#landr studio

[audiotechtv]

Can you mix a song using only the Landr FX Suite plugins? Let's Find Out!

[liure00]

Mixing Stuff Masterpost for Vocal Synth Users

i'll say a few things here and there on how i approach mixing based on a set of guidelines i've been giving thru learning. i won't go 100% and i encourage you research further on your own as everyone has a different perspective of certain concepts. whats important is that you understand the concept so that you are able to interpolate on it with your own liberties. yeah. please read the links before looking at my commentary or you won't understand what im saying.

Some DAWs, Their Guides, & Some Freebies: One of the first things you should do is pick a DAW and learn how to use it and its functions to streamline your mixing process.

Free DAWs: The Best Available in 2023 by Produce Like A Pro

Audacity / DarkAudacity (i like darkaudacity): has a section of the site dedicated to tutorials on using Audacity!

Reaper: has a 3 hour course FREE course on mixing!

FL Studio: has a demo version you can pretty much use forever with a few.........exceptions. I won't be linking any cracked versions though. Here's a manual for this program since many people use it!

Free VST Plugins by Bedroom Producers Blog

37 Best Free Mixing VST Plugins by hiphopmakers

ORDER IN THE COURT!: The order of plugins is more important than you think. These links should also introduce some terms we use in the audio production world (like "gain staging" or "EQing")

WHAT'S THE BEST EFFECTS CHAIN ORDER FOR MIXING? by Icon Collective:

The Order Of Things: Audio Plug-ins by AskAudio

Plugin order is viewed from "top to bottom". BASICALLY... most like to gain stage -> EQ -> compress -> saturate -> MORE EQing -> whatever else at this point, but i do my process a bit differently. don't be afraid to bend the rules a little bit. but the guidelines are there for a reason.....based on what they do

Basics: I'll link to some tutorials to elaborate on what was listed by Icon Collective's list.

Gain Staging: Gain Staging Like a Pro by Sweetwater

Saturation: Saturation in Mixing – Instant Warmth, Glue and Fullness with One Plugin by Tough Tones (soundgoodizer fans make some fucking noise i guess)

EQ: SUBTRACTIVE VS ADDITIVE EQ (WHEN TO USE EACH & WHY) by Producer Hive

Compression: THE COMPLETE GUIDE TO AUDIO COMPRESSION by Icon Collective + Audio Compression Basics by Universal Audio

Modulation: Modulation Effects: Flanging, Phase Shifting, and More by Universal Audio

Time Based Effects: Reverb Vs. Delay: Complete Guide To 3D Mixing by Mastering.com

Audio Busing/Routing/Sending Tracks: Your guide to busing and routing audio tracks like a pro by Splice

Limiters: 10 BEST LIMITER PLUGINS FOR MIXING AND MASTERING by Icon Collective

Sidechaining: Sidechain compression demystified: what it is and how to use it by Native Instruments (i dont know anything about this lol)

Automation: Mix Automation 101: How to Automate Your Sound For a Better Mix by Landr (p.s learn how to write automation in your respective programs)

Last note: great. these are the main things you should focus on understanding in mixing. now you are FREE my friend!

Bonus: Tempo Mapping in Reaper (if you want to learn how to midi songs with bpm changes!!!)

[thecomposerthatwaspromised]

Kevin Kiner - Ahsoka - End Credits

Producer: Kevin Kiner

Studio Personnel, Mixer: Scott Michael Smith

Studio Personnel, Mastering Engineer: Daniel Rowland

Studio Personnel, Mastering Engineer: LANDR

Composer: Kevin Kiner

Composer: Sean Kiner

Composer: Deana Kiner

[danwithouttheplan]

sorry if you're getting tired of the axolotl song stuff but I just think it is incredible. did you compose the song? if so, what DAW did you use? any cool vsts? sample packs? I absolutely loved it

Oh, I love talking tech! I still consider myself an amateur in the ways of production, but I'm always working on getting better. None of this is by any means the best way (or even a good way) to do anything, it's just how I did it.

I did compose the song, yes - musically and lyrically (other than the first line of the first verse, of course). I use Studio One for my DAW. I got it a good number of years ago and I've liked it enough that I haven't moved to anything else.

I don't play drums and I don't pretend to write drums, so all of the drum tracks are just standard midi samples from EZdrummer (although I did add the tambourine and shaker).

I normally hate using ribbon mics with my voice, but I think I used a ribbon mic through a preamp with built-in channel strip. Other than stock EQ and compression, I threw vocals and bass through some simple LANDR plug-ins that I got as a pack. There's a bit more post-production on the vocals, but nothing notable. Bass was all DI.

I usually like to either live mic my guitars or run my amps through cabinet simulators, but this one was all DI + digital. I've recently been turned on by Neural DSP's plug-ins (though I normally use them for... heavier... guitar riffs), so all of the guitar tracks in this were using the Nolly model because I felt it had a relatively Cake feel.

The trumpet sounds very fake because it came from a not-particularly-great stock instrument sample pack in my DAW. It was the only trumpet I had on hand. The synth sounds both came from an Arturia Analog Lab synth package that came with my midi keyboard. Yes, I did play that freaky little synth thing after the first chorus.

I actually forgot to throw on a master reverb, but I don't think it was lacking too much without it (especially for a meme song). The real magic came from two things at the end of it all. I ran everything through an outboard Elysia mid/side stereo saturation module to widen it all and beef it up a little, and finished it all off with the iZotope Ozone mastering plug-in to really make it sparkle and get the final levels right.

Hope this answers most/all of your questions!

[harryxmusic]

“Razor” (MonsterKID Remix) Released on June 19, 2015.

What Harry has to say: "My first collaboration with MonsterKID was released exclusively on my SoundCloud and YouTube channel. The production was done in five days and released a week later. I loved it from the very first demo clip I heard, an orchestral piece of the chorus, although the final remix differs from the early demos. The artwork created by Vertical Arts, it has the same theme from the single cover with the colors reversed and the photo edited with similar shades. The photo is from the location set where we shot part of the video."

"The photos are from the second part of "Razor" music video, a video to promote my first studio single release. The video was never finished because I didn't like the way I looked in the footage, I had a different view of how I wanted this video to be, so I scrapped most of it. After the single release I wanted to shoot some scenes to complete the video. The video was never finished and therefore never released, I had to stop all my plans 'cause I joined the army. Months later, MonsterKID did a remix for the song and for the cover we used a photo from the video set that we liked the most." - Posted on September 7-8, 2017.

Original SoundCloud link: https://soundcloud.com/harryxmusic/sets/razor-monsterkid-remix

Lyrics can be found here: https://genius.com/harryxmusic

Download “Razor” (MonsterKID Remix): https://harryxmusic.bandcamp.com/album/razor-monsterkid-remix

Credits: Written by Alex Cantrall, Dwight Watson, Hitchhiker, Jeff Hoeppner, also by J Sime & Jun Areia. Remix produced by MonsterKID. Vocals by Harry X. Mastered on LANDR. Art direction & design by Vertical Arts Creations.

10 Years Harry X

[korshubudemycoursesblog]

Why Songwriting & Music Production?

Music is one of the most powerful forms of expression. Whether you want to write that first hit song, create a jingle, or start producing tracks in your bedroom, the skill set you’ll develop as a songwriter and producer will open up endless creative possibilities. But if you're a beginner, the idea of crafting lyrics, composing melodies, and handling the technical side of production can feel overwhelming. That’s where Songwriting & Music Production: The Essential Beginners guide comes in.

This guide is designed to help break down the complexities of songwriting and production into easy-to-follow steps that anyone can grasp, no matter your musical background or tech skills.

Step 1: Starting with Songwriting

Songwriting is the heart of every great track. Before you even think about production, you’ll need to write lyrics, create melodies, and develop a song structure. Here’s how to get started:

Write What You Feel: The best songs come from a place of authenticity. If you’re new, focus on writing lyrics that are personal to you. Don’t worry about making it rhyme perfectly—focus on conveying emotion.

Start with Chords: Many beginners find it helpful to start with basic chords on a piano or guitar. A simple chord progression can act as the foundation for your melody.

Understand Song Structure: Most songs follow a specific format like Verse-Chorus-Verse-Bridge-Chorus. This gives the listener a sense of familiarity, while also providing you with a blueprint to follow.

Lyric Writing: Great lyrics don’t need to be complex. They just need to connect with the listener. Think about the stories you want to tell and how you can express them in a catchy way. Use themes that are relatable, like love, heartbreak, or adventure.

Step 2: Diving into Music Production

Now that you have a basic song, it’s time to bring it to life using music production techniques. This is where technology meets creativity, and you can start crafting your song’s sound.

Home Studio Setup: You don’t need a fancy studio to get started. Most beginners use a Digital Audio Workstation (DAW), which is software like Ableton, FL Studio, or Logic Pro. Pair it with a MIDI keyboard, headphones, and a good mic to get going.

Recording Basics: When recording your song, focus on capturing clean vocals and instrumentals. Most DAWs offer simple tools for editing, so even if you're new, you can quickly cut out mistakes and piece your tracks together.

Understanding Production Elements: There are key elements to focus on, like beat making, layering sounds, and mixing. Mixing is the process of balancing all your track elements (vocals, instruments, beats) to create a cohesive sound.

Adding Effects: Don't be afraid to experiment with reverb, delay, and EQ. These effects can add depth and space to your track, making it sound more polished.

Step 3: Songwriting & Music Production: The Essential Beginners—Trending Tools

The world of music production is constantly evolving, and beginners now have access to an incredible range of tools that make the process easier than ever. Here are some trending tools you should consider incorporating into your production workflow:

Splice: A cloud-based platform that allows you to download royalty-free samples, loops, and sounds to add to your track.

Native Instruments' Komplete Start: Offers a bundle of instruments and effects that are free to use for beginners.

LANDR: This online mastering tool helps you polish and finalize your track.

Loopcloud: Perfect for building your sound library with thousands of samples, making it easier to create professional-quality music right from the start.

Step 4: Leveraging Free AI for Songwriting & Music Production

One of the most exciting innovations in songwriting and music production today is the use of free AI tools. These tools can help you with everything from generating lyrics to mastering your track. Here's how you can incorporate AI into your creative process:

Lyric Generators: Tools like OpenAI's ChatGPT can help you come up with lyrical ideas or refine the lyrics you've already written. You can input a theme or mood, and the AI will generate lines or phrases that fit your song.

Melody Generators: Free AI-powered platforms like Amper Music allow you to create melodies and chord progressions by simply selecting a style and key.

Mastering with AI: Platforms like eMastered and LANDR use AI to master your song, meaning they balance your audio and prepare it for streaming platforms like Spotify or YouTube with just a few clicks.

The power of AI in music production is that it can handle the technical aspects, giving you more freedom to focus on creativity. And best of all, many of these tools are either free or offer freemium versions, making them accessible for beginners.

