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

Equalizer

Equalizer

A modern rock with a bit of swing and a great hook. Guitars and thunderous drums make this a great choice for your high energy, tough gritty, get the job done type of vibe. The song is also good for commercials video games and reality shows. Composer Mark Allan Wolfe has several 1000’s of songs readily available for just about any job you need music for. Visit markallanwolfe.com and /or wolfiesmusicpublishing.com to contact them to learn about what they can do for you or your clients needs.

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

Some Musical Business Terms

Good day my fellow musician and or music lover!

I was reviewing a few things with a client of mine the other day and I was sharing some basic terms often used with in the music business and I am one who is always endeavoring to learn and thought I might share a few terms with those of you who may just be starting out, or review for those of us who have been at this for some time.

I found some of these terms off of another website and felt that it would be fine to recycle some of these with the hopes of maybe encouraging those who take a few minutes to stay in touch. I will be adding more info and news updates very shortly once the ink is dry on a few agreements that are pending. I do hope you enjoy and feel free to share what ever you find here on this site and the others I own.

Music Administrator

Ostensibly, their duties should be to handle all the paperwork for the music supervisor and/or coordinator. In reality, they often have to handle a lot of the duties most often associated with being a supervisor and/or coordinator because of budget, time or personnel constraints. They may not be in the room as negotiations are in process, but after that meeting, you can bet that they’re the one who actually types up the contract!

Music Breakdown

While this can happen at the rough cut stage of a film, ideally the music supervisor is brought on before shooting, at which time they’ll read the script and note every place where music would be appropriate (i.e., club scene, romantic montage, car radio, etc.). This does NOT take the place of a spotting session (although it may include some ideas for where the bigger score pieces might work), but is merely a heads-up for the director with a ballpark idea of how many source cues might be needed and, perhaps, a rough budget. The supervisor will note the scene, type of music — or even a song title/artist if they have a specific song/recording in mind. They’ll also note how the music will be used (visual vocal — such as the band playing as everyone screams “Rock on!” — or background or whatever).

Music Clearance

Before using a piece of music and/or its recording in a film or TV program, it must be “cleared” with the respective publisher(s) and/or master rights holders. This means you need permission to use the music and/or its recording — and this means whether it’s “only” for a student film or festival uses, for TV (of any kind and anywhere), foreign or U.S. theatrical, or for Dolly Dinkle’s Dance Academy’s local cable ad. There are TWO parts of music clearance & licensing: A synchronization license is issued by the publisher for the use of the song/composition, and a master use license is issued by whoever holds the rights to the specific RECORDING of the song/composition. For famous/known copyrights and/or recordings get an expert or become one. It’s not brain surgery, but the ins-and-outs and “who knows who can get what at a good price and fast” can be really important — meaning you may get your “yes” or “no” answer in a couple of weeks as opposed to a couple of months. Suggestion? Go indie artist/label instead. They usually hold all rights to their own music and are more likely to make a deal that fits your budget. You’d be surprised at the variety of indie music available — it’s not all angsty chicks or moody dudes, but retro ’80s, big bands & 1940s swing, ’70s disco and old & new folk music from all around the world.

Music Coordinator

This differs greatly, depending on whether they’re on staff with a TV network or a full-service music company or an independent person who works with specific music supervisors. The Music Coordinator’s duties can be as simple as creating and filing cue sheets for the project and making sure all the dollars and cents add up at the end of the day, or may be as complex as working hand-in-hand with the music supervisor on all aspects of the project. Sometimes, if there is no supervisor, the Coordinator will work with the director and assume many of the duties a supervisor would normally handle. A Music Coordinator’s primary functions are normally to make sure the music the supervisor is suggesting for particular scenes is properly cataloged and delivered to the director, film editor and/or music editor (as directed), and all credit information (songwriters, artists, labels, etc.) is readily available. They are also responsible for coordinating the compilation of all information for cue sheet preparation, and may actually prepare the final cue sheets, based on the composer and music editor’s notes from the final mix of the film. Basically, the budget often dictates their duties.

