SourceAudio Launches PodcastMusic.com

SOURCEAUDIO LAUNCHES PODCASTMUSIC.COM: NEW SERVICE

 PROVIDES HASSLE-FREE MUSIC LICENSING FOR PODCASTS

Los Angeles, CA, December 05, 2017 — SourceAudio, the world’s leading white label music DAM platform, has announced the launch of PodcastMusic.com. The new subscription-based service simplifies the difficulties of obtaining the licenses necessary for podcast use by bundling the master use, synchronization, mechanical and direct performance licenses into a single monthly transaction. And, once a podcast episode is produced, no additional royalties need ever be paid. The announcement was made today by Douglas Reed, EVP, Radio and Library Services, SourceAudio.

 

PodcastMusic.com allows podcasters to grow their podcasts by significantly enhancing their sound — to both audiences and advertisers — thus eliminating music-related worries forever. Creatively and legally, PodcastMusic.com provides simple steps for podcast producers to ensure easy, efficient access to a broad range of music. Subscribers have unlimited use of a selection of over 500,000 music beds and sound effects from top music libraries such as Manhattan Production Music, Strike Audio, Alibi Music Library and Sound Ideas.Subscriptions to PodcastMusic.com start at as little as $10 a month.

Regarding the launch of PodcastMusic.com, Mr. Reed said, “Podcasting is a unique business, and it required a specialized solution. It took us over a year of research to put together this exciting new service. We have perfected a soup-to-nuts e-commerce platform by which to distribute and track music for use specifically within podcasts.”

PodcastMusic.com also provides users a diverse range of easy-to-access tracks:

** Unlimited access to the most premium music, sound design elements, and SFX — from the world’s top music libraries — in one single service.

** New music added constantly. No other company has more libraries and puts out more new music than SourceAudio does.

** Find what you need fast. PodcastMusic.com is powered by SourceAudio, the world’s premium music hosting and search platform.

** PodcastMusic.com allows one to dig through podcast-specialized playlists to help find that perfect track. No other service compares.

About SOURCEAUDIO:

SourceAudio is the world’s leading music licensing platform, technology partner, and digital asset and rights management platform, providing services to over a thousand companies. Based in Los Angeles, SourceAudio is a white label B2B music technology platform for publishers, labels, broadcasters, production companies, and creative agencies. Iconic brands across the media landscape leverage SourceAudio’s industry leading music search, distribution, licensing, monitoring, and management capabilities to generate revenue, enhance creative, and maximize efficiencies.

SourceAudio’s network-based approach for buyer, publisher, and sub publisher connectivity in one cloud based ecosystem is revolutionizing the music-for-commercial media supply chain.

SourceAudio is also the same company behind other innovative, technology-powered music solutions like Alpha Libraries for Radio, the single largest production music resource for radio. Alpha Libraries has significantly enhanced the way radio groups, clusters, and stations license music for programming, promos, commercials, jingles, and other production elements.

 

For more information, please see: http://www.sourceaudio.com

Zone Music Trailers – Best of

A new release has arrived from Zone Music!


Zone Trailers bring together a brand new ‘best of’ compilation to celebrate their first year of cinematic releases.

Brought to you by UK production music label Zone Music, the trailer-focused label was ignited after the successes of previously released albums “Big Cinematic Trailers”, “Epic Cinematic Trailers” and “Big Screen Heroes”.

Taking the stand-out tracks from eight powerfully charged albums “Best Of Zone Trailers Vol One” showcases the broad quality of material housed on the label. From inaugural release “Epic Trailer Power” to the brooding intensity of “Maximus”, the ancient cinematic “Colossus” and powerful “Apocalypse Rising” to the exciting “Dramatic Edge”, pounding action of “Enforcer”, the gripping “Riders Of The Storm” and triumphant determination of “Total Combat”.

Featuring compositions from the talents of composers Gustavo Coutinho Pereira, Matthew Chastney and Vlado Hudec, this album is the best representation of what Zone Trailers has to offer.

Now available worldwide for the first time on various online stores: http://smarturl.it/BestofZoneTrailers1

Riptide Music news

Culver City, CA, November 14, 2017 — Riptide Music Group (Riptide), a leading synchronization and rights management company that provides music to advertising, movie trailers, TV programming and promos, major motion pictures, videogames, and multi-media productions, has named George Howard as Chief Innovation Officer. The announcement was made today by Riptide executives Rich Goldman, President, and Keatly Haldeman, CEO.

Howard was an early founder of Tunecore, one of the leading digital aggregators. Additionally, he is the co-founder of Music Audience Exchange, served as president of Rykodisc, and formerly managed superstar Carly Simon. A JD/MBA, Howard is a professor at Berklee College of Music and Brown University.

The news about Howard comes fast on the heels of Riptide’s recent announcement naming longtime music and entertainment industry executive Mark Ross as a Partner. Ross brought a $ 4-million cash infusion into Riptide to help grow the company. Howard, a long-time associate of Ross’, will become an integral member of Riptide’s next phase of business growth and development.