Step 5: Building a Portfolio and Sharing Your Work

Once you’ve produced a few songs, it’s important to start building a portfolio. Here’s what to do next:

Use Social Media: Share your music on platforms like Instagram, TikTok, and YouTube. Short snippets of your work can attract a larger audience.

Upload to SoundCloud and Spotify: Once your track is polished, upload it to music streaming platforms. This will give you exposure and feedback from a global audience.

Collaborate: Join online communities or groups like Reddit’s WeAreTheMusicMakers or local music groups where you can connect with other musicians, producers, and songwriters.

Step 6: Continue Learning and Improving

Like any skill, Songwriting & Music Production is something you’ll continue to improve upon with time and practice. Here are some ways to keep growing:

Take Online Courses: Platforms like Udemy and Skillshare offer courses on music production and songwriting for beginners. These courses cover everything from learning your DAW to more advanced production techniques.

Follow Industry Trends: Stay up-to-date with what’s happening in the world of music by reading blogs, watching YouTube tutorials, and listening to new releases from established artists.

Free Tools for Music Production

As a beginner, there are plenty of free tools and software available that can help you create professional-quality music. Some of the best free tools include:

Audacity: A simple and free DAW that’s great for beginners looking to record and edit audio.

GarageBand: If you're using a Mac, GarageBand is an intuitive, free DAW that’s perfect for music production beginners.

Tracktion T7: A professional-level DAW that’s free to download and has a simple interface.

These tools, combined with free AI platforms, can help beginners create songs without the need for expensive equipment or studio time.

Conclusion: Start Your Journey Today!

There’s never been a better time to jump into Songwriting & Music Production: The Essential Beginners. With free tools, AI-powered platforms, and endless resources online, the barriers to entry have never been lower. Whether you're writing lyrics in your bedroom or producing tracks on your laptop, you have everything you need to make your musical dreams a reality.

Don’t let the technical side of things overwhelm you. Start with the basics, practice consistently, and soon, you’ll be writing and producing music that speaks to your heart—and to the hearts of others.

[my-music-1460]

AI in Music Production: The Future of Sound Engineering and How AI Will Change the Future of Music

Sound engineering has always been considered an art form in itself, requiring years of practice, an impeccable ear, and deep technical knowledge to produce the perfect mix. However, the advent of artificial intelligence (AI) is dramatically changing this landscape. With its ability to analyze vast amounts of data, automate complex processes, and even create entirely new sounds, AI is reshaping the world of music production and sound engineering. Today, more than ever, AI-powered tools are being used to streamline workflows, enhance sound quality, and make professional music production accessible to a wider audience.

But how will AI change the future of music and, more specifically, sound engineering? The integration of AI in production is opening doors for musicians and producers at all levels, offering innovative tools that not only simplify technical processes but also push the boundaries of creativity. This article delves into the transformative role AI is playing in music production, exploring how it is changing sound engineering for both seasoned professionals and up-and-coming artists.

1. AI-Driven Mixing and Mastering: Mixing and mastering have long been regarded as the most critical and complex stages of music production. In the past, this required highly trained sound engineers to adjust levels, equalize frequencies, and apply effects, often taking days or weeks to perfect a track. However, AI has introduced a range of automated tools that make the process faster, more efficient, and less costly.

AI platforms like LANDR, CloudBounce, and eMastered offer automated mixing and mastering services, allowing musicians to upload their tracks and receive professional-quality results in minutes. These platforms analyze the song's dynamics, genre, and other factors to apply appropriate settings, such as EQ adjustments, compression, and reverb. By streamlining the mastering process, AI is making it easier for independent artists to produce polished, radio-ready tracks without the need for expensive studio time or professional sound engineers.

2. AI-Enhanced Plugins and Production Tools: In addition to automated mastering, AI-enhanced plugins are becoming an essential part of the music producer's toolkit. AI-powered plugins like iZotope’s Neutron and Ozone can automatically suggest EQ settings, reverb levels, and other effects tailored to the specific characteristics of the audio. These tools analyze the frequencies, dynamics, and harmonic content of a track to provide recommendations that improve the overall mix, saving producers significant time and effort.

These intelligent tools not only optimize technical aspects but also encourage experimentation. For instance, AI-driven synthesizers such as Orb Composer and Amper Music can generate new sounds by analyzing existing tracks and suggesting variations or entirely new compositions. This provides producers with an expansive sonic palette to explore, enhancing their creative process while maintaining professional sound quality.

3. Democratizing Music Production: One of the most profound ways AI is changing the future of music production is by democratizing access to high-quality sound engineering. In the past, professional-grade production required access to expensive studios, advanced equipment, and years of technical knowledge. Today, AI tools are leveling the playing field, allowing emerging artists, bedroom producers, and even hobbyists to produce tracks that rival those of established musicians.

AI-driven production platforms like Soundtrap and BandLab allow users to create music collaboratively, often without needing any formal training in sound engineering. These platforms offer AI-assisted features such as auto-tune, automated beat matching, and instrument accompaniment, making it easier than ever for newcomers to produce polished music. This democratization is revolutionizing the music industry, allowing a wider range of voices and styles to flourish.

4. AI in Sound Design: Sound design is another area where AI is making significant strides. Traditionally, sound design involved crafting unique sounds for a song, film, or video game through the manipulation of synthesizers, samples, and effects. Now, AI can analyze audio data and generate new sounds based on patterns it detects, expanding the creative possibilities for sound designers and producers.

AI-powered software like AIVA (Artificial Intelligence Virtual Artist) and Google’s Magenta can compose original music and generate soundscapes tailored to specific projects. Whether it’s creating atmospheric sound effects for a movie or designing intricate sonic textures for a song, AI is revolutionizing sound design by offering tools that not only mimic human creativity but also go beyond it, providing entirely new sonic experiences.

5. Enhancing Workflow Efficiency: AI is not only transforming the creative aspects of sound engineering but also the logistical side of music production. AI-powered tools can handle tasks like file organization, track labeling, and session management, freeing up time for producers to focus on the creative process. For example, tools like Avid’s Pro Tools and Adobe Audition are incorporating AI to streamline workflow by auto-detecting and repairing audio issues such as noise, clicks, or distortion.

Furthermore, AI can assist in collaborative projects by analyzing individual tracks within a session and providing suggestions on how to blend them seamlessly. This enhanced workflow efficiency is crucial in today's fast-paced music industry, where producers and artists often face tight deadlines and high demands for content creation.

6. Challenges and Ethical Considerations: Despite its many advantages, the rise of AI in music production is not without challenges. One concern is the potential for homogenization in sound. As AI tools become more widely adopted, there’s a risk that many producers might rely too heavily on preset algorithms, leading to tracks that sound similar in tone and structure. This could stifle creativity and reduce the diversity of sounds within the music industry.

Another significant concern is the ethical implications of AI-generated music. If AI can compose, mix, and master music independently, where does that leave human creators? Will AI diminish the role of the artist, or will it simply become another tool in the artist's toolkit? Furthermore, as AI becomes more autonomous in the creative process, questions about copyright and intellectual property will arise. Who owns the rights to a song generated by AI? These are questions the industry will need to address as AI continues to evolve.

7. AI’s Potential to Shape the Future of Music: Looking forward, the possibilities for AI in music production are virtually limitless. As machine learning algorithms become more sophisticated, AI could help producers break new ground in genres, sonic textures, and musical forms that have yet to be explored. In the same way that AI is driving innovation in fields like medicine and robotics, it has the potential to drive a renaissance in music, pushing the boundaries of what we consider possible in sound engineering.

With AI in music production, we are likely to see a future where human creativity and artificial intelligence collaborate in ever more profound ways. This partnership could lead to groundbreaking innovations in how we create, produce, and experience music.

Conclusion:

Artificial intelligence is undeniably revolutionizing music production and sound engineering, offering unprecedented opportunities for musicians, producers, and sound designers. From AI-driven mixing and mastering to enhanced plugins and workflow automation, AI is pushing the boundaries of what’s possible in the studio. As we move further into the digital age, AI will continue to democratize music production, making high-quality sound engineering accessible to all, regardless of technical expertise or budget.

While challenges such as creative homogenization and ethical concerns remain, the benefits of AI are far-reaching. Whether it’s improving efficiency, offering new creative possibilities, or opening doors for independent artists, AI will change the future of music in profound ways. The future of sound engineering is here, and it is driven by the incredible potential of artificial intelligence.

[speak-musicdistribution]

Mastering Music Online: Top Tips for a Professional Sound

Mastering your music online can be both exciting and challenging. Here are some top tips to help you achieve a professional sound.

1. Choose Reliable Online Tools Platforms like LANDR and iZotope offer user-friendly interfaces and powerful features for online mixing and mastering.

2. Ensure a Good Listening Environment Using high-quality headphones or studio monitors is crucial for accurate mixing and mastering.

3. Learn Continuously Take advantage of online tutorials and resources to improve your skills.

4. Get Feedback Join music production communities to get constructive feedback on your tracks.

Conclusion For a more detailed guide, check out our blog post on mastering music online.

[matthewhale630]

Two pieces of technology that I would buy/already have bought for my audio workstation setup are the Focusrite Scarlett 2i2 3rd generation and 4th generation audio interfaces. Specifically, the studio recording bundle that comes with headphones and a microphone.

Both the 3rd and 4th generation interfaces connect with USB 2.0, have 2 x 2 simultaneous inputs and outputs, and have an analog to digital resolution of up to 24-bit/192kHz. However, the 4th generation is a little bit better. While the 3rd gen has two preamps, the 4th gen has four (two for microphones and two for instruments). The OS compatibility on the 4th gen is also more advanced. It requires at least MacOS 11 or Windows 10, whereas the 3rd gen requires at least MacOS 10.12 or Windows 7 SP1. Both the 3rd gen and the 4th gen come with a software bundle that includes Antares Auto-Tune Access, Softube Marshall Silver Jubilee 2555, Native Instruments Massive, Landr Studio (plus five free masters), Brainworx bx_console Focusrite SC, Focusrite Red 2 & 3 Plug-in Suite, XLN Audio Addictive Keys, XLN Audio Addictive Drums 2, Relab LX480 Essentials, and Fast Balancer. However, the 4th gen also includes a fast balancer.

The headphones included also differ. In both the 3rd gen and 4th gen, you get a Scarlett Studio CM25 MkIII condenser microphone. However, the 3rd gen comes with a pair of Scarlett Studio HP60 MkIII closed-back headphones, while the 4th gen comes with a pair of SH-450 closed-back headphones.

Personally, my 3rd gen Focusrite Scarlett 2i2 gets the job done, but I also didn’t take advantage of its full capability. If I were to upgrade my studio, I would consider replacing my 3rd gen with a 4th gen, solely because of the extra two preamps that I can use to record more instruments at once.

