instead of considering a mic pre to be a disparate element, it should be viewed within the framework of the overall structure which comprises the A/D converter, its drivers and the pre itself. The result is that the entire system works in harmony, ensuring sonic integrity throughout the entire recording chain: from recording, to conversion, and playback.”

Quality and Versatility On the Road, in the Home or in the Studio
Each of the class-A preamps on the MP32 feature phantom power and four of them can operate as Hi-Z instrument inputs. By using the MP32′s control panel (compatible with both Mac and PC), users can manipulate each of the unit’s input types and mic gain levels remotely. Even more, audio engineers are able to save and easily recall their own presets for various situations, making workflow more efficient. The individual V/U style metering provides instant signal confirmation at the glance of a computer monitor.

Rear View MP32

Each preamplifier on the MP32 was designed to be open and transparent, introducing an increased level of sonic realism in recorded material. The unit offers excellent headroom and up to 65 dB of gain in 1 dB steps: more than enough power for even the most demanding ribbon mics. Since the MP32 is so compact — yet uncompromising in its quality and feature set — it offers an economical solution for modern engineers and producers to increase both quality and channel count at the input stage, whether they are operating a DAW-based project studio, a state of the art commercial studio, a laptop-based live rig or a multi-channel remote recording truck.

The MP32 is scheduled to ship later in the forth quarter of 2014 and will be priced at $2995, with a special discount available for Orion32 owners.

32-Channel Mic Pres Perfectly Matching Orion32 Audio Intreface

MP32 is a 32-channel console-grade microphone preamp with integrated software remote control and Antelope Audio’s exciting new approach to analog circuit design.

The rave reviews shared by several top audio engineers regarding the quality of the 12 mic preamps in our portable audio interface Zen Studio urged us to expand further and create a 32-channel mic preamp housed in only two rack spaces. We designed MP32 to be a perfect match for our top-selling audio interface Orion32, this way ensuring a full transparency of the sound and complete integrity of the signal via the whole chain, from the mic pres through the conversion, recording and playback, all of them characterized by the signature Antelope sound. The combination of the Orion32 and MP32 — totaling just 3U in rack space — make it a perfectly suited solution for studios and live recording where rack space can be a precious commodity.

READ MORE HERE………>

Another music video post by Mark Allan Wolfe

Up and Away

A guitar based pop rock song perfect for any occasion. A happy go lucky song full of excitement and joy. For more info on music like this and others please visit markallanwolfe.com for more info.

This song was created for placement within a TV commercial, and also for a popular cable TV show. Once I get the clearence for those I will try to remember to place them on here for folks to check out.

In the mean time I would be humbled if you would kindly share this video or visit my website to listen to this song an dmany more I bet you never really knew exsisted.
Point your browsers and those of your friends and those you work with to markallanwolfe.com. I am always looking for people to collaborate with and network together to bring NEW unsigned music to the fore front.

Sound Design behind “The Hobbit”

In this exclusive SoundWorks Collection sound profile we visit Park Road Post Studios in Wellington, New Zealand to talk with the sound team of Director Peter Jackson’s The Hobbit: The Desolation of Smaug. Featured interviews include Re-recording and sound design. I have found this to be very helpful and you may too.

As composers, artist and musicians we are to always challenge ourselves creativly, as well as technically. Although a lot of you may not creat score music or sound design I am sure you will gain some insight into your craft by watching and listening to this little video clip.

Mark Allan Wolfe and Wolfies Music radio interview

Be sure to tune in this evening at 9 pm est for a very informative and fun time!!

Life has ups and downs, highs and lows yet it is the music we follow within our heart that will ultimately define who we are and what we become. Tonight, we present to you, the gifted composer, Mark Allan Wolfe.

Mark Allan Wolfe is a composer and an artist in the truest sense. His film and TV compositions run from thought-provoking, high energy, laced with adrenaline and  atq times sincerity. Combining heart-pounding Rock ‘n Roll with tributaries of Electronics, World, Hip-Hop, Pop and Americana, Mark’s songs draw on his 25 years of striving for professionalism and musical merger of sound and genre.