Music Copyist (aka Copier, Music Preparer or Music Prep)

The Music Copyist (“Copier”) prepares the printed music charts and/or lead sheets the musicians use at a recording session. These are extracted from the overall music score the composer provides so that everyone is looking only at the part they play, and have their music in the right key for their instrument (kind of important). In the past (as those of us who had the stained fingers to prove it), such charts were done by hand, with India ink, and done one by one in a rather painstaking process. Today, with the advent of some great scoring software, those who prepare music for sessions most often will do it via the computer.

Music Editor

The Music Editor, along with the composer (and sometimes the music supervisor and/or coordinator) organizes, documents, and times all the music cues used in a project. He/She is the obsessive, retentive type and will often drive the director crazy with almost indistinguishable cuts in/out of a piece of music, but that’s why we love them. They will often make suggestions as to the best start/stop points, and can make a song “fit” into the scene, dodging dialogue and enhancing poignant moments by “cutting and pasting” a song. They also work with the composer on timing, length, type and placement of music that the director, composer and music supervisor have discussed during spotting sessions. If the music is being recorded live (not a Synth Score), the Music Editor will often be at recording sessions to document, time and name each cue, and will often generate the click used to keep everything exact. The Music Editor also cuts all music (source, score or source) into the film — although here is where the director and/or producer may return the “he/she’s driving me crazy” favor. The music editor also notes the correct SMPTE Time Codes for the cue’s in/out placement and provide that info to the music supervisor, coordinator and/or administrator so that official cue sheets can be prepared for filing with the respective performance rights organizations (PROs).

Music Publisher

A Music Publisher works with songwriters & composers to promote and market the writers’ songs/compositions. They pitch them to the folks who use music (movie/TV producers, record labels, video games, etc.). In return (and PLEASE NOTE: The Publisher will own this for the LIFE of the song/composition’s copyright — otherwise known as “in perpetuity”), the Publisher takes a percentage of the publishing half of a song (up to 100%). Publishers license the right to use the song (not to be confused with the recording of the song/composition), collect fees for the usage and split them with the songwriter/composer.

Music Supervisor

Regardless of whether they’re a “biggie” (meaning “I have a staff”) or an “indie” (“I get to do it all for less money”), the Music Supervisor’s main duty is in choosing music & licensing it for the project, and — as importantly — making sure the music they provide to the director/producer enhances the action/mood on screen, and helps the director/producer see their artistic vision realized. The Music Supervisor oversees all of the creative and business aspects of the music for a project. This includes helping to develop a music budget, assisting in the search for a composer, helping the director in his/her choice of songs, coordinating the soundtrack recording, “spotting sessions” (with composer & director), etc. It may or may not include doing the music clearance/music licensing paperwork, and can also include some (or all) of the duties of a music coordinator and/or music administrator. The earlier the Music Supervisor is involved, the more time they have to be creative — both with the music itself and with the budget. When a “famous” song, or a “classic copyright” is desired by a director, but the project’s budget does not allow for its use, the Supervisor will suggest (and often negotiate) budget-friendly alternatives from various sources, including independent artists and/or music libraries.

 

 

Helps for Composing a TV Commercial

I was surfing through the web the other day and I found this article felt it was pretty col. I feel it shared some very practical advice and thought I would share it with you. Please let me know what you think and also let the author know what you think as well.
5 Unwritten Rules For Composing a TV Commercial, Ident or Title Sequence
Written by Tim Rabjohns & Fridel for Music For TV Masterclass – July 25th 2012

As TV composers and course leaders we come across many unwritten rules that are simple but sometimes forgotten when working as a TV composer.  Some of you will agree that these are very simple but it sometimes make sense to go back to the basics.