[thecococovlogchannel]

Hey everybody guys I wanted to let you guys I am so exited because we are officially filming the series welcome to keswick at the landR Studios I am so relieved that we are filming it over and the LandR studios and we are also filming the audio series TinystalksbuzzBlogchannel segment podcast show I am so happy that the VEED IO Pixieset productions we are Releasing both new series in 2024 TinystalksbuzzBlogchannel audio series podcast series and welcome to Keswick series episodes📲🔌

[trusttw]

Song acapella extractor

#SONG ACAPELLA EXTRACTOR HOW TO#

#SONG ACAPELLA EXTRACTOR CODE#

#SONG ACAPELLA EXTRACTOR FREE#

So give it a try and see how it sounds for your particular tracks that need extraction. Of course, if you’re doing a lot of vocal extraction with this tool you’ll need to pay for the premium plan. This one is marketed for making Karaoke versions of songs, but it also claims extract acapellas. Here’s another browser-based drag and drop vocal extraction tool. If you’re familiar with the DAW’s interface and are comfortable working with it, definitely give vocal extraction in Audacity a try! 5. While it’s definitely an edge case for using Audacity, but there’s a handful of tutorials explaining how vocal extraction can be done in Audacity. It has some powerful audio editing features and even can be used to extract vocals.

#SONG ACAPELLA EXTRACTOR FREE#

Whether you’re tightening up layered vocals, aligning vocal parts to your track or even aligning various instrument takes- Vocalign will do it all.īest of all, it comes bundled as part of LANDR Studio which gives you access to LANDR’s entire suite of tools including industry-leading instant mastering, a huge samples marketplace, digital distribution and LANDR’s new loop-based instrument plugin Chromatic.Īudacity is known to be one of the best free DAWs out there-but it's also known as one of the better audio editors available right now.Īudacity is known to be one of the best free DAWs out there. Vocalign 5 is an incredible tool from Synchro Arts that employs some powerful processing technology to align vocals to the beat of your track or remix. While it's not a vocal extractor per se, it’s certainly a valuable tool for aligning vocals with your track once you have your extracted vocals. This is definitely a choice option if you’re planning on doing a lot of vocal extraction and require a high-quality rip. Our very own Anthony Albanese uses Spleeter for vocal extracting duties on the LANDR Youtube.įortunately, you can follow these instructions to get yourself up and running with ease. The only caveat is that it takes a bit of a learning curve to use since it’s not simply a drag-and-drop app. Our very own Anthony Albanese uses this for vocal extracting duties on the LANDR Youtube channel.

#SONG ACAPELLA EXTRACTOR CODE#

Spleeter is a really good vocal extractor that uses source code hosted on Git Hub. It’s hard to say how well it separates the vocals quality-wise, it likely depends on the track you upload-but the service is certainly worth a try! 2. When you upload a song you get one file of the extracted vocal acapella and one file with no vocals-karaoke style. Supposedly, the tool uses AI algorithms to separate the vocals and create stems you can use. This one is pretty self-explanatory, it does what it says on the tin-and it’s free! With that out of the way, here’s the best free vocal extractor tools out there right now. So be very careful about extracting vocals-you may need to get clearance to do so! Using an uncleared sample can be risky-you may not be able to monetize your track or post it on streaming platforms and you could even be hit with legal action. Whether you’re remixing a track or using a sample, you need clearance from the artist that ensures everyone is getting paid fairly.

#SONG ACAPELLA EXTRACTOR HOW TO#

In this article, we’ll share our picks for the best vocal extractors out there right now and we’ll share some tips on how to get the most out of your extracted vocal.īut before we get into vocal extractors and acapella extractors it’s worth mentioning that sampling or using copyrighted material comes with some important legal considerations. Some work in your browser, others can be downloaded and some work as plugins in the DAW. There’s a handful of these tools out there, but not all of them are created equal. Vocal extractors are online tools that make it super easy to separate the vocal from a track to use for your own purposes. Have you ever heard a track that instantly inspired you? Maybe the vocal hook stood out and now you’re wondering how to extract an acapella vocal part and get it without the background music-turns out you need a vocal extractor or an acapella extractor!

[micswap]

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New @AudioMasterApp Tutorial video up on YouTube. . · · · · · · · · · · #recordingstudio #recording #music #studio #producer #podcasting #studiolife #musician #recordingsession #landr #recordingengineer #recordingstudios #musicproduction #singer #hiphop #recordings #mastering #podcaster #songwriter #musicproducer #audioengineer #singersongwriter #beatmaker #recordinggear #recordingsessions #musicstudio #voiceover #mixing #vo #beats (at New York, New York) https://www.instagram.com/p/BqxoZAJAirk/?utm_source=ig_tumblr_share&igshid=1ppepn3wa21py

[stuckinapatriarchalbullshitland]

How the music world works

Hi guys!! I’m back again with another long ass post. I’m the Italian Anon, F Anon, and, for those who don’t know, the same one who wrote: “There is a light at the end of the tunnel” – “Hi Ciao Hola” - and the “Camren timeline”. So, yeah, hi, my lovely fellows CS. 🥰

I spent the last days writing this post, Mari/Stuck can confirm this to you guys, and it’s dedicated to all those who want to understand a little bit more how this shit works. Maybe understand even more what the girls went through. There would be many more things to say, but I’ve tried to summarize as much as possible and include the things I think are the most important.

Premise: I’m not an expert. These are simply things I know because I’ve loved music since I was a kid and because I’ve always been intrigued by the music business and how it all works.

Okay, that said, grab something to eat or drink, and let’s get started:

Bear in mind that the music industry uses what are called ‘royalties’, calculated in percentages, for any form of payment.

Copyrights:There are two types of copyrights in the music world regarding a song: 1) one for master recording, and 2) one for music/composition.

1) ‘Master’ is a term used to refer to the copyright of a song’s final and effective original audio recording. The copyright of a master’s recording can belong to an artist (artists) if they’ve recorded independently, [and if they’ve recorded with a producer then also to the producer who gets a small share of the master’s rights (up to 12%) in producer royalties], or to the record label, or to the recording studio if the artist is unable to pay for the recording services, or to any other X person who financed the recording.

2) The copyright for the music/composition belongs to the authors, that is, the songwriters (lyrics) and the composers of the song (melody). Owning music copyrights allows authors to control who can play their song, or distribute it, or publicly perform it by doing a cover, or sample a piece of the original composition to use for a new song, etc. Therefore, whenever a record label or a singer wants to record a song that is not their property, they must ALWAYS apply for a ‘mechanical license’ (which allows them to do everything I’ve just written) from the authors who are the legitimate owners. These copyrights can be fully transferred and assigned to others, usually publishers, who can authorize the use of that music through the transfer of a mechanical license, issued in exchange for a money contribution (mechanical royalties).

So, to recap to better understand. If someone records an artist/songwriter’s song, they own the copyright of the recording of the master/song. They DON’T own the lyrics of the song because there’s a difference between the authors of a track and the actual owners of the master recording. The musical composition made by the authors is generally represented by a publisher, while the sound recording, made by the artist and the music producer, is generally represented by a label.

In 5H’s case, Simco Limited still owns both copyrights. First of all because, especially for Reflection and 7/27, they didn’t have the chance to write and be legally recognized as songwriters except for ‘All in My Head (Flex)’ (and I believe they definitely did ghostwrite something). And secondly because, a recording agreement states that the label becomes the owner of all the master recordings recorded by the artist during the period of the agreement. Therefore, upon signing the contract, the artist is forced to cede the copyrights of the master recording [Cede/Assign: is the transfer of ownership for the entire duration of the copyright. In the case of sound recordings, it’s 50/70 years from their release. It doesn’t matter if artists manage to reimburse all recording expenses, those recordings/songs, including unreleased recordings, will still be labels property] to the label and to the publisher, which is often the label itself. In most cases, it is. In their case it’s a little different though. Although their contracts were with Syco and Epic, record labels, it’s Simco Ltd. (Limited), holding company, that still owns the copyrights for music and sound recordings. Simco Limited (Salmon Simon) is used to own copyrights and grant licenses, and indeed, Syco, which was in a collaborative partnership with Epic (both Sony), granted the exclusive license rights to Epic. When 5H signed the contracts, they ceded both copyrights to Simco, which granted the master recording copyrights to the publisher, in 5H’s case, the publishers. Of the many they had, four of the most important ones: Simco itself, Syco, Epic, and Sony.

Publishers: Publishers are responsible for the authors’ copyrights license and administration, and part of their job, is also that of pushing authors’ music by promoting it and actively trying to get it included in TV, movies, advertisements, etc. The authors grant publishers the copyright of their musical composition through a publishing contract, and publishers are responsible for ensuring that the authors receive a royalties’ payment when their compositions are commercially used and for monitoring where this happens.

This royalties payment takes place thanks to the registration of authors’ music that publishers make to collection agencies such as MRI (Music Reports, Inc.) and HFA (Harry Fox Agency), which take and distribute mechanical royalties, usually 50/50 between publishers and authors, and ASCAP (American Society of Composers, Authors and Publishers), BMI (Broadcast Music Incorporated), and SESAC (Society of European Stage Authors and Composers), which take and distribute performance royalties, usually 70% to authors and 30% to publishers.

Labels and publishers are not always the same thing, and indeed, there are four types of publishers: 1) administrator, a person or a small company, 2) independents, 3) major publishers, (labels) such as Sony, Warner, Universal, Epic, Columbia, etc., and 4) self-publishing, an author who holds the role of publisher themselves. They all do the same job but the differences between them are two: the first one is that among the first three, the difference is in the royalties’ commissions that start from the lowest (administrator) to the highest (major publishers), and the second one is that independents and majors can also provide advances. Majors especially, advance millions of dollars to the authors in exchange for a percentage that can reach up to 50% of royalties.

Distributors: A music distribution company signs deals with record labels or artists which then give them the right to sell their music. Distributors are simply concerned with providing music to consumers, not only by taking it to the stores to sell it, but also online for both sale and streaming. Their commission varies according to the agreements, but is usually 15%. Distributors can be real stores, record labels, and digital online like: SoundCloud, LANDR, Baby CD, TuneCore, DistroKid, etc. which pass it to Spotify, Apple Music, iTunes, Tidal, Amazon Music, Deezer, Napster, Google Music, Shazam, YouTube, etc.

Ghostwriters: Ghostwriters are authors who write on commission. The musical ones, can write an entire song or even a single sentence for an artist, without of course receiving credit for doing so. That’s exactly why the name ghostwriter/s. Ghostwriters sell their songs to record labels for their artists or can be contacted specifically to write a song. When ghostwriters sell their songs, they sign a contract with a confidentiality clause and receive a payment in advance. A big payment, by the way. Some ghostwriters remain copyright owners of their song, so they not only earn on the advance received for the sale of the song, but also receive some royalties when the song is used. Other ghostwriters, on the other hand, most of them actually, also sell copyrights, and for this reason, they earn absolutely no percentage in royalties because the song they sold is no longer theirs.