His fans span the world and the 1500+ compositions verify that diversity on TV, internet, film and commercials. You may have hummed one of Mark’s tunes not even realizing the tunesmith behind the music. Web site: MarkAllanWolfe

Grace Peterson is an author, garden columnist and blogger. Depending on the weather, she can be found either pecking on her laptop or puttering in her garden. She is a member of the National Association of Memoir Writers and the Association For Writing Excellence and her work has been published in several anthologies.

Tonight we will speaking of her first book, Reaching. Is it Demon possession or mental illness. A personal descent into cult extremism and the aftermath,.

Grace lives in western Oregon, sharing a home with her husband and four furry felines while their four grown children come and go. REACHING is her first book. Her gardening memoir is slated for publication later this year. Web-site: Gracepete.com

More tips on getting music placed

I have been enjoying the feedback and questions from the previous posts I thought I would elaborate a little more and share a few more thoughts with you. Now before I begin I must say that you may not think what I share is perhaps a tip, but these have been things that have and still do help me out. These thoughts and ideas have come from experience and from certain folks I know in the business who are either A&R people, other Music Supervisors, Composers and if I may GATE KEEPERS Muahahaha!

Now some of this MAY hurt your heart and get you angry, but if you are sick you go to the DR to find out whats wrong. If you are trying to get music placed or make some money in the music biz you are reading this humble attempt at a BLOG. I do NOT have all the answers NO ONE does but here we go…

Ok so you have made some music, you are trying to be FAMOUS, you are trying to share with the world your most incredible song that has ever graced the ears of man….now what do you do? How do you go about trying to get it to the right people? Some of you who read this may have years of experience and this will all seem silly or maybe a review of sorts.

To some this will be strange and you have never heard of these things or even contemplated them. Some of the terminology may seem foreign and strange but if you take the time to learn and read up on  these things they will benefit you in years to come.

How do you explain something that has taken a life time to learn and put into practice with in a few senteces? How does one reveal the truth to someone when they do not want to hear it? Wait a minute what? Yes thats right many people do NOT want to hear what I am saying. You want OTHER people to do all the work for you but you want to reap the rewards of THEIR labor? Yes Mr Anderson this is true. I have seen it time and time again. On one hand there are a group of people who will bust their butts and do what ever they can to try to make it in the busness and then there are those who will go half way and expect the same results. Does not happen.

You have to do your homework no matter what you have to study, force yourself to do things you would not neccessriy do as a musucian such as read, educate yourself. I cannot begin to tell you how many people will email me or call and they have NO clue as to how things work and how this business end works, they think that you make the music place it on itunes, or make a youtube video and people will stop in there tracks. Not that there is anything wrong with not knowing for we are all learning. It is the fact that this is all they think needs to be done. That some one beyond the great expanse will hear them and sign them and their music as in the days of old, or the movies.

Ask yourself a few of these questions, and write them down on paper or on your laptop….

Where do you want to be in a year?

Where do you want to be in 5 yrs?

How do you get there?

Who can help you get there?

Why do you want it?

These are your goals, your blue print for what your trying to do.

Where is music used? EVERYWHERE

Who provides them with that music? How can I get my music to them, or that person?

Why do you write your thoughts and ideas down? If you do not have some form of direction YOU WILL NEVER go anywhere. You have to set out a course a plan. You have to put yourself in the right places at the right times. I believe it was Walt Disney who said  “The way to get started is to quit talking and start doing.”

You need to identify and try to start meeting filmmakers and music supervisors. A few things to try to remember when meeting and establishing ANY new relationships with in this business are as follows;

Composing is primarily a relationship-driven business. If you are not one who likes to work with people you may have trouble working in this field. Not impossible just something to work on. Be seen as a solution NOT a problem.
Be someone who’s easy to do business with and approachable. Do not be arrogant be a little humble. Like with in ANY relationship building, remember to consider others time and thoughts not just YOURS.

Respect their time – when you call, get to the point and always listen. Don’t take anything personally. If someone gives you their thoughts or ideas (like this BLOG) do not trip out just realize that it is just their views. RESPECT, relax, do not stop making music because you got rejected EVERYONE gets rejected.Edison the dude who helped discover the light bulb failed like hundreds of times I think even 206 times!
Always inspire confidence in you and your music. Always remember the unique aspects about you and your music.
Do your homework – learn as much as possible about the person & projects.

