Balancing Act

Balancing Act

This is a video exploring another side of the music of Mark Allan Wolfe. Noted for Rock, Indie, and New Age music, here is a cinematic piece. The song opens with soft piano, that is haunting and is joined by guitar and cello and culminates in a balancing act of a variety of musical instruments. The swelling of cymbals, orchestral elements, and traditional island percussion. For more music and licensing information please visit markallanwolfe.com
If you are interested in licensing music immediately you can start by visiting the online music licensing store located at
http://markallanwolfe.com/License Music.html

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!

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

 

Music Production and Mastering Tips

As we gear up for this new year and start considering all the things we are getting involved in we wanted to share a few things with all of you that might help you all in your production and music creation.

Mastering is often considered to be something of a dark art, being thought of as almost unattainable. Although it is a complicated process it is not something that is not  unattainable and it is not an unlearn-able skill. A few places where you can find help would be ; Computer Music Has a bunch of tools available as well as a beginners’ guide to mastering. You can also visit http://www.recordingmag.com/ For a LOT of helpful tips and video links and articles to get you going.

Now, lets look at the things that we have found to be very helpful…..

Notch the kick

Try not to use shelving EQ to boost your kick. For you do this, and you are going to be boosting all the harmonics in there as well. Start by notching the EQ with in the freq of the Bass Drum, so you can just control the thud of the kick. I have found that if I just tweak the lower end of the EQ I can get that DEEP thud effect that hits you in the chest but sits right in the mix.

Ramp up the vocals

If the vocal track seems dry or is not cutting through, I will use EQ. I go to the center and add some mids in a bell shape all the while being mindful not to change the dynamic of the track. I boost around the 2, 2.7, 3kHz range , depending on the vocal tone. I will also use a mid/side processor to make the center channel louder or send it through a plug in that makes it spread out a bit I know I am weird but one thing is just because your plug in may have preset that says it is made or designed for this or that instrument does not always mean it is the best. Explore your sound and try to find those dynamics that make your track jump out and grab you by the throat and say “HEY LISTEN!” You understand do not limit yourself by what others put on you.

STAY BALANCED!

Now just because you may have these great tools and plug ins does not mean that you have to use them on everything. If the track or instrument is well-balanced, maybe you do not need a compressor. It is all about the gain structure and tone. You may want to turn your track up but you don’t want to ruin the vibe, so use wisdom. I always say STAY BALANCED Do not let your A.D.D get the best of you stay on track but at the same time explore your options. For some of the best tracks have been found totally by accident by exploring but you should always back up EVERYTHING and always save the original un the event you make a mistake.

Compression can affect the width

A narrow mix can be widened using mid/side processing, as compression and gain on the outer frequencies will accentuate them. Just be careful not to hid or cover up the important parts in the center, like bass and vocals. If your mix is too wide you may be able to bring it in by compressing the center signal, then raising its level back up. Always try to find a perfect place for every instrument, this is another beast all in itself though right?

Lower the output

When you are ready to make a mp3 from your mix you will get a better result by converting a WAV that has been mastered to a slightly lower output level than 0dB. Some engineers will recommends starting with a WAV that is about -0.5dB or -1.5db Try it out and see for yourself the difference is unbelievable.
If your mix is still some what not where you want it despite your best EQ efforts, you might want to try an exciter or enhancer. Where EQs can accentuate noise, and only amplify what’s already there. Exciters raise the harmonics of the fundamental tones found in the recording, brightening dull mixes. As with everything in mastering, though, don’t overdo it remember STAY BALANCED!
Do not forget to visit the websites and dign up for email list. Big news coming in a bit so if your looking to maybe find placements for your music be sure to stay connected. Things have been so busy it has been hard to stay up to date with everything. Please be patient.

Unreleased 1968 Jimi Hendrix Track, “Somewhere,”

This is an article from GuitarWorld.com I think jimi was absolutely one of the BEST guitar players of ROCK and Electric Blues ever but that is my opinion thought you might like to listen to this if your a fan as well. In a video posted last November, a clip of a “new” Hendrix track called “Somewhere” could be heard as engineer Eddie Kramer discussed the making of People, Hell & Angels, a collection of 12 previously unreleased studio recordings from the guitar legend.

Now the entire song — which features Buddy Miles and Stephen Stills — can be heard in full online. Stream it below via the video player.

Culled from the guitarist’s final recordings, the post-Experience material promises to veer in unexpected directions, even for diehard Hendrix fans. The collection, with a title coined by Hendrix, features a host of new collaborators for the guitar legend.

“We’re thrilled to be able to release People, Hell & Angels during the celebration of the 70th anniversary of my brother’s birth,” Janie Hendrix says. “The brilliance of the album serves to underscore what we’ve known all along: that there has never been and never will be a musical force equal to his and that we cherish and take inspiration of what he left us both now and for many generations to come … simply eternity.”

People, Hell & Angels is out March 5. I will also invite you to sample some of my music over at markallanwolfe.com you may like some of the tracks that are there which I was inspired by the man himself

Handel’s Messiah

So in keeping with the Christmas season and music I wanted to try to share something interesting as well as meaning full, that is when I remembered my favorite musical piece for the Christmas holiday, MESSIAH!

Before I go on and share this I was wanting to wish all of you a Merry Christmas and a blessed new year. I hope that this year coming up will be one full of blessings and hope for you and your family. Lets begin…

George Frideric Handel was born in Germany in 1685, the same year as Johann Sebastian Bach. His father wanted him to study law, but when it became apparent that the young Handel was musically gifted, his father reluctantly agreed to let the boy study music.