Labels: Record labels earn money when their music is purchased, downloaded, streamed, and licensed for use. When an album is released, the label derives a percentage of profits from the total sales in royalties. The percentage may vary according to the agreement that the artist initially signs in the contract, and of course, the more the artist is of a high level, such as Beyoncé or Rihanna, the lower the percentage obtained from the label. The percentage can be 97%, or 95%, or 90%, or 88%, or 85%, or 83%, and so on, but usually never below 75% unless the label is an independent label. The remaining percentage, whether it’s 3%, 5%, 10%, 12%, 15%, 17%, and so on, is given to the artist. But before the artist is paid, there’s the ‘recoupment’, that is, the label recovers all the expenses invested. And from their percentage, the artist has to subtract royalties that are to be distributed to the producers of the songs, to management managers, to the business managers, to the lawyer, etc. Producers’ royalties vary from 1 to 3% of the record’s selling price, managers’ ones vary from 15 to 20%, and business managers’ and lawyer’s ones are usually 5%. AFTER the costs have been reimbursed, the artist gets paid.

When an artist is signed by a label, the latter buys some songs for the album from authors and ghostwriters, and invests on the artist by giving them an advance to make that album. This advance is mainly reserved to pay for the recording of the album, and this means paying for the recording costs, which include the payment of the recording studio or more recording studios, the payment of instruments and equipment, the payment of producers, arrangers, assistants engineer, recording engineers, editing engineers, mixing engineers, and mastering engineers, the payment of the artwork that includes covers for the album and singles, both printed and digital, album booklet, promotional pictures, merchandising, etc., etc., but a part of this (advance), is given to the artist as ‘living expenses’, that is, as personal use.

Example: Let’s say the label gives $100,000 in advance to the artist. $80,000 must be reserved for recording expenses and the remaining $20,000 are artist’s for personal use. If this $80,000 are enough to record the album, things remain unchanged, but it may happen that it takes more money to record, or even less. If it took less, that money is added to what the label gave the artist for personal use. Let’s say that it took 70,000 to record the album, the remaining 10,000 are added to the artist’s 20,000, thus becoming $30,000. If, on the other hand, it took more, the artist must pay the difference or the label has the right to terminate the contract. Let’s say it took 90,000 to record the album, it’s up to the artist to take $10,000 from the 20,000 of their living expenses and add it, in the hope that they haven’t already spent it all on jewelry, clothes, and cars as many artists have done in the past, thus finding themselves in debt to the label from the very beginning. Same thing if it took more than 100,000 to record the album; the artist starts getting into debt even before the album is released and the label could conclude the contract. But, if the label exercises their option for another album, cross-collateralization takes place. Cross-collateralization allows the label to sequentially recover the money advanced for past, present, and future albums, considering them as a single total advance. Example: the label advanced the artist $200,000 to record the first album and $300,000 for the second one. For the first one, they only managed to return half, and for the second one, 200,000. These two debts (100,000+100,000), accumulate together by becoming a single debt to be paid in the third album.

It’s therefore important that the artist doesn’t go over budget, especially because, in addition to the advance to make the album, the label advances the artist more money to pay for many other things, such as music videos, promotions, designers and costume designers, make-up artists, choreographers, travel, merchandise, tours, etc., along with paying the management to advertise such as, booking TV shows, paying radio stations to play their music, and SO on. So, basically, the investment that the label makes towards the artist concerns:

1) the purchase of some songs.

2) the advance, which includes 3) the recording costs, which in turn include the payment of the recording studio/s, the payment of instruments and equipment, the payment of producers, arrangers, engineers, artwork, etc., 4) and 50% of marketing and promotional and legal costs.

Then 5) the packaging costs that vary from 15 to 25%, which include: both the physical sale (CDs, vinyl, cassettes) and the digital download of the album despite the fact that there’s literally nothing to physically pack, - the breakage costs which vary from 10 to 20%, and which are a precaution for possible breakage (CDs, vinyl, cassettes) during shipping, - the digital breakage costs, which is completely ridiculous given that, especially in this case, there’s literally nothing to physically pack, - the free goods which vary from 10 to 20%, and which concern a certain number of album copies that the label gives to distributors, radios, and other entities for promotional purposes, and since these goods are NOT considered as sold, the artist doesn’t compensate for those free albums since they’re paid only for (physical and digital) sales and streaming of the album, - and the reserve costs which are a precaution that the label takes by temporarily withholding a small percentage of the artist, considered to be a reserve, against potential returns that happen only when the stores send back the unsold albums to distributors by receiving a refund.

6) 50% of the video production costs from which the label usually also derives 50% commission on the royalties’ share earned by the artist.

And lastly, 7) the tour support costs.

Royalties and licenses, and there are several:

The artist royalties, also known as recording royalties and master-generated royalties, are those earned by the label and the artist thanks to the sales of their music. Whether it’s the digital sale, or if it’s downloaded, or streamed, or whether it’s the physical sale, that is that of a CD, or of vinyl, or of a cassette. The royalties are collected by the distributors, who draw up a maximum of 15% commission, to then distributing them in division to the label and the artist on the basis of the agreements made. Let’s say, for example, 85% on the label and 15% on the artist.

The mechanical royalties, like artist royalties, are those generated by all old and new music formats such as: CDs, vinyl, cassettes, digital downloads, and streaming services. But unlike artist royalties, these are earned by authors (songwriters and composers) when the song is: played and sold as a ringtone, streamed through on-demand services (e.g.: Spotify and Apple Music), sold for digital download (e.g.: iTunes and Amazon), performed by someone else as a cover, sampled and used for a new song [in addition to the mechanical license (the rights in the form of permits granted by the authors to use their music), a master license (the rights in the form of permits granted by the owner of the master recording to use a pre-recorded version, therefore with the voice of the artist who sings the song, of a song in a video or audio project, but doesn’t allow to be recorded again with a voice other than that of the original singer) is required to do so], modified in other versions (like for e.g. a remix of the same song) and performed by someone else (besides the mechanical one, it requires a master license to do so), and bought from a store (usually it happens with albums and not with single tracks).

These royalties are collected by a mechanical licensing organization such as Music Reports, Inc. (MRI, which manages those of Apple, Pandora, Amazon, SiriusXM, Microsoft, etc.) or the Harry Fox Agency (HFA, which manages those of major record labels: Sony, Universal, and Warner), which usually draw 11/12% commission from them and then distribute them in division to publishers and authors for musical composition. A single streaming listen generates both mechanical and public performance royalties. But to make a single dollar, on Spotify for example, it’s necessary to obtain about 230 streams on that song. Artists DO NOT earn any mechanical royalty unless they’re writers or co-writers of the song.

The public performance royalties are earned when a song is broadcast or performed publicly. That is, when a song is broadcast on the radio, on TV, or at the movie theater, or at a game, or in a club, or in a restaurant, or in a hotel, or in a shop, or in a gym, or from a jukebox, or in a live concert, etc., etc. Organizations such as BMI (Broadcast Music Incorporated) and ASCAP (American Society of Composers, Authors and Publishers) also called PRO (Performance Rights Organization) where songs are registered with licenses and legal rights and which (these organizations) protect and act on behalf of those who hold the copyrights of authors and publishers, even granting public performance licenses (the rights in the form of permits granted by authors to use their music in public), are the ones that collect these royalties by usually drawing 16/18% commission, to then distributing them in division to publishers and authors for musical composition. Another PRO organization such as SoundExchange, on the other hand, is responsible for collecting royalties by usually drawing 14/15% commission, and then distributes them to: the featured artists of the song, usually at 45%, to the copyright owners for the master recording (usually the label) at 50%, and to the non-featured artists (artists not present in the song) such as for e.g. chorists, at 5%. As with mechanical royalties, artists DO NOT earn any royalty from public performances unless they’re writers or co-writers of the song.

*** Remember how I said earlier that management (through the label) pays radio stations to play their artist’s music? Well, that’s because radio stations have to pay a PRO organization in their turn to be able to play it, and in short, if they want to work. Basically, based on what the artists/management have paid to have their song played, the radio stations create a list of all the songs. About once a month, the radio stations deliver the list, which indicates which songs they’ve played and how many times they’ve played them, to BMI or ASCAP, on the basis of who they have agreements with, or to both. Radio stations have to pay a blanket license (the rights in the form of permits granted by authors and issued by PRO organizations to have access to a part or complete repertoire of authors’ songs for a fixed annual fee. Such as, for example, precisely a radio station, or a shopping mall that wants to play background music) fee to BMI or ASCAP, which then in their turn transfer the money/royalties to songwriters, composers, publishers, and record labels. Each track’s play that one of the biggest commercial radio stations does, generates about $12 in royalties. Those 12 dollars, multiplied by every single time the song has been played on the radio, are collected by BMI or ASCAP, then equally divided, and delivered. If an artist wants their single on the radio, they pay about $500 to $1,000 to $2,000. If they want it to be played often and advertised more, they pay between $100,000 and $125,000. And for the single to become the number one hit on the radio, the artist has to pay around $200,000, sometimes it can cost over $350,000/400,000. Costs vary depending on the radio station and the competition. Payola isn’t a practice that’s SO illegal after all, since EVERYBODY does it! Ask the song Despacito that. Oh, hey! Hey, girl, how ya doin? I saw that Baby Shark, a fucking children’s song, top you on YouTube. ***

The synchronization royalties are generated when copyrighted music is paired or ‘synchronized’ with visual media, such as: movies, trailers, tv shows, commercials, video games, music videos, etc. In the case of movies, royalties are also generated both for performance, derived from the performance of the song at the movie theater and on TV, and mechanicals, derived from the physical and digital sales of the soundtrack. If, for example, a person wants to use a copyrighted song for their YouTube video, along with the synchronization license (the rights in the form of permits granted by the authors and issued by PRO organizations to use the authors’ music coupled with visual media, and unlike the master license, this allows to re-record the song with a voice different from that of the original singer), they will need the master license by making an agreement with the owner of the master recording, such as a record label. Just as with performance royalties, these are collected by PRO organizations and distributed among publishers and authors. Artists earn from these royalties too.

The copyrights royalties belong to the authors of the song. Authors, who may be songwriters and composers, grant their rights as authors and copyright owners to publishers. Royalties are divided between publishers and authors. Very often, 50/50 for both synchronization royalties and mechanical royalties, but this depends a lot on the agreements made between them. As for mechanical royalties, if publishers have provided an advance, the percentage they’re entitled to can be up to a maximum of 50% royalties. Authors are guaranteed a minimum of 50%, and some agreements can give them up to 90% of the profits. If an author is self-published, in the sense that they act as their own publisher, they can receive 100% of the mechanical royalties. As for performance royalties, on the other hand, publishers receive 30% and authors 70%. Based on how many songwriters and composers there are, that 70% is divided into equal parts. For example, if it’s two of them, 35% and 35%. Unless, by mutual agreement, they decide to divide them differently, like: 50% and 20%, or 47% and 23%, or 60% and 10%, always to reach 70%. It usually happens when one of them has contributed more to the song.

Print license, the rights in the form of permits granted by authors to be able to make copies or reprint the lyrics of the scores of one of their songs. Theatrical license, the rights in the form of permits granted by authors to use their song on a theatre stage in front of an audience.