I will always share when I can to try to help out everyone. I would humbly ask that if you like this posting and have benefited from it that you write us back share your music with us if you want. I am always looking to network with people of like mind and collaborate so feel free to email. I would also like to ask that you share this with anyone you feel would benefit. It is like we are trying to put into practice what I have been writing about these past few articles. Lets build relationships. ROCK ON!

Tips on getting music placed and listened to

A lot of people email me and ask questions about how to get their music heard, do I have some time to listen and perhaps can I give them some advice? So I decided to put this together as a little posting to try to pass along some VERY IMPORTANT info. I hope it helps it is very basic but sometimes that is all that is needed to do. .

Do your research, find out what shows fit your music. Check the credits. Some of us may respond to Linkedin, Facebook, etc. If I have heavy metal or hard rock songs and cues I am not going to send them along to a show that primarily uses Hip Hop? or Reggae?

You may think this is silly that I say this but I cannot begin to tell you how many times I might post a listing or song search and I get back the totally opposite results. I will post something like I need Hip Hop, or Urban rap tune and someone will eventually send me a singer songwriter or jazz, even once I got a classical score piece. I am not mocking you or making fun of them for I have done that even in the past a long time ago but you need to do your research and find out what shows use what or what have they licensed before. Nothing will get the Music Supervisor to NOT listen to something more than when someone says, “I know your not looking for this at the moment but I feel this will be the best fit for your show…”  Not tripping but if the director wanted something other than what is listed we would have asked for it.

When sending someone an email asking them to listen to your music be sure you make the process as simple as possible. Links to stream with a link to download next to it. Keep it clean and accessible. Something like SoundCloud or Drop Box You Send it, Reverbnation EPK something easy.

Try to think of it like a million folks are trying to get the Music Supervisor or A&R agent to listen to their music. If the one listening needs to fill out forms or go searching on some website then that is NOT going to happen.

“What is the best way for me to get your attention to their music or take a moment to listen?” Be honest about presentation. Be professional yet humble. Try not to tell me you’re the NEXT so and so..Let your music and image do the talking. You maybe working out of a garage or a one room apartment or you may have a great band rocking out every night. THe thing is that if you have great music and great attitude you WILL be heard, your music WILL get you to where you need to be. Might take a while but it will. LOL

Finally BE ENCOURAGED!! and Keep on keeping on. No ONE believes more in your music than YOU! No one will promote it as hard, talk it up as much or try to sell it more.If you send a package out give it some time say 4-6 weeks. I cannot tell you how many times I might have sent something out and not heard nothing back then WHAM when you’re not thinking about it like sometimes months later you get the call, “We LOVE YOUR MUSIC!!” So just because someone does not call you or email you with in a month or so does not mean you’re not being heard.

We live in an age of FAST..somethings take time and for the RIGHT time. If you hold steady and do not quit and believe, make great music SOMEONE WILL notice.

With that I say CHEERS and have a safe summer, stay in touch.

Wolfie’s Music Publishing

The music players on here are from Wolfies Music Publishing and Mark Allan Wolfe

Music Fans Are Prepared To Spend Up To $2.6 Billion More Annually For Premium Content

Nielsen has unveiled the findings from “The Buyer and the Beats: The Music Fan and How to Reach Them,” an unprecedented music study created especially for the 2013 SXSW conference attendees that provides beneficial insights about music fans, defined as those who are passionately invested in music. Co-presented by Nielsen and SXSW during this year’s conference in Austin, the report explores how music listeners engage with music and technology, utilize their smartphones, tap into free content, and engage in crowdsourcing; as well as how companies, artists and fans can be better served.

“The Buyer and the Beats: The Music Fan and How to Reach Them” reveals that 40% of U.S. consumers � those classified as “Fans” � are responsible for 75% of music spending. These Fans, who spend between $20 billion and $26 billion on music each year, could spend between $450 million and $2.6 billion more on music if compelling content is made commercially available. Additionally, the study finds that that the most avid of “Fans” have downloaded the most tracks for free–approximately 30 digital songs per fan over the course of a year.

“It’s encouraging to see such strong demand for content from music fans,” says David Bakula, SVP Client Development & Analytics for Entertainment, Nielsen. “We are finding that there’s a lot of untapped demand for additional content, which can translate into beneficial and profitable opportunities for artists, labels, and advertisers.”