1) When you read the brief try to understand what’s written in between the lines. Remember that most likely it was not written by a musician, and so they do not have the same way of expressing music as you do.  Try and think of the brief that describes the emotional journey that sets the mood of the piece, rather than always just the style of the piece.  Always ask as many questions as you can, (preferably to the person making the creative decisions) before starting to compose.  It also pays to ask for specific examples of existing music – this can save a lot of time and make things clearer..

2) Many people only submit a single option when they are pitching.  We really think it’s worthwhile trying to submit  more than one option. (some of them may be from pitches that you have done before).  We normally send one version that is exactly what the brief asks for, one that is a bit more extreme and one that follows your gut feeling (ie how you think it should sound).

3) Although it is a short piece of music a piece of music this length (ie 10 – 30 secs) it will often need to have a ‘Narrative’ of some sort. By this we mean a short intro, a middle or body and then a build towards the end and a finale.  We find it helpful to think of it like a song – with different “sections” – although much shorter.

Obviously not all jobs will require this format – especially some TV commercials which want the soundtrack to sound like a slice of a song.

4) If the job needs a “mnemonic” (a memorable melody line at the end – think “Intel Inside”) make sure it is a clear memorable melody and better if it appears in more than one place in the music.  Nowadays a mnemonic can also consist of a signature “sound” rather than a melody – so it’s always a good idea to ask the client what they want.

5) Subtle sound design can give lots of life to your ident composition. There are lots of sound design libraries full of sounds, so it is very easy to do.  It’s worth noting that you will always score more cred points if you create your own sounds – that nobody else has.

Good luck on your next pitch submission and we’d love to hear about your experiences and any other unwritten rules that you may have…

Written by Tim Rabjohns & Fridel for Music For TV Masterclass

Tips for making better home recordings

Always experiment! The only way to know what sounds good in your home studio and what to avoid is to try different approaches to the same thing you have always done. So much of your ability to create comes from trial and error and constantly honing your ears and your technique. As well as your skills of engineering, producing, and listening to other recordings you have done. So do not be afraid or as I say LAZY to try new things you maybe surprised at what you find.

Markallanwolfe.com

markallanwolfe.com

Focus on your instrument.
If you’re a vocalist preparing to record, warm up and do your vocal exercises. Maybe a throat spray to lubricate your vocals will help (though be wary of the sprays that desensitize your throat). Wear a scarf around your neck for a couple of days prior to entering the studio to help keep your pipes warm. And just do the basic stuff (avoid smoking, no dairy) to keep your throat moist and phlegm free.

If you’re a guitar player, change your strings before going into the studio – especially if it’s an acoustic guitar. If you’re a bass player and you don’t change your strings once a month, you need to change those strings before you bring that bass into the studio. It’ll help the tone, the output, and you’ll stay in better tune.

If you’re a drummer, change the drum heads. If the heads have been on for too long, they’re going to sound dull and they’re not going to stay in tune. Also, take time to tune the drums correctly – you may even want to tune the drums differently for different songs.

Move around the room
Physically move the instrument or amplifier to different parts of the room. It can make a big difference in the tone you get. If you’re recording an acoustic guitar, violin, piano, sax, or any acoustic instrument, and you have it up against a wall with a lot of glass and wood, you’ll get a more reflective sound than if you’re up against a baffle. If you’re recording an amp, don’t just turn the amp on, stick a mic in front of it, and hit “record.” The amp can sound totally different in different parts of the room, so play around with different spots until you get the right tone for the track.

For any performer, vocalist or instrumentalist, lighting control can also help set a mood. Recording a slow, sultry track? Dim all the lights, light up a candle, and get in the groove.