Basically, the artist earns very little or no earnings at all because they get into debt, especially if they’re not a songwriter and don’t co-write their music. The way in which the artist really earns is thanks to merchandising and the tour. The artist takes the percentage that varies from 75 to 90% of the ticket price. Labels, on the other hand, gain on all fronts. They earn mainly thanks to 360-degree contracts, also called multiple rights deals, which allows them to receive a percentage of artists’ ancillary rights, that is, artists’ earnings deriving from everything they do. So, not only do they earn when their artists’ music is physically and digitally purchased, streamed, and licensed for use, but they also earn from songwriting incomes, concert and live performance incomes, merchandise sales, licensing, endorsement and sponsorship deals, movie and TV appearances fees, ringtone sales, etc., etc.

Like, for example, once the artist signs the recording agreement and the labels become the owners of all the master recordings, they put the artist to work with songwriters chosen by them to write songs that the artist sings, and they earn from the public performance licenses (having the songs put on the radio, in movies, on TV, etc.) they have granted as publishers. And in this case, not only do they earn royalties that go half to publishers (themselves) and a half to the songwriters they hired (and IF, only IF the artist has written something in the song, then they get their share which is also made in half with the songwriters), but also by having the artist sign a mechanical license agreement that allows them to release CDs, vinyl, cassettes, sell digital downloads, and streaming services. The artist then gets into debt with the labels, usually with advances of millions, and tries to earn on tour with the proceeds from ticket sales and merchandising to pay back all the advances. They find themselves in deep shit, also because those debts will be carried on in the next albums thanks to cross-collateralization, and if they try to rebel, the labels stop promoting them and their songs, and as a result of that, sales decrease by cornering the artist even more since they would no longer earn their artist royalties. It can also happen that, when they’re under enough pressure, the artist can be dropped by the labels in exchange for the absolute renunciation of all rights of their own music. When this happens, the labels/publishers start to strongly promote the artist because by then, they and their writers are the ones to get all the money. None for the artist.

Practical examples about 5H to explain everything:

I would like to clarify that, except for the actual sales numbers of the albums I researched, these are examples of numbers I invented. I’m gonna base the real data on invented numbers to help you understand how it all works. In truth, there would be a lot more things to calculate than what I’m gonna show and, of course, the numbers are much higher in the real world as we’re talking about major labels that are known to be willing to advance millions. In my examples, 5H will not be indebted into the final earnings estimates. The reality is, however, that the girls were in debt. At 100%, at least definitely until 2016. Having said that, we can start with their EP: ‘Better Together’.

The Better Together era lasted for a year, to be more precise, from July 16, 2013, with the release of ‘Miss Movin’ On’, until July 7, 2014, when they released ‘BO$$’. As I’ve already said, I’m gonna only use the real sales data of the albums, in this case, the EP. I won’t use anything else, although I know they made money from other projects. Therefore, I won’t include the earnings from: ‘Juntos’, the covers they did on YouTube (‘Thinkin’ Bout You’ by Frank Ocean, ‘American’ by Lana Del Rey, ‘Lego House’ by Ed Sheeran, ‘Stay’ by Rihanna, ‘Red’ by Taylor Swift, and ‘Honeymoon Avenue’ by Ariana Grande), the two covers (‘Mirrors’ by Justin Timberlake and ‘When I Was Your Man’ by Bruno Mars) they did with Boyce Avenue in their EP ‘Cover Collaborations, Vol. 2’, the collaboration they made with Mattel who launched the Barbie doll collection inspired by them ($19,99 each), together with the promotional song (‘Anything Is Possible’, + the video) and the episode (‘Sisters’ Fun Day!’) in which they appeared as their dolls, the collaboration with AwesomenessTV for the takeovers (from 2013 to 2015), the appearance in the episode 2x06 of Faking It, the collaboration with Wet Seal for their clothing lines, etc., etc.

As for Better Together, Fifth Harmony sold a total of 120,000 copies worldwide, of which 51,000 album-equivalent units and 69,000 traditional sales. In America, the album-equivalent unit is calculated as follows: the sale of 1 album is equivalent to 10 songs downloaded, which in turn are equivalent to 1,500 streams of a song. 51,000x1,500= 76,500,000 streams. 382,500 in royalties from Apple Music, 306,000 from Spotify. I’m gonna use only and exclusively Apple’s royalties in my examples, so let’s pretend that all the royalties they earned from selling the album-equivalent units (51,000), come from there. Now, the original price of the album was $4,99, and having sold 69,000 copies of the physical album (CD), we get the sum of ($69,000x4,99=) $344,310. The sum of both sales brings us to a total of ($382,500+344,310=) 726,810 dollars/royalties earned.

We know that Simco Ltd. gave the exclusive license rights to Epic, which invested the money and then shared the profits with Syco. Therefore, we know that it was Epic that gave 5H the advances to record the albums. We also know that things were pretty bad until the end of December 2015, when thanks to the intervention of Dina LaPolt (the musical lawyer they hired at that time – she didn’t represent C), they managed to renegotiate and adjust their contracts. Dina said: “Every agreement they signed, were the worst I’ve ever seen in the music business”, and thanks to that, we can imagine how high the profits Epic and Syco made. Of those 726,810 royalties earned from EP sales, let’s imagine that Epic, according to Dina’s words, made 92% of profits from the girls’ artist royalties. 726,810-8%= 668,665.2, rounded 668,665, *I’m gonna round all numbers automatically*, from which Epic subtracts 15% commission to give to the distributors (like Sony Music Entertainment) of the album (668,665-15%= 568,365), before splitting the sum in half with Syco (568,365÷2= 284,183). All this would leave (726,810-92%=) 58,145 royalties to 5H.   …right? No. Why?? Because before being paid, they have to subtract the royalties to give to producers (let’s imagine 3%), management managers (let’s imagine 20%), business managers (let’s imagine 5%), and the lawyer (let’s imagine 5%), [actually a lot of other people too, but I’m gonna just calculate these], and then, most importantly, the recoupment happens.

Epic recovers:

1) The advance, which let’s imagine to be $380,000. Of these $380,000, $250,000 was initially intended to cover the costs of creating an album (LP), but since they eventually opted for an EP, let’s imagine that the advance dropped to $300,000. Now, of these $300,000, 190,000 had to cover:

2) the recording costs, which included the payment of recording studios (there were six for the EP), the payment of instruments and equipment, the payment of arrangers, assistants engineer, recording engineers, editing engineers, mixing engineers, and mastering engineers, the payment of the artwork that includes covers for EP and singles, both printed and digital, EP booklet, promotional pictures, merchandising, etc., etc.

3) 50% of the video production costs, that is, the costs for the music video of the first official single extracted from the EP, let’s imagine $50,000 for ‘Miss Movin’ On’, therefore $25,000.

and 4) 50% of the marketing and promotion costs for ‘Miss Movin’ On’ and the EP: radio stations, TV shows, interviews, billboards, magazines, advertising on websites and social media, merchandising, etc. Let’s imagine 150,000, therefore 75,000, thus leaving (300,000-190,000-25,000-75,000=) $10,000 as living expenses, (10,000÷5=) 2,000 each.

But that’s not all. Epic also advanced other money during the EP era, and also recovers these:

5) the packaging costs, let’s imagine that they are 20%, which include the breakage costs, let’s imagine 10%, and the free goods, let’s imagine 10%.

3²) 50% of the video production costs for the second music video extracted from the EP as a promotional single (‘Me & My Girls’), let’s imagine another $40,000, therefore $20,000. [So from here, the label not only recovers the anticipated costs for making the videos, but they usually even get 50% commission on the artist’s share of royalties earned on the views].

And lastly, 6) the tour support costs: book and promote tour dates, make sure of having approval and sponsorship agreements, hire a team for the tour, travel, hotels, restaurants, choreographies, costumes, makeups, tour merchandise, etc. Let’s imagine $300,000 for all seven tours [Four tours of their own (2013: Harmonize America Mall Tour. 2013: Fifth Harmony Theatre Tour. 2014: The Worst Kept Secret Tour. 2014: Fifth Times A Charm Tour), plus the three for which they were the opening acts (2013: Cher Lloyd, I Wish Tour. 2014: Demi Lovato, Neon Lights Tour. 2014: Austin Mahone, Live on Tour)].

Having co-written three out of seven songs on the EP, the girls earned: let’s imagine 70% public performance royalties (minus let’s imagine 14% to give to PRO organizations), 50% synchronization royalties (minus let’s imagine 14% to give to PRO organizations), and 50% mechanical royalties (minus let’s imagine 11% to give to mechanical licensing organizations such as MRI and HFA) as songwriters. Therefore, we’re gonna do: 100% of performance royalties, minus 14% to give to organizations, is equal to 86% (100-14=86). 86% is to be divided between 30% that goes to publishers, and 70% that goes to the girls. 30% of 86 is 25.8/26, while 70% is 60.2/60 (60.2+25.8=86 / 60+26=86). Same thing with synchronization royalties (100-14=86. 50% of 86 is 43), and mechanical royalties (100-11=89. 50% of 98 is 44.5/45). The sum of 5H royalties is (60+43+45=) 148.

These 148 are now to be divide with the other songwriters of the three songs. For ‘Don’t Wanna Dance Alone’, they are to be divide with two songwriters (Julian Bunetta, Andre Merrit), for ‘Who Are You’ with three (Julian Bunetta, PJ Bianco, Nasri Atweh), and for ‘Me & My Girls’ with four (Julian Bunetta, PJ Bianco, Beau Dozier, John Ryan). Six songwriters to divide them with. I say six because Julian Bunetta is in all three songs, while PJ Bianco is in two. Therefore, let’s divide the royalties between 5H and the six other songwriters: 148÷7= 21. This would be 5H’s gain for performance, synchronization, and mechanical royalties. [It’s obviously not a complete calculation because to that number, the numbers of plays and sales of the three songs taken individually must be added. I remind you that this is just a generic example to help you understand how it works]

By doing all the calculations:

[300,000 (initial advance) – 10,000 (living expenses)] = 290,000 (recording costs, ‘Miss Movin’ On’ video, marketing and promotion) + 20,000 (‘Me & My Girls’ video) + 300,000 (tour support) = 610,000.

58,145 (artist royalties earned) – 73% [3% (to be given to the EP producers which were three) + 20% (to be given to the management managers) + 5% (to be given to the business managers), + 5% (to be given to the lawyer), + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods)] = 15,699.

15,699-610,000= -594,301.

This, would be 5H’s proceeds. $594,301, (594,301÷5=) $118,860 each, of debt with labels. Now, let’s imagine a $1 million profit from the seven tours, from which let’s imagine that 5H took 80% on the sale of a ticket price. Not owning their trademark (5H Partnership) yet, and as crappy as their contracts were, let’s imagine they didn’t get any percentage from the tour’s merchandise.

1,000,000-20%= 800,000. By subtracting the debt from this new figure, we get: 800,000-594,301= 205,699.