A majority of “Fans” want greater engagement with their favorite musicians and would be willing to pay considerably for that access. They want to know more about what they’re like as people, and get a better understanding of the creative process. These “Fans” are prepared to pay more for exclusive or premium content, autographed products, and special merchandise. In addition, these fans would consider paying about $30 for an “online ticket” to view an exclusive live webcast.

Neilson data on music fans

Nielsen identifies the difference between a casual music consumer and a music “Fan,” and the best way to reach them. The core music fans include “Aficionado Fans,” “Digital Fans,” and “Big Box Fans.” Fans who don’t meet the criteria to be classified as one of Nielsen’s core music fans are the “Occasional Concert Consumers,” “Ambivalent Music Consumers,” and “Background Music Consumers.”

* Aficionado Fans (14% of respondents) – the most avid and engaged music fans are spending about $400 per year on music, concerts and artist merchandise through retailers such as iTunes, Amazon and independent record stores. These fans prefer alternative rock, are active social network users, attend live concerts and listen to music via computer.
* Digital Fans (13%) � the smartphone is the entertainment hub for these fans, who discover music via technology and listen to music via Facebook. They spend over $300 per year on music and share music more than other fans, giving music as gifts and sharing their playlists.
* Big Box Fans (13%) – these fans shop at mass retailers, are partial to pop and country music, and listen to music through a CD or mp3 player. They are highly influenced by bargains, respond well to brand endorsements, and spend about $200 per year on music.
* Occasional Concert Consumers (14%) and Ambivalent Music Consumers (22%) are less engaged with music than the “Fans,” and they spend less (about $100 and $70 per year, respectively). Nonetheless, the Ambivalent Music Consumer is open to discovery (60% use Pandora) and expressed some willingness to pay for exclusive content.
* Background Music Consumers (24%) are the least engaged of all music consumers, spending only $40 per year on music.

sxsw LOGO

“The Buyer and the Beats: The Music Fan and How to Reach Them” presenters included Barbara Zack, Chief Analytics Officer, Entertainment Measurement for Nielsen; David Bakula, SVP Analytics for Nielsen; Benji Rogers, Founder & CEO of PledgeMusic; and Shawn O’Keefe, Interactive Festival Producer, SXSW. During the panel, Bakula projected On-Demand streaming to exceed 100 billion by the year’s end.

Data for “The Buyer and the Beats: The Music Fan and How to Reach Them” was collected via 1,000 consumer surveys using Nielsen’s proprietary, high-quality ePanel in the United States; 1,800 PledgeMusic contributors; and 1,200 SXSW attendees.

Types of Music License

.Types of Music License

Well once again we have compiled a little more info on some catagories of music licensing. we are trying to help promote music and the education of our artist. If you would like to collaborate maybe share some thoughts feel free to add a comment.  Would love to hear from our fellow artist, music libraries

Master Use Sound Recording Licenses
Usage: License master audio recording with no use of visual synchronization.
License Types:

  • Audio Projects
  • Composition and Sound Recordings
  • Master Ringtone (Pre-Recorded music which play actual clips from sound recordings.)
  • Music Compilation (CD, DVD, PC Audio)
  • Public Space (Restaurants, Trade shows, Retail spaces)
  • Radio Ad or Production
  • Sampling, Remixes, Covers and Derivative Works
  • Telephone or Music On Hold

Print Rights Licensing
Usage: Generally sheet music, song folios, scores or notation in any printed or digital form released for sale. Once sold, printed music earns royalties from the print rights license which the publisher negotiated.
License Types:

  • Scores or notation
  • Sheet music
  • Song folios

Sync and Master Licenses
Usage: Use of master in synchronization with visual for film, games, video, etc.
License Types:

  • Corporate, Theater and Competition (unless no visual media is used)
  • Film Sync License
  • Games and Software
  • Internet Website, Flash
  • Products and Toys
  • Single Units (Wedding video, small quantity for profit)
  • Slide Show or PowerPoint
  • Software – Multimedia, All platforms, any use
  • TV Advertising
  • TV Show Sync License
  • Video (Music for Video, DVD or CDROM)

Composition Licenses
Usage: No sync or master, only license to record and sell the song’s composition.
License Types:

Basic Mechanical Royalty application: A mechanical right is the right to record and distribute (without visual images) a song on a phonorecord (e.g. CD) for private use. Mechanical rights or a mechanical license must be obtained in order to lawfully make and distribute records, CD’s and tapes.