Move around the room
Physically move the instrument or amplifier to different parts of the room. It can make a big difference in the tone you get. If you’re recording an acoustic guitar, violin, piano, sax, or any acoustic instrument, and you have it up against a wall with a lot of glass and wood, you’ll get a more reflective sound than if you’re up against a baffle. If you’re recording an amp, don’t just turn the amp on, stick a mic in front of it, and hit “record.” The amp can sound totally different in different parts of the room, so play around with different spots until you get the right tone for the track.
Angle your amp
Raising an amp off the ground or angling it so the face of the amp is at 45 degrees can have dramatic effects, depending on the room and the amp. If you’re angling the amp, essentially you’re decoupling the amp from the floor. The floor may be wood, and it may have a resonant cavity below it that’s sucking away your low end, or adding more low end because it’s vibrating. By pulling the amp off the floor, you’re decoupling it. Even if you’re angling it, only part of the amp is touching the floor, so you’re basically removing the floor from the equation in terms of the tone you’re getting.Also, if you have an amp perpendicular to the floor, all the energy is going forward, and low to the ground. Let’s say you’ve got an 8′ ceiling. You’ve got many more options if the amp is kicked up at a 45º angle. Now you can put a mic up in the corner to get a little more of the room. If you’re going for a really tight sound, you might just want to leave it on the floor. Remember, in a studio they’re going to have a dead floor. They’ll have that under control so you wont have these pockets of resonance under the floor. Chances are, your home studio won’t be as predictable.

Mixing board

mixing board

Play with mic placement and angles
Mic placement and mic angles go a long way toward capturing different tones from the same source. For example, to help record a very sibilant vocal performer, try angling the mic up toward a 45º angle and you might find a lot of that popping and hissing goes away.

Mic placement

It’s been said before, but bears repeating—the best way to find the optimum placement of a microphone is to find the spot where the instrument sounds best. Do this by putting a finger in one ear and listening to the instrument with the other, moving around until you find the spot where it sounds best to you. Then put a mic in that spot.

I rarely use eq when tracking acoustics—so many tones can be achieved by placing the right microphone in the right spot that electronic equalization is usually unnecessary. For example, you might put a microphone 6 to 8 inches from the guitar, pointing at the neck about mid-way between the sound hole and the 12th fret.

When you listen to the signal, you may decide that the mic is picking up too much of the guitar’s low end—it sounds boomy. If this is the case, you could either point the mic farther up the neck and away from the sound hole (where a lot of the low end comes from), or you could pull the mic back another 6 or 8 inches (which will lessen the proximity effect of the mic). If the sound of the mic is too bright, you can move the mic closer to the sound hole or closer to the instrument. This isn’t an either/or choice; the character of the low end created by proximity effect is different from that attained by moving the mic closer to the sound hole.

Another approach is to use the off-axis frequency response of a mic to your advantage. Earlier I mentioned that cardioid microphones are more sensitive to sounds coming from in front than from the side; that’s true as an average, but many microphones exhibit a decreased sensitivity to certain frequencies as the source is moved off axis (that is, away from the front of the capsule). As an example, at 30 degrees off axis, a specific mic may be 2 dB less sensitive at 1 kHz, and 4 dB less sensitive at 10 kHz. For the user, this means that one way to change the sound captured by that mic would be to point it slightly away from the sound source.

Studio Mic

Studio Mic

Using Mic patterns to your advantage

Most microphones sold these days have a cardioid pickup pattern, which means that the mic is most sensitive to sounds coming from in front of the capsule, and is less sensitive to sounds coming from the sides and the rear. Most cardioid mics have a pronounced proximity effect, which means that the low end response of the mic is increased as it is moved closer to the sound source. But don’t forget that both omnidirectional mics (which are sensitive to sounds coming from all directions) and figure 8 mics (bi-directional mics which are more sensitive from the front and back and less sensitive to sounds coming from the sides) can be enormously useful, as I’ll detail in a bit.

Studio ambiance

You know, we’ve all read about those singers who recorded their hit song while surrounded by their necessities—their lava lamps, their incense, their ginseng tea and their aromatherapy candles; they want the darkened room, along with (I suppose) their bunny slippers, their spiritual adviser and the studio to be at 71.5 degrees and 42% humidity. Although this is cool to a degree somethings need to be and others are just personal preference. like if your just recording the music portion then yes I totally dig the whole lava lamps and stuff. I have them as well as different things to help stimulate the whole atmosphere.