205,699 + 21 (performance, synchronization, and mechanical royalties earned) + 10,000 (living expenses) = 215,720.

And lastly, by dividing the share equally among the girls, we get: 215,720÷5= 43,144. ß This, would be the final figure of the total dollar earnings per head of 5H’s Better Together era, which I remind you lasted for a year. A spit, basically… But, if the tours hadn’t compensated enough to overcome the label debt, cross-collateralization would’ve occurred. That debt, let’s imagine the same debt that I mentioned earlier, -594,301, would’ve been carried on for the next album if the label had exercised the option of recording another one (-594,301+-594,301= -1,188,602), and the next one (-594,301+-1,188,602= -1,782,903), and so on, more and more accumulating with variations of increases or decreases in the debt figure based on how much the girls would’ve been able to pay off whenever it was possible for them.

Oh and, I forgot. From that figure, that one of the total earnings (215,720), they also had to pay taxes…

Even in this case, I’m gonna only use the real total sales data of the album: ‘Reflection’. And even in this case, I won’t use anything else, although I know they made money from other projects. Therefore, I won’t include the gain on: the two songs they did for the Christmas EP ‘I’ll Be Home For Christmas’ (‘Noche De Paz’ and ‘All I Want for Christmas Is You’ ß + the video) along with other singers, the collaboration with Clean & Clear for which they recorded a series of commercials to promote their products, the collaboration with Candie’s for which they became the face of the ‘5 Girls, 5 Styles’ campaign by also releasing the promotional song (‘Rock Your Candie's’ + the video), the cover of ‘Uptown Funk’ (+ the video) by Mark Ronson ft. Bruno Mars which they did together with Jasmine V., Jacob Whitesides, and Mahogany Lox to promote the tour, the soundtrack for the movie ‘Hotel Transylvania 2’ (‘I’m In Love With A Monster’ + the video), the song ‘Sin Contrato’ with Maluma, etc., etc. The Reflection era lasted for about a year and seven months, to be more precise, from July 7, 2014, with the release of ‘BO$$’, until February 26, 2016, when they released ‘Work from Home’.

As for Reflection, in America alone, Fifth Harmony sold a total of 142,000 copies at the debut, of which 80,000 were album-equivalent units and 62,000 traditional sales. By February 2016, the album sold 155,000 copies (in America alone), so let’s imagine 93,000 album-equivalent units and 62,000 traditional sales. 93,000x1,500 (the album-equivalent unit) = 139,500,000 streams. 697,500 in royalties from Apple Music. The original price of the album was $9,99, and having sold 62,000 copies of the physical album (CD), we get the sum of (62,000x9,99=) $619,380. The sum of both sales brings us to a total of (697,500+619,380=) 1,316,880 dollars/royalties earned. Since we know that they didn’t hire Dina before the end of December 2015, of those 1,316,880 royalties earned from the album’s sales, let’s imagine that Epic still made 92% of the profits from the girls’ artist royalties. 1,316,880–92%= 105,350. 105,350 royalties that we know didn’t go directly to them without first having subtracting those to be given to the producers (let’s still imagine 3%), to the management managers (let’s imagine 15% because they decrease every year), to the business managers (let’s still imagine 5%), to the lawyer (let’s still imagine 5%), and the recoupment.

Epic recovers: 1) the advance, which let’s imagine to be $400,000. Of these $400,000, $270,000 had to cover: 2) the recording costs, which included the payment for the recording studies (there were three for Reflection), etc.; 3) 50% of the video production costs of the first official single extracted from the album, let’s imagine $80,000 for ‘BO$$’, therefore $40,000; and 4) 50% of the marketing and promotion costs for ‘BO$$’ and the album: radio stations, interviews, etc. Let’s imagine 170,000, therefore 85,000, thus leaving (400,000-270,000-40,000-85,000=) $5,000 as living expenses, (5,000÷5=) 1,000 each.

Then Epic recovers the rest of the money advanced during the Reflection era: 5) the packaging costs, let’s imagine that they’re still 20%, which include the breakage costs, let’s still imagine 10%, and the free goods, let’s still imagine 10%. 3²) 50% of the video production costs for the music videos of the other two single extracts from the album, let’s imagine 65,000 for ‘Sledgehammer’ and 95,000 for ‘Worth It’, (65,000+95,000=) $160,000, therefore $80,000. And lastly, 6) the tour support costs, let’s imagine $500,000 for all three tours (The Reflection Tour, Reflection: The Summer Tour, European Reflection Tour).

Since they couldn’t didn’t co-write anything for this album, the only royalties they earned were artist and synchronization ones (minus let’s still imagine 14% to be given to PRO organizations). 100-14=86. 70% of 86 is 60,2/60. On this album, they have three featuring (‘Worth It’ ft. Kid Ink, ‘Like Mariah’ ft. Tyga, ‘Brave Honest Beautiful’ ft. Meghan Trainor), and for this, we have to subtract let’s imagine 14% of commission royalties collected by SoundExchange, which then deals with distributing them to the featured artists of the songs.

By doing all the calculations:

[400,000 (initial advance) – 5,000 (living expenses)] = 395,000 (recording costs, ‘BO$$’ video, marketing and promotion) + 160,000 (‘Sledgehammer’ & ‘Worth It’ videos) + 500,000 (tour support) = 895,000.

105,350 (artist royalties earned) – 82% [3% (to be given to producers) + 15% (to be given to the management managers) + 5% (to be given to the business managers), + 5% (to be given to the lawyer), + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods) + 14% (collected by SoundExchange)] = 18,963.

18,963-895,000= -876,037.

$876,037, (876.037÷5=) $175,207 each, of debt with labels. Now, let’s imagine a gain of $3 million from the three tours, from which let’s imagine that 5H still took 80% on the sale of a ticket price. Not owning their trademark (5H Partnership) yet, let’s still imagine that they didn’t get anything from the tour merchandise. 3,000,000-20%= 2,400,000. By subtracting the debt to this new figure, we get: 2,400,000-876,037= 1,523,963.

1,523,963 + 60 (synchronization royalties earned) + 5,000 (living expenses) = 1,529,023. And lastly, by dividing the share equally among the girls, we get: 1,529,023÷5= 305,805. This, is the total gain of 5H’s Reflection era, which I remind you lasted for about a year and seven months. Still a spit considering how hard they worked, and considering I didn’t include taxes payment.

Let’s conclude with the real data of the total sales of the album: 7/27. By the end of November 2016, Fifth Harmony sold a total of 1,600,000 copies worldwide, of which 1,075,000 album-equivalent units and 525,000 traditional sales. 1,075,000x1,500 (the album-equivalent unit) = 1,612,500,000 streams. 8,062,500 in royalties from Apple Music. The original price of the deluxe album was $13,99, and having sold 525,000 copies of the physical album (CD), we get the sum of (525,000x13,99=) $7,344,750. The sum of both sales brings us to a total of (7,344,750+8,062,500=) 15,407,250 dollars/royalties earned.

Now, what happened here? Thanks to Dina’s entry, there have been a lot of changes. The first one was the fact that they no longer had Eric Greenspan as their lawyer, but Dina herself and Jessie Winkler (who works for Dina at her law firm, LaPolt Law, P.C.). The second one, the change of management. They used to have Jared Paul and Janelle Lopez from Faculty Management. After: Larry Rudolph, Dan Dymtrow, and Tara Beikae from Maverick Management. The third one, their contracts were renegotiated for the better and LAND became the owner of the trademark (5H Partnership) from April 27th, exactly one month before the album’s release, finally being able to earn from their name.

Of those 15,407,250 royalties earned from the album’s sales, let’s imagine that Epic, according to the new agreements made, made 85% of the profits from the girls’ artist royalties. 15,407,250-85%= 2,311,088 royalties which, as we’ve seen, don’t go directly to them without first having subtracted those to be given to producers (let’s still imagine 3%), to management managers (since they were new, let’s still imagine 20%), to business managers (let’s still imagine 5%), to lawyers/Dina&Jessie (let’s still imagine 5%), and the recoupment.

Epic recovers: 1) the advance, which let’s imagine to be $1,000,000. Of this million dollars, 570,000 had to cover: 2) the recording costs, which included the payment of the recording studios (there were two for 7/27), etc.; 3) 50% of the video production costs of the first official single extracted from the album, let’s imagine $250,000 for ‘Work from Home’, therefore $125,000; and 4) 50% of the marketing and promotion costs for ‘Work from Home’ and the album: radio stations, interviews, etc. Let’s imagine 370,000, therefore $185,000, thus leaving (1,000,000-570,000-120,000-185,000=) $120,000 as living expenses, (120,000÷5=) 24,000 each.

Then Epic recovers the rest of the money advanced during the 7/27 era: 5) the packaging costs, let’s imagine that they still are 20%, which include breakage costs, let’s still imagine 10%, and free goods, let’s still imagine 10%. 3²) 50% of the video production costs for the music videos of the other two singles from the album and for the promotional one, let’s imagine 180,000 for ‘All in My Head (Flex)’, 350,000 for ‘That’s My Girl’, and 70,000 for ‘Write on Me’ (180,000+350,000+70,000=) $600,000, therefore $300,000. And lastly, 6) the tour support costs, let’s imagine $800,000.

Even in this case, they couldn’t didn’t co-write anything for this album except for ‘All in My Head (Flex)’, but let’s pretend they didn’t have credit for that song. Therefore, let’s imagine that the only royalties they earned were artists and synchronizations ones (minus let’s still imagine the 14% to give to PRO organizations). 100-14=86. 70% of 86 is 60.2/60. Also on this album they have three featuring (‘Work from Home’ ft. Ty Dolla $ign, ‘All in My Head (Flex)’ ft. Fetty Wap, ‘Not That Kinda Girl’ ft. Missy Elliott), and for this, we have to subtract let’s still imagine 14% commission royalties collected by SoundExchange. By owning their trademark (5H Partnership), they not only earned on merchandising, but they also earned on brand licenses (which vary from 25 to 30% according to the agreements), which they granted to Simco, Epic, Syco, and Sony so that they could use their name associated with the music for the album, the tour, etc. Let’s imagine 27%, to stay on topic.

Since Camila wasn’t part of the partnership, I’m gonna do all calculations in division between her and LAND:

[1,000,000 (initial advance) - 120,000 (living expenses)] = 880,000 (recording costs, ‘Work from Home’ video, marketing and promotion) + 300,000 (‘All in My Head (Flex)’, ‘That’s My Girl’, and ‘Write on Me’ videos) + 800,000 (tour support) = 1,980,000.   1,980,000÷5= 396,000 ©,   396,000x4= 1,584,000 (LAND).

2,311,088 (artist royalties earned) - 87% [3% (to give to producers) + 20% (to give to management managers) + 5% (to give to business managers) + 5% (to give to lawyers) + 20% (packaging costs) + 10% (breakage costs) + 10% (free goods) + 14% (collected by SoundExchange)] = 300,441.   300,441÷5= 60,088 ©,   60,088x4= 240,352 (LAND).