Handel became an accomplished harpsichordist and studied in Naples, where he became an acclaimed writer of Italian operas. He later moved to England, where he continued to have success writing opera, as well as compositions for the royal court. Handel’s Water Music was composed for King George I.

The story goes that after the first performance of Messiah, an enthusiastic member of the audience congratulated composer and director George Frideric Handel for producing such a wonderful piece of “entertainment.”

“Entertainment!” Handel replied, “My purpose was not to entertain, but to teach them something.”

That was April 13, 1742, in Dublin, Ireland. The previous year, Handel had been approached by the librettist Charles Jennens about a musical oratorio on the life of the Messiah. Jennens’ concept was to tell the entire story of the Christ through passages of Scripture put to music. He would begin with the Old Testament prophecies foretelling the ministry of Christ, move to the New Testament’s accounts of the birth of Jesus, then forward through his death and resurrection, all seen through the eyes of the writers of Scripture.

George Frideric Handel

George Frideric Handel

In an age when illiteracy was widespread and written copies of the Bible were expensive and rare, Handel became excited about Jennens’ idea. Handel pioneered the “oratorio,” a musical composition designed to teach the Scriptures by setting them to music. He seems to have immediately understood how important such a composition about the life of Jesus might be, and he set to work on it right away.

That first performance of Messiah in Dublin (a charity event to raise money for a hospital) was a huge success. The piece was not as well received when it debuted in London, but Handel made it a recurring part of his schedule of performances — it became his tradition to perform Messiah annually as a benefit to raise money for London orphanages.George Frideric Handel died in 1759 and is buried in Westminster Abbey. Messiah is one of his greatest musical creations, and is arguably the greatest piece of Christian music ever written. The Hallelujah Chorus is instantly recognizable, even by those who do not consider themselves members of the Christian faith. It has become a part of our Christian cultural heritage.

Some interesting facts about the composer and the music of “MESSIAH”

The King stood when He heard it. Upon hearing the “Hallelujah Chorus” movement of “Messiah”, King George II of England was reputedly so overcome with emotion that he spontaneously rose to his feet. When the king stands, everyone stands, so the audience immediately rose also. The tradition of standing for the chorus is still observed today in most live performances of “Messiah”.

In 1753 He suffered permanently from blindness His blindness was caused by a unsuccessful operation on his cataracts. Handel continued to compose music in spite of this handicap.

 

FabFilter Pluggins

I thought you all might like to take a look at a friend and colleague of mines website and blog. He has this incredible amount of information about different pluggins that are available for recording audio and mastering in your studio. You might enjoy his reviews if your interested in using these pluggins. I use several of them and found that the site was filled with a lot of useful info and wanted to share it with you. here is an excerpt from the site. If you dig it and find it useful please let either of us know it helps to know that people read the things we post. Tel them Wolfie sent you. Peace

FabFilter updates all plug-ins with graphics acceleration

FabFilter has updated all FabFilter plug-ins to add GPU-powered graphics acceleration. In addition, FabFilter Twin 2, Timeless 2 and Volcano 2 now feature the collapsible modulation section that was first introduced in FabFilter Saturn. All plug-ins have also received bug fixes and various other improvements.

Highlights in this update:

All plug-ins now contain the GPU-powered graphics acceleration introduced in FabFilter Pro-DS, ensuring ultra-smooth animation while leaving the main CPU free to do audio processing.
FabFilter Twin 2, Timeless 2 and Volcano 2 have a new Modulation button to easily show and hide the modulation section. By default, the modulation section is hidden to make the plug-in less intimidating at first, but you can easily look ‘under the hood’ when you want to tweak a preset or design your own.
FabFilter Twin 2 displays a new keyboard section in the interface when the modulation section is hidden. The component display at the top of the interface contains a new Main EG component button, letting you easily tweak EG parameters when browsing presets.
When multiple bands are selected in FabFilter Pro-Q, the Frequency, Gain and Q knobs will now let you change parameters of the selected bands while preserving their relative differences. Double-clicking a knob still lets you set all bands to the same value.
Updated all VST 3 plug-ins to support new features in VST 3.5, such as a host-provided right-click menu for each parameter in the interface. Steinberg’s CMC-AI controller is now also supported.
Added mouse wheel support to buttons with pop-up menus, such as the distortion style button in FabFilter Saturn.
Added Options > Open Other Preset option to the presets menu, making it easy to open a preset that’s not in the regular presets folder.
FabFilter Twin 2 and Timeless 2 now remember which section in the component display is expanded in Wide mode.
Fixed compatibility issues with Adobe Premiere on Windows and OS X.
Fixed a bug in the mono AudioSuite plug-ins that caused the Whole File option at the bottom to be disabled.
The Mac OS X version now requires OS X 10.5 and an Intel processor. We still offer previous versions for download if you need OS X 10.4 or PowerPC support: http://www.fabfilter.com/support/downloads.

The updates are free for existing FabFilter customers. Updates and 30-day trial versions are available for download now atwww.fabfilter.com/download.

System requirements on Windows are either Windows 8, 7, Vista, XP, SSE-capable processor, and a VST 2/3 host or Pro Tools, or Mac OS X 10.8, 10.7, 10.6 or 10.5 with Intel processor, and an Audio Units host, VST 2/3 host, or Pro Tools. Both 32-bit and 64-bit hosts are supported.

Brought to you courtesy of Soundwrx Digital