With the singer I want light—enough light so that the singer can see their words, and, if they’re singing with a band, enough light so that all concerned can see each other. I’ve never been able to see that building a womb for the singer results in a performance any better than their performance while standing in the middle of a well-lit recording studio.

During the course of my years of recording I have taken a slightly different approach to things by experimenting in many different ways and encourage you to do the same.  I have sang and recorded my guitar in closets, bedrooms, laundry rooms and bathrooms. And you know what? They sounded great! I pretty much make sure that the vocalist has someplace to set their water (tea, coffee, or whatever), a music stand, a chair to sit on while they listen to playbacks, and off we go. Don’t misunderstand, though—I will try to make myself comfortable, but I have never seen the need to be straight by the book always. Sometimes the best recordings come by accident as well.

I will post more on this subject as time goes by, in the meantime I would be thankful for you to share some of your experiences if you would? What works for you? Where have you found the best ideas that work? Why not share them with the world for maybe someone can benefit from your experiment make a hit record and owe it all to you. Also all of the tracks submitted on this blog were recorded in my home studio,

Mark Allan Wolfe–www.markallanwolfe.com —wolfiesmusicpublishing.com

Mark Allan Wolfe

Mark Allan Wolfe

Ideas to help in your music career?

Hello again everyone, here are a few ideas that I recently shared with a few people looking to broaden their horizons and are pursuing a career in music. I thought wow I should share these thoughts with all of you as well, maybe you already know these, maybe you do not but felt it worth the time for many people who contact me do not have some of these basic concepts down and wonder why things do not change. So lets dig on in.

As I try to move ahead in this wonderful world of music I have discovered some basic truths that if put into practice will help you immensely, if left behind or laid aside can hinder you in your progress.

Website

First you need to have some form of website or web presence in these days. If you are going to make any headway or gain some popularity you MUST have a website. They do not have from your wallet.e to be something costing millions of dollars but you need to have a .com It is a place for your fans to connect with you, a place to share links,videos band news, etc. Now I have listed a few examples to just show you of what I mean. You can have  have a FACEBOOK personal page BAND page or a MYSPACE page but always in the end you need to have your own little corner in the world that is your place, something like www.markallanwolfe.com

For something like your own URL (which is like your band name) it only cost a little bit of cash so it is not something that might break you. You can start here for possible URL. One thing I remember someone telling me early on was you need to spend a little money to make some money. so do not fear but also use extreme caution for their are folks out there who will take advantage and try to squeeze out as much as they can.

Why the need to get all of these places out there? Because part of this game called the MUSIC BUSINESS is the key word in that, BUSINESS! You thought well if I just make the music and tell people about it they will flock to me and demand, “DUDE! play on!” Just like in any other Business you will have to earn customers and build a name for yourself. The days of when you just had to play a song for someone and they would give you money to get a record deal, were blown away and wanted to make you a star are almost gone. There are times when some one comes along but even THEY need a place to start.

The music business has changed so much over the past few years that what was once a elite club to get into, is still somewhat elite, yet you have a better chance at getting to your set goals then before all because of the INTERNET. Which leads me to my next little step.

GOALS

You need to take sometime out to write out all that your looking for and what your trying to accomplish. For with out having a game plan your DOOMED to fail.As trivial as this sounds do not make haste at it. For what company ever succeeded without first having a goal to reach for. They can be anything you want but you need to devise a plan. That way when the time gets hard, and they will, you have something to go back to. When things seem to be going great and your head is int he clouds you can always comeback to your list to see if this is something that you wanted

I know many of you will probably read half way thru and turn away at some of these thoughts, but ask yourself this question, do you think Henry Ford just got together with those around him and said, “I am going to make a product that the WHOLE world will want to buy, that will make me billions, and change the WORLD!” I just want you bankers to give me all the money I need on this horseless carriage, (what cars were first called), NO!