60,088-396,000= -335,912 ©.   240,352-1,584,000= -1,343,648 (LAND).

From LAND’s debt figure, let’s subtract 27% of the earnings occurred thanks to the commissions received from the brand licenses. 1,343,648-27%= 980,863.

Thanks to these calculations, we were able to see that Camila had a debt of $335,912 with the labels, and LAND of 980,863, (980,863÷4=) $245,216 each.

Now, the real box-offices earnings data for the tour are $5,100,000 for 31 concerts. The concerts of that tour, and therefore of 2016 with still Camila, were 58. Including those 27 non-calculated concerts, let’s imagine that the total profit was $5,110,000. Let’s also imagine the merchandising gain was $890,000. $5,110,000, minus, let’s still imagine the 80% profit on the sale of a ticket price, is equal to (5,110,000-20%=) $4,088,000.   4,088,000÷5= 817,600 ©,   817,600x4= 3,270,400 (LAND).

By subtracting the debts to this new figure, we get: 817,600-335,912= 481,688 ©,   3,270,400-980,863= 2,289,537 (LAND).

60 (synchronization royalties earned) ÷5= 12.   12x4= 48.   481,688+12= 481,700 ©.   2,289,537+48= 2,289,585 (LAND).

120,000 (living expenses) ÷5= 24,000.   24,000x4= 96,000.   481,700+24,000= 505,700 ©.   2,289,585+96,000= 2,385,585 (LAND).

2,385,585+890,000 (merchandising earnings) = 3,275,585 (LAND).

These, are the total earnings of the 7/27 era divided among the girls, taxes to be paid not included. Camila: $505,700. LAND: 3,275,585 (3,275,585÷4=) $818,896 each.

Think about ‘FIFTH HARMONY Rehearses before Winning at RADIO DISNEY MUSIC AWARDS!’ takeover recorded in April 2014: Kevin Maher: “Last one on the floor pays $5!”, Lauren the living meme Jauregui: “NOT MEEEE!!!!”

Think about the ‘Fifth Harmony “We’re not rich!"’ interview with Live! Starring … You! posted on April 14, 2014: Camila: “We’re literally more broke than we were before the competition”, Lauren: “EXCUSE ME!!! I can only afford the bus, taxis are expensive!!”, Normani: “We have like Ritz crackers for dinner”, Camila and Normani: “We’re bankrupt”.

Think about the two leaked audios: Lauren: “They’re making decisions on a regular basis, to fuck us over, to make us literal slaves, like literally slaves, Ally”   Ally: “I know, I know, I know”   Lauren: “We’re doing fucking labor every day and we see nothing”. – Camila: “Sorry I couldn’t come down today. They were actually working us to the fucking bone. We did like, literally five songs”.

Does it all make a little more sense now?

Aaand here we are. I hope you enjoyed it and that this too was worth the long ass reading. I’d like to thank Mari as usual for giving me the opportunity to post on her blog. Thanks, buddy, I really appreciate that 🤗😊

I ❤️ u, guys. Please stay safe. Stay patient. Stay strong. And stay woke, especially for what’s coming in these months. Always with love, F.

__ 💖

[elcinelateleymickyandonie]

Jean-Pierre Aumont.

Filmografía

Cine

1931 : Jean de la Lune, de Jean Choux, con Michel Simon y Madeleine Renaud

1931 : Échec et mat, de Roger Goupillières

1932 : Faut-il les marier ?, de Pierre Billon y Karel Lamač

1933 : Dans les rues, de Victor Trivas

1933 : Un jour viendra, de Gerhard Lamprecht y Serge Véber

1933 : La Merveilleuse Tragédie de Lourdes, de Henri Fabert

1933 : Ève cherche un père, de Mario Bonnard

1934 : Lac aux dames, de Marc Allégret, con Simone Simon y Michel Simon

1934 : Le Voleur, de Maurice Tourneur, con Victor Francen

1934 : Maria Chapdelaine, de Julien Duvivier, con Madeleine Renaud y Jean Gabin

1935 : Les Yeux noirs, de Victor Tourjansky, con Harry Baur, Viviane Romance y Simone Simon

1935 : L'Équipage, de Anatole Litvak, con Annabella y Charles Vanel

1935 : Les Beaux Jours, de Marc Allégret, con Simone Simon y Raymond Rouleau

1936 : Tarass Boulba, de Alexis Granowsky, con Harry Baur y Danielle Darrieux

1936 : La Porte du large, de Marcel L'Herbier, con Victor Francen

1937 : Le Chemin de Rio, de Robert Siodmak, con Jules Berry y Suzy Prim

1937 : Drôle de drame ou L'étrange aventure de Docteur Molyneux, de Marcel Carné, con Louis Jouvet y Michel Simon

1937 : Le Messager, de Raymond Rouleau, con Jean Gabin y Gaby Morlay

1937 : Maman Colibri, de Jean Dréville

1937 : La Femme du bout du monde, de Jean Epstein, con Charles Vanel

1938 : Chéri-Bibi, de Léon Mathot, con Pierre Fresnay

1938 : Hôtel du Nord, de Marcel Carné, con Annabella, Louis Jouvet y Arletty

1938 : Le Paradis de Satan, de Félix Gandéra, con Pierre Renoir

1938 : Belle Étoile, de Jacques de Baroncelli, con Michel Simon

1939 : Le Déserteur, de Léonide Moguy

1939 : S.O.S. Sahara, de Jacques de Baroncelli, con Charles Vanel

1943 : Assignment in Brittany, de Jack Conway

1943 : The Cross of Lorraine, de Tay Garnett, con Gene Kelly

1944 : Croix de Lorraine en Italie, corto de François Villiers

1946 : Heartbeat, de Sam Wood, con Ginger Rogers

1947 : Song of Scheherazade, de Walter Reisch

1948 : The first gentleman, de Alberto Cavalcanti

1948 : Siren of Atlantis, de Arthur Ripley y Gregg G. Tallas, con Maria Montez

1949 : Hans le marin, de François Villiers, con Maria Montez y Lilli Palmer.

1949 : Golden Arrow, de Gordon Parry

1950 : La vie commence demain, documental de Nicole Vedrès

1950 : L'Homme de joie, de Gilles Grangier

1951 : L'Amant de paille, de Gilles Grangier

1951 : La vendetta del corsaro, de Primo Zeglio, con Maria Montez

1951 : Ultimo incontro, de Gianni Franciolini, con Alida Valli y Amedeo Nazzari

1951 : Hollywood sur Seine, corto de François Villiers

1952 : Les loups chassent la nuit, de Bernard Borderie

1953 : Moineaux de Paris, de Maurice Cloche

1953 : Lili, de Charles Walters, con Leslie Caron y Mel Ferrer

1953 : Kœnigsmark, de Solange Térac

1953 : Vedettes en pantoufles, corto de Jacques Guillon

1954 : Charge of the lancers, de William Castle, con Paulette Goddard

1954 : Si Versailles m'était conté..., de Sacha Guitry

1955 : Dix-huit heures d'escale, de René Jolivet, con Maria Mauban y Georges Marchal

1955 : Napoléon, de Sacha Guitry

1955 : Mademoiselle de Paris, de Walter Kapps

1956 : Hilda Crane, de Philip Dunne, con Jean Simmons

1957 : The seventh sin, de Ronald Neame

1959 : La Verte Moisson, de François Villiers

1959 : John Paul Jones, de John Farrow, con Robert Stack y Bette Davis

1960 : The Enemy general, de George Sherman, con Van Johnson yt Dany Carrel

1961 : Una americana en Buenos Aires, de George Cahan

1961 : El diablo a las cuatro, de Mervyn LeRoy, con Spencer Tracy y Frank Sinatra

1961 : Le Puits aux trois vérités, de François Villiers

1961 : L'Art de vivre, corto de Edouard Berne

1962 : Les Sept Péchés capitaux, episodio "L'Orgueil", con Marina Vlady y Samy Frey

1962 : Five miles to midnight, de Anatole Litvak, con Sophia Loren y Anthony Perkins

1962 : Una domenica d'estate, de Giulio Petroni

1962 : The horse without a head, de Don Chaffey

1962 : Socia de alcoba, de George Cahan

1963 : Vacances portugaises, de Pierre Kast

1965 : Il était une fois un tracteur, de Leopoldo Torre Nilsson

1967 : Blind man's bluff, de Edward Mann, con Boris Karloff

1969 : Castle keep, de Sydney Pollack, con Burt Lancaster

1970 : El coleccionista de cadáveres, de Santos Alcocer

1971 : L'Homme au cerveau greffé, de Jacques Doniol-Valcroze

1971 : Biribi, de Daniel Moosmann

1973 : La noche americana de Franço.

Televisión

1951 : Robert Montgomery Presents, episodio A christmas gift

1951 : Celanese Theatre, episodio No Time for Comedy

1952 : Goodyear Television Playhouse, episodio A Softness in the Wind

1952 : Studio One, episodio Letter from an Unknown Woman

1953 : The Philco Television Playhouse, episodio The Way of the Eagle

1953 : Lux Video Theatre

1954 : Lady Warner a disparu, de François Chatel

1954 : Studio 57, de Paul Landres

1955 : The Martha Raye Show

1956 : Climax!

1957 : Errol Flynn Theater, de Lawrence Huntington

1957 : Kraft Television Theatre

1958 : Playhouse 90

1960 : Letter to Loretta

1960 : So Help Me, Aphrodite

1960 : The United States Steel Hour

1963 : The Patty Duke Show

1963 : L'Affaire du cheval sans tête

1965 : The Nurses

1967 : Le comte Yoster a bien l'honneur, episodio "La troisième prophétie de l'ange de la mort"

1968 : Les Chevaliers du ciel, de François Villiers

1968 : The Name of the Game, episodio "The White Birch"

1969 : Au théâtre ce soir: Carlos et Marguerite de Jean Bernard-Luc, escenografía de Christian-Gérard, dirección de Pierre Sabbagh, Teatro Marigny

1970 : La Pomme de son œil, de François Villers

1972 : Comme il vous plaira, de Agnès Delarive

1972 : Joyeux Chagrins, de François Gir

1975 : Au théâtre ce soir: On croit rêver, de Jacques François, escenografía del auteur, dirección de Pierre Sabbagh, Teatro Edouard VII

1975 : N'oubliez pas que nous nous aimons, de Luc Godevais

1976 : Starsky y Hutch, de William Blinn, episodio "Murder at Sea"

1977 : Rendez-vous en noir, de Claude Grinberg

1978 : La Corde au cou, de Marcel Moussy

1979 : Paris-Vichy, de Anne Revel

1979 : Le Petit Théâtre d'Antenne 2: "La Belette", de Charles Vildrac

1979 : The Love Boat", 1 episodio

1979 : The French Atlantic Affair, de Douglas Heyes

1979 : Beggarman, voleur, de Lawrence Doheny

1980 : La Mémoire d'Eva Ryker, de Walter Grauman

1980 : Un temps pour les miracles, de Michael O'Herlihy

1981 : Carte Vermeil, de Alain Levent

1981 : Arcole ou la terre promise, de Marcel Moussy

1981 : Emmenez-moi au théâtre, "Le fleuve étincellant", de Charles Morgan

1982 : Hart to Hart, de Earl Bellamy

1983 : Quelques hommes de bonne volonté.