  • Phonic Ringtones – Ringtones using standard MIDI sound files

There are two basic types of ringtones:
Phonic Ringtones and Pre-Recorded Ringtones.

  1. Phonic Ringtones are (most commonly) standard MIDI sound files that are either monophonic, where the ringtones are recreated using standard single notes, or polyphonic where notes can be played simultaneously creating harmony and/or counterpoint.
  2. Pre-Recorded ringtones play actual clips from sound recordings. It should be noted that the term ‘Pre-Recorded ringtone’ is not the standard (industry wide) term. They are also known as Trutones, Songtones, Master Ringtones, etc.

Personal Use Licenses
Usage: Non commercial usage, may be sold as retail product, offered for promotion or evaluation for commercial licensing purposes.
License Types:

  • Free Demo – for promo or commercial project evaluation only.
  • Personal Use – typical retail sales application. May not be used for any commercial projects OR purpose requiring other kinds of licenses.

Performance Rights Licensing
Application and Usage: The public performance rights most commonly collected via the Performance Rights Organizations such as ASCAP, BMI, SESAC, SOCAN, PRS and other PROs around the world. Their fundamental job it is to keep track of every single performance or broadcast of all works protected under copyright. Common uses include Film, TV and Radio broadcasting among many other public and live audience venue performances.

Mixed Usage, Special Licenses

  • Custom License – publisher/buyer negotiated according to exact usage, for example, blanket, per-program, exclusive or foreign rights deals, etc.
  • Stock Music License – some restrictions normally apply and vary according to publisher

If your looking to get an idea on some music to use feel free to visit one of the many places to utilize our music. There is a small guitar oriented library and catalog as well as a larger cata log to sample thru with more genres. Please also feel free to add your thoughts, comments and ideas that might help your fellow musical brothers and sisters in the journey to get their music out there.

Wolfies Music Publishing Store

 

Why brand partnerships are important to artists and record companies

Brand partnerships are increasingly important to artists and record companies, not merely as a source of revenue, but also as a way of positioning performers and introducing them to new audiences, says the IFPI in its Investing In Music report.

“The right placement with the right brands can really help an artist,” says Andria Vidler of EMI Music. “Artists such as Professor Green and Eliza Doolittle made money before their first albums were released, and their brand partnerships helped position them with fans. Now Pro Green is an iconic British urban act that is looking to go global, and brand partnerships were part of the mix to help him achieve that. The Puma deal is not accidental.”

“My relationship with Puma UK continues to grow and develop, but of late I’m seeing increasing interest from outside the UK,” says the artist. “From my side, it increases my international exposure and allows me to enter markets I may not have the opportunity to do so regularly.”

However, Vidler points out that he rejects as many deals as he accepts. “We wouldn’t sign a branding deal just for the money. If it’s not right for the artist’s career, it’s just not worth it.”

And in France, when Shy’m won Dance Avec Les Stars and a NRJ Music Award, a lot of brands became very interested. “We signed a deal with Yot, the watch company, and Shy’m became a brand ambassador and worked with them to create Shy’m branded watches,” says Antoine Gouiffes-Yan of Warner Music France. “She has been fully involved in the deal and engaged creatively. We weren’t interested in signing deals with brands that just wanted to use her image.”

Where music meets licensing, there’s money to be made. How much money? We have all read about the multi-million-dollar deals for icon bands like the Rolling Stones and Led Zeppelin, but what about the money for the rest of us?

“I have synched quite a few thousand songs into productions over the years,” states Peter Jansson of Janssongs, “and have charged anywhere between $1.00 and $250,000 (U.S.) for each one.”

There are a great many places to earn money from music. For example, there are more TV shows on more cable channels than ever before. There are all kinds of commercials for both TV and WEB. There are tons of electronic games and toys. There are corporate video productions galore. There are big movies, little movies, and direct-to-DVD movies. Never mind an almost endless amount of online opps to find places to get your jams  And they all are potential places to put your music, if the rights can be cleared.

So this is just the beginning as you can tell there is a lot more going on here than just a few folks getting music placed. If you work hard at trying to get it out there. If you work hard at making good music, show people your willing to work with them there is almost no telling what may happen. One thing you have to do is try and keep working at it.