In a joint statement, Goldman and Haldeman said, “George is a cutting edge digital music thinker who helps turn great ideas into reality. He’s plugged into the technology of music, and brings to Riptide his solid entrepreneurial and strategic experience across many aspects of the music industry. He’ll help to drive our business development and strategic growth initiatives on a global level.”

Adds Howard, “I was powerfully drawn to Riptide because of their innovative approach to synch and music rights management. At this stage in my career, I only get involved with companies that I think have a strong chance of break-out success, and I haven’t been this excited about a company in a long time.”

 

ABOUT GEORGE HOWARD:

George Howard has a long career across numerous sectors of the music industry. He was an early founder of Tunecore, one of the leading digital aggregators. He also held the title of President of Rykodisc.

Formerly the manager of Carly Simon, Howard is also a co-founder of Music Audience Exchange, a technology company that helps consumer brands and music artists form mutually beneficial partnerships.

Via his consulting firm, Howard has advised a wide-range of companies — from the Fortune 500 (Intel, CVS/pharmacy) to the Ivy League (Brown University); as well as non-profits (Easter Seals, Landmark); countless innovative startups; as well as renowned Grammy and Oscar winning artists, such as Carly Simon and Mark Isham — on creating value around technological change.

A professor at both Berklee College of Music, and Brown University, Howard holds MBA and JD degrees.

ABOUT RIPTIDE MUSIC GROUP:

Formed in early 2014 by the merger of Riptide Music and Pigfactory, Riptide Music Group is comprised of five operating units: Riptide Rightslooks after publishing and master rights for administration and sync representation; Riptide One, a carefully curated catalog of independent artists, bands, producers and composers, master & publishing controlled 100% by Riptide; Pacifica Music Library, a modern production music library focused on current popular music styles; DIVER, a boutique catalog of label-signed, active and touring artists; and Incubator, Riptide’s pop and urban songwriter, producer and artist development division.

Riptide Music Group is located at 9469 Jefferson Blvd., Ste. 114, Culver City, CA 90232. The phone is 310.437.4380. For more information, please see: www.riptidemusic.com

                                                           # # #

Media Contact: 

Dan Harary

The Asbury PR Agency

Beverly Hills, CA

310/859-1831

dan@asburypr.com

dos brains brings the “Elements”…

dos brains, a Los Angeles based trailer music house, proudly presents “Elements”, the debut solo album by German composer Dirk Ehlert.

After more than one year in the making, “Elements” takes you on a sonic journey through time and space, history and future, darkness and light. On “Elements”, Dirk interweaves his musical background, which ranges from symphonic to metal, with his experience as a successful trailer music composer, combining influences of world music, classical music, electronica and film scoring along the way.

“Elements” also features world class vocal performances by Úyanga​ ​Bold​ (Hans Zimmer’s The Dark Knight Suite with the Masterpiece Experience, Angelique Kidjo, Overwatch, League Of Legends, etc), Celica​ ​Soldream​ (Neal Acree, Ivan Torrent, etc), Laurie​ ​Ann​ ​Haus (Todesbonden, StarCraft II: Wings of Liberty, etc) , Gaby​ ​Koss​ (Haggard, Nota Profana, Equilibrium, etc), Merethe​ ​Soltvedt​ (Jeff Broadbent, Two Steps From Hell, Brand X Music, etc) and​ ​Julie​ ​Elven​ (Voice Of Horizon: Zero Dawn, World Of Warcraft: Legion, Neal Acree, Ivan Torrent, etc) as well as cello performances by Vesislava​ ​Todorova​ ​(Bulgarian National Radio Orchestra) and Caro​ ​Teruel​ (Venezuela).

Produced by Dirk Ehlert’s at De-Tune Studios, Berlin, Germany.
Executive Producer: Guillermo De La Barreda for dos brains, Los Angeles, USA.
Mixing & mastering: Mathieu Hallouin, Le Mans, France.
Graphic Designer: Ryo Ishido, Los Angeles, USA.

Tracklist:
01 Wings of Fire – ft. Celica Soldream
02 Elements – ft. Úyanga Bold
03 Awakening – ft. Caro Teruel (Cello)
04 Love
05 Elevation – ft. Gaby Koss
06 Undefeated – ft. Celica Soldream
07 The Last Haven – ft. Celica Soldream
08 Burning Sky – ft. Úyanga Bold
09 Dragons Den – ft. Úyanga Bold
10 From Within
11 Excelsior – ft. Laurie Ann Haus
12 Higher Hopes
13 Eternal Light – ft. Julie Elven
14 Ascension – ft. Merethe Soldvedt
15 Excelsior – original demo (Bonus track)

www.dosbrains.com
Pre order starting Aug 25, 2017: iTunes | Amazon | Bandcamp
Available Sep 8, 2017 on all digital platforms | Physical release Oct 6, 2017
For licensing requests please contact Guillermo de la Barreda rightbrain@dosbrains.com

Riptide Music makes a SPLASH!

Culver City, CA, October 25, 2017 — Riptide Music Group (Riptide), a leading synchronization and rights management company that provides music to advertising, movie trailers, TV programming and promos, major motion pictures, videogames, and multi-media productions, has named Mark Ross as a Partner. Concurrently, Riptide has secured a $4-million dollar investment from Ross to finance the future growth of the business. The announcement was made today by Riptide executives Rich Goldman, President, and Keatly Haldeman, CEO.  