He had to develop a plan and stick to it, by doing that as you can see they have been around for over 100 yrs if I am not mistaken.  You say, “Wolfie , dude that is cars this is different” How so? You want to change the world with your music, you need money form folks to help you realize this dream of yours. You need to surround yourself with those of like mind to achieve the goals you have set out for yourself. No matter if your looking to be the next best thing in music, acting, or any other business you NEED a plan that is solid. Nothing wrong with writing your dreams and goals out. It can be something as well to go back to when everyone around you thinks your crazy and a fool that you wont get it, it will never work. You can read your own words and find strength and comfort knowing YOU will make it if you faint NOT.

I will share a few more ideas perhaps tomorrow but definitely soon. I want you to be encouraged in this dream of yours. It is something that is birthed in your heart since who knows when. NO ONE loves your music MORE than YOU. Friends will not, family will not, your neighbors wont, only YOU. You need to believe in yourself a 120% all the time and you will make it. That is if you have got the talent, and determination. LOL Look at it like a marathon race of 26 miles. Many people will stop after 10-15 miles, faint after 20-25 but people who run say that after they hit the wall they STILL move on past it like they still have ANOTHER 26 miles to go. If you stop to look to your left or right your going to get tripped up and fail. DO NOT STOP KEEP MOVING! Wow I think I encouraged myself today.  :o)

More next time.

A few other videos

An acoustic melody mixed with a variety of piano,string orchestra as well as some synths. A nice meditative song that has helped me find rest every time I play it in the studio. I do hope you enjoy it. For more about the music please visit http://www.markallanwolfe.com or http://www.wolfiesmusicpublishing.com

http://embed.animoto.com/play.html?w=swf/vp1&e=1336839606&f=XN7sGrC417TeSeFy1mDpMA&d=149&m=a&r=240p&volume=100&start_res=240p&i=m&options=

A beautiful song of love inspired by the thoughts of children and the love they offer. This song was made by Mark Allan Wolfe and has been an inspiration to many. it is a simple acoustic melody wrapped around keyboards and a small ensemble. The choir and child singing were especially interesting to record and perform. We hope you enjoy it and if anything else we would invite you to visit these website below to hear more and perhaps comment? Thanks

Wolfies Music Publishing
http://www.wolfiesmusicpublishing.com
http://www.markallanwolfe.com

Georgia Legislature Sides With Music Industry On Entertainment Tax Credit Amendment

Here is a re posting I read about certain developments here in the state if Georgia, I found it very interesting and very helpful and beneficial. I hope you do as well. It makes me consider the situation in other states?I will try to find out more about it as well as with other states. Any comments?
Georgia Music Partners (GMP) and The Recording Academy Atlanta Chapter successfully engaged the Georgia Legislature to add language to the Georgia Entertainment Industry Investment Act that clearly shows that music produced in Georgia for qualified film and television productions is an eligible expense. This decision clears the way for the state and GMP to promote the tax benefits of music production here.

The bill was sponsored in the Senate by Chip Rogers (District 21) and in the House by Ron Stephens (Savannah), Matt Hatchett (Dublin), Butch Parrish (Swainsboro), Matt Dollar (Marietta) and Amy Carter (Valdosta).

“We are very happy to make Georgia home to music,” said Sen. Stephens. “We hope to have the very same success in music as we have in film productions.”

According to Tammy Hurt and Simon Horrocks, co-presidents of GMP, the language in the original 2008 law suggested a narrow interpretation of what would be considered “qualified” music productions. “By having the legislature rule in favor of music production in the state as a qualified expense, we now have confidence in marketing the business-friendly environment that Georgia offers the music industry,” said Hurt. “The state has seen a huge increase in film production since 2008,” said Horrocks. “The legislator’s clarification is the first step in doing the same for the state’s music industry.”