Teatro

Adaptación

1958 : Lucy Crown, de Irwin Shaw, escenografía de Pierre Dux, Théâtre de Paris

Autor

1959 : Ange le Bienheureux, escenografía de Jacques Charon, Théâtre des Célestins

Actor

1926 : Au grand large, de Sutton Vane, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1926 : Le Carrosse du Saint Sacrement, de Prosper Mérimée, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1930 : Le Prof d'anglais ou le système Puck, de Régis Gignoux, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1932 : La Pâtissière du village ou Madeleine, de Alfred Savoir, escenografía de Louis Jouvet, Théâtre Pigalle

1934 : Au grand large, de Sutton Vane, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1934 : La Machine infernale, de Jean Cocteau, escenografía de Louis Jouvet, Théâtre des Champs-Élysées

1936 : Le Cœur, de Henry Bernstein, Théâtre du Gymnase Marie-Bell

1937 : Famille, de Denys Amiel y Monique Amiel-Pétry, escenografía de Marcel André, Théâtre Saint-Georges

1939 : L'Amant de paille, de Marc-Gilbert Sauvajon y André Bost, escenografía de Jean Wall, Théâtre Michel

1944 : Une grande fille toute simple, de André Roussin, escenografía de Louis Ducreux, Théâtre des Ambassadeurs

1947 : L'Empereur de Chine, de Jean-Pierre Aumont, escenografía de Marcel Herrand, Théâtre des Mathurins

1949 : My Name Is Aquilon, a partir de L'Empereur de Chine, de Jean-Pierre Aumont, adaptación de Philip Barry, escenografía de Robert B. Sinclair, Lyceum Theatre (Nueva York)

1950 : Le Voyage, de Henry Bataille, escenografía de Henri Bernstein, Théâtre des Ambassadeurs

1953 : Les Pavés du ciel, de Albert Husson, escenografía de Christian-Gérard, Théâtre des Célestins

1954 : Carlos et Marguerite, de Jean Bernard-Luc, escenografía de Christian-Gérard, Théâtre de la Madeleine

1954 : Les Pavés du ciel, de Albert Husson, escenografía de Christian-G��rard, Comédie Caumartin

1955 : Il y a longtemps que je t'aime, de Jacques Deval, escenografía de Jean Le Poulain, Teatro Edouard VII

1955 : The Heavenly Twins, a partir de Les Pavés du ciel, de Albert Husson, escenografía de Cyril Ritchard, Booth Theatre

1956 : Amphitryon 38, de Jean.

1958 : L'Impromptu de Barentin, de André Maurois, Festival de Barentin

1959 : Ange le Bienheureux, de Jean-Pierre Aumont, escenografía de Jacques Charon, Théâtre des Célestins

1959 : Mon père avait raison, de Sacha Guitry, escenografía de André Roussin, Théâtre de la Madeleine

1960 : A Second Sting, de Lucienne Hill a partir de Colette, escenografía de Raymond Gérôme, Eugene O'Neill Theatre (Nueva York)

1962 : Flora, de Fabio Mauri y Franco Brusati, escenografía de Jules Dassin, Théâtre des Variétés

1963 : Tovarich, de Anne Croswell y Lee Pockriss, escenografía de Peter Glenville, Broadway Theatre, Winter Garden Theatre

1970 : Camino Real, de Tennessee Williams, escenografía de Milton Katselas, Vivian Beaumont Theatre (Nueva York)

1971 : Les Anges meurtriers, de Conor Cruise O'Brien, escenografía de Joan Littlewood, Théâtre de Chaillot

1971 : Murderous Angels, de Conor Cruise O'Brien, escenografía de Gordon Davidson, Playhouse Theatre (Nueva York)

1972 : Nous irons à Valparaiso, de Marcel Achard, escenografía de Jacques-Henri Duval, Théâtre des Célestins, Giras Herbert-Karsenty

1975 : Des journées entières dans les arbres, de Marguerite Duras, escenografía de Jean-Louis Barrault, Théâtre d'Orsay

1976 : Des journées entières dans les arbres, de Marguerite Duras, escenografía de Jean-Louis Barrault, Ambassadors Theatre (Nueva York)

1981 : A Talent for Murder, de Jerome Chodorov y Norman Panama, escenografía de Paul Aaron, Teatro Biltmore (Nueva York)

1982 : Coup de soleil, de Marcel Mithois, escenografía de Jacques Rosny, Théâtre Antoine

1984 : Pense à l’Afrique, a partir de Think of Africa, de Gordon Dryland, escenografía de Jean-Pierre Granval, Théâtre Renaud-Barrault.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/Jean-Pierre_Aumont

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

[zydnax]

“Nestless Bird” ©2020 ZYDNAX. All rights reserved. Recorded in Daylight Recording Studio in Portobello, Dublin, Ireland. Distributed by LANDR. Song #2 of the PINK phase.

https://www.youtube.com/watch?v=IUKxjJ7XzQ4&ab_channel=ZYDNAX

[my-music-1460]

How AI is Changing the Future of Music

Artificial Intelligence (AI) is making waves in various industries, and the music industry is no exception. From creating music to enhancing production processes, AI is redefining the way we engage with music. In this post, we will explore the multiple ways AI is changing the future of music and how it is shaping the industry for the better.

The Role of AI in Music Composition:

One of the most exciting advancements in music technology is AI's ability to compose music. AI algorithms can now generate music across various genres by analyzing large datasets of existing music. Tools like AIVA (Artificial Intelligence Virtual Artist) and OpenAI’s MuseNet have been designed to create compositions that can either mimic the styles of famous composers or invent new ones. This technology has the potential to revolutionize the creative process for musicians and composers alike.

Enhancing Creativity: AI-generated music can serve as a foundation for composers, providing them with fresh ideas and innovative variations on musical themes. For instance, a composer working on a film score can use AI to quickly generate multiple thematic ideas, which they can then refine and adapt to fit the emotional tone of the project. This capability to prototype musical ideas rapidly is a game-changer for composers who face tight deadlines and creative blocks.

AI in Music Production:

AI is not just limited to composing music; it is also transforming music production. AI-powered tools can automate tasks such as mixing, mastering, and sound design, allowing producers to focus on the creative aspects of their work. Platforms like LANDR use AI to master tracks, ensuring professional-quality sound with minimal human intervention. This democratization of music production tools makes high-quality production more accessible to independent artists who may not have the resources for expensive studio time.

Improving Workflow Efficiency: AI-driven software can analyze and process audio tracks more efficiently than traditional methods. Tools like iZotope's Neutron and Ozone use machine learning to provide intelligent mixing and mastering suggestions, helping producers achieve a balanced and polished sound. These tools automatically detect and address issues such as frequency clashes, dynamic inconsistencies, and tonal imbalances, significantly improving the overall production workflow.

Personalized Music Discovery:

One of the most noticeable impacts of AI on the music industry is in personalized music recommendations. Streaming platforms like Spotify, Apple Music, and Pandora leverage AI algorithms to analyze user behavior and preferences, offering personalized playlists and song suggestions. By examining factors such as listening history, song likes and dislikes, and even contextual data like time of day and activity, these platforms can deliver a highly tailored listening experience.

Enhancing Listener Engagement: Personalized recommendations not only improve the user experience but also help artists reach new audiences. AI-driven algorithms introduce users to new genres, artists, and songs they might not have discovered otherwise. This capability is particularly valuable in today’s saturated music market, where millions of new tracks are released every year.

AI in Music Analysis and Curation:

AI is transforming music analysis and curation, providing new tools for understanding and organizing musical content. Music curators, playlist editors, and record labels can use AI to identify emerging trends, predict hit songs, and create playlists that resonate with specific audiences. AI algorithms analyze streaming data, social media activity, and even lyrical content to uncover patterns and preferences that human curators might overlook.

Creating Dynamic Playlists: AI can help curators create dynamic and engaging playlists by analyzing the acoustic properties of songs, such as tempo, key, and mood. For example, Spotify’s Discover Weekly playlist uses a combination of collaborative filtering and natural language processing to recommend songs based on the user's listening habits and the preferences of similar users. This data-driven approach ensures that playlists are continuously updated and tailored to the evolving tastes of listeners.

Revolutionizing Live Performances:

AI is making its way into live performances, enhancing the concert experience for both artists and audiences. AI-powered visual effects, lighting, and sound systems are being used to create immersive and interactive shows. AI can analyze the energy and mood of a live audience in real-time, allowing performers to adjust their setlists and stage effects accordingly. This technology creates a more engaging and personalized concert experience, fostering a deeper connection between artists and their fans.

Innovative Stage Design: Some artists are experimenting with AI-generated visuals and interactive installations during their live performances. For example, the electronic music duo Massive Attack has collaborated with AI researchers to create real-time data visualizations that respond to the music and the audience's reactions. These innovative stage designs push the boundaries of traditional live performances, offering audiences a unique and memorable experience.

AI and Music Education:

AI is proving to be a valuable tool in the realm of music education. AI-powered applications can provide personalized music lessons, offering feedback and suggestions tailored to individual learners. These tools can analyze a student's performance, identify areas for improvement, and offer exercises to help them progress. This personalized approach makes music education more accessible and effective, enabling students to learn at their own pace and receive targeted instruction.

Interactive Learning Experiences: AI-driven educational platforms, such as Yousician and SmartMusic, offer interactive lessons that adapt to the learner's skill level and progress. These platforms use machine learning to analyze the student's playing in real-time, providing instant feedback on aspects such as pitch, rhythm, and technique. This interactive and adaptive learning experience helps students stay motivated and engaged, making the learning process more enjoyable.

Ethical Considerations and Challenges:

While the potential benefits of AI in music are immense, there are also ethical considerations and challenges to address. Issues such as the originality of AI-generated music, the potential loss of jobs for human musicians, and the ownership of AI-created compositions are areas that require careful consideration. As the technology evolves, it will be important to establish guidelines and regulations to ensure that AI is used responsibly and ethically in the music industry.

Balancing Creativity and Technology: One of the key challenges is finding the right balance between human creativity and technological assistance. While AI can enhance the creative process, it is essential to ensure that human musicians and composers retain their unique artistic voice. Establishing clear guidelines for the use of AI in music composition and production can help maintain this balance, ensuring that technology complements rather than replaces human creativity.

Conclusion:

AI’s integration into the music industry is just beginning, and its potential is vast. From enhancing creativity and production efficiency to personalizing the listening experience, AI is set to revolutionize every aspect of music. As technology continues to evolve, we can expect even more innovative applications that will further transform the landscape of music. AI change the future of the music industry in ways we are only beginning to understand, and it is crucial for professionals in the field to stay informed and adaptable to these changes.