If your looking for a music composer for your projects or for some new music or music to license would you consider the music of Mark Allan Wolfe or Wolfies Music Publishing. We specialize in finding you the right music for your projects and have a large supply of music that is just right for you. Feel free to visit the links here at at the bottom of this page.
www.markallanwolfe.com 

www.wolfiesmusicpublishing.com

“This is great news for the state’s economy,” said Phil Tan, an Atlanta-based three-time Grammy Award music engineer. “This will enable local music-related business entities to have an additional marketing angle and attract record companies, artists, producers and other music makers to bring their projects here to Georgia. Hotels, restaurants and other local businesses will benefit from the added traffic as well.”

According to Billboard’s top 40 moneymakers of 2012 ranking, Georgia artists represent 18% of the worldwide top music moneymakers worldwide.

Originally created in 2008 the Georgia Entertainment Industry Investment Act provides state tax credit for qualified production and post-production expenditures. The Georgia Entertainment Industry Investment Act offers an across the board flat tax credit of 20 percent based on a minimum investment of $500,000 on qualified productions in Georgia. An additional 10 percent Georgia Entertainment Promotion (GEP) uplift can be earned by including an imbedded animated Georgia logo on approved projects.

TIPS and IDEAS on music submission

Tips on Music Submission

When sending your material out to a Publishing company, record label or any number of professionals who might help you in your promotion and exploitation of your music, you need to do it right. You need to take a few extra steps in making sure your music has a fighting chance. It sometimes does not mean a hill of f you or your friends think it is the next greatest hit, if it never gets listened to the CD becomes a coaster.

If you take these few steps with your delivery you may find you have an edge on your competition. Believe me there are millions of other folks who are out there who believe in there music the same way you do. Many will think all they need to do is to take a cd record an mp3 on it and send it with no letter or anything on it.

Make sure your songs are all mastered and are at the right volume, no pops,distortion or clicks. Try to select only the best tracks that give the best example of who you are and your sound.
Mark%20Allan%20Wolfe

When you place your music on a disc to mail out, be sure to write CLEARLY or to print out a sticker with all your contact info on it. I would make a suggestion to you. You spent all this time in creating the music and all this effort to trying to market it, why not spend a few more bucks and purchase the disc stickers for your printer? I was told once that if you just write on the disc with some scribbled letters, it gives the impression that you do not care that much about your music? I can see why. Remember you are trying to get people to listen to your music.

You want people to open there mail and be like “WOW these folks took a lot of time and effort into creating this package, they must ROCK!” By a fancy folder and nice printing pap cause remember you only have one time to make a first impression.Chilling out by a water fall Northern GA

When you send your email or EPK if you do not know what that is ( Electronic Press Kit) you need to make sure you re read everything. Do not make long statements about this and that, introduce yourself and give all your connection info and/or ask if you can submit material. Understand that many A&R,Music Mangers, Music Supervisors receive hundreds of tracks a day if not weekly. They need time to go thru the stuff they get and if your successful to have them open up your email or CD package, you do not want to waste their time.

TUNE PAKE    http://www.reverbnation.com/tunepak/3558037

When giving your links to sample your music it should take the person directly to the song or title to a music player. You should never assume that the folks are going to go surfing thru your website or have to jump thru hoops to sample your music. If they cannot find it with in a few seconds most times they will move on and your done.

So, please do not get angry with me and email me then tell me how mean or stupid I am. All of these ideas come from trial and error. I have experienced these first hand and have found out what works. Maybe not all the time but with trial and error you learn a little here and there.

At the end of the day it is always up to the music supervisor or the director on which song (s) will be chosen. No matter who makes it, how long you worked on it, if you dig it or not, if they do not dig it you are not going to change their minds. If it works with the picture in their eyes then there is no stopping the deal. So create your best, try hard, put your best foot forwards and keep on knocking until the door opens. It might take years but if you got the jams then eventually someone will listen if your humble, talented and have a teachable spirit.

For more info stop on thru again or visit www.wolfiesmusicpublishing.com or www.markallanwolfe.com for more. You are always free to visit www.wappublishing.com and also visit the other companies out around the webs nd be sure to share what you have learned with others.

Studio pictures from earlier years

Wolfes Den studio in the early stages