Riptide will use the new infusion of funds to expand operations, acquire additional music, and sign and develop songwriters, producers, and recording artists.

Mark Ross is the son of legendary music executive Steve Ross, founder and CEO of Warner Communications, and former CEO of Time Warner, Inc. Mark Ross has been active over the last three decades at the highest level of virtually every facet of the music and film business, including serving as Executive Director of Quincy Jones Productions.

Riptide Music Group is a full-service, sync-focused music publishing company with broad relationships across the media spectrum. Recent placements include commercials for Apple, Carl’s Jr., and Google Chromecast; film campaigns for “John Wick 2,” “Valerian and the City Of a Thousand Planets,” and “Get Out!;” and numerous additional placements in TV shows and promos with the top broadcast, OTT, and cable networks.

 

Riptide’s pop music development division, Incubator, scored some wins over the past year, including Atlantic Records artist Terror Jr.’s hit single “Come First,” with over 85 million Spotify plays. Incubator also scored numerous singles on labels such as Armada Records, Revealed Recordings, and CR2.

Additionally, Riptide has further developed its DIVER division, which is focused on record label and artist sync services. DIVER exclusively represents Dine Alone Records, Canada’s largest indie label, for worldwide sync representation. The DIVER roster is filled with new label releases, providing music supervisors and brands with access to current touring and “buzzing” artists.

Regarding today’s announcement, Haldeman said, “We’re very excited to welcome Mark Ross as our partner. His participation will allow us the opportunity to enjoy significant growth. This cash infusion helps us become better situated to serve the talented roster of music creators we work with, and to increase that community on a global scale. Mark is passionate about music publishing, and we look forward to working with him.”

“Mark and I both cut our chops in recording studios and as music producers, which, for me, enabled us to bond immediately,” adds Goldman. “Mark’s a music guy to the core, and he brings a world of knowledge, relationships and enthusiasm to the table. He shares our vision in the unlimited potential of Riptide Music Group. We are thrilled to have him come on board.”

Dan Silver, Riptide’s VP of Creative, said, “This new partnership with Mark Ross fuels a broader reach for us to brands, studios, and music supervisors with our various catalogs. It will also help us to increase our artists’ value in the marketplace, which will ultimately broaden the audiences for those artists. Mark’s investment, depth of experience, and extensive industry relationships are sure to power an energetic new growth phase for Riptide.”

“Riptide is a dynamic company with a seasoned team, a tremendous catalog, and solid media connections. I’m thrilled to be joining them, and to help support their growth during this exciting new era across all aspects of the global music industry,” Ross said.

ABOUT MARK ROSS:

Mark Ross brings a lifetime of experience and business relationships to the new Riptide Music Group partnership. Over the course of his career, he’s had the great fortune of working with creative luminaries such as Michael Jackson, Quincy Jones, Bob Dylan, Herbie Hancock, Paul Simon, Alicia Keys, Ray Charles, AC/DC, Stevie Wonder, Andrea Bocelli, Metallica, Frank Sinatra, and Sir George Martin. In the process, he’s forged strong personal and professional relationships with entertainment professionals of every stripe.

 

Starting his career as a tape librarian at Atlantic Studios, Ross went on to work closely with Quincy Jones for more than 20 years, ultimately as Executive Director of Quincy Jones Productions. He also ran his own imprint label with Universal Records.

 

In addition, Ross has produced a number of films, and was an early backer of the groundbreaking independent film endeavor, InDigEnt. He produced one of the largest concerts ever in Moscow, “Monsters of Rock,” prior to the fall of the Soviet Union. The concert featured AC/DC, Metallica, and Pantera, whom he signed to ATCO Records.

 

Ross is also currently an advisor and investor in Music Audience Exchange, a technology company that helps consumer brands and music artists form mutually beneficial partnerships.

ABOUT RIPTIDE MUSIC GROUP:

Formed in early 2014 by the merger of Riptide Music and Pigfactory, Riptide Music Group is comprised of five operating units: Riptide Rightslooks after publishing and master rights for administration and sync representation; Riptide One, a carefully curated catalog of independent artists, bands, producers and composers, master & publishing controlled 100% by Riptide; Pacifica Music Library, a modern production music library focused on current popular music styles; DIVER, a boutique catalog of label-signed, active and touring artists; and Incubator, Riptide’s pop and urban songwriter, producer and artist development division.

Riptide Music Group is located at 9469 Jefferson Blvd., Ste. 114Culver City, CA 90232. The phone is 310.437.4380. For more information, please see: www.riptidemusic.com

# # #

Media Contact: 

Dan Harary

The Asbury PR Agency

Beverly Hills, CA

310/859-1831

dan@asburypr.com

BIGGEST PRODUCTION MUSIC CONFERENCE…

THE 2017 PRODUCTION MUSIC CONFERENCE CONCLUDES WITH BIGGEST TURNOUT EVER: OVER 600 ATTENDEES ENJOY THE MARK AWARDS, KEYNOTE TALKS AND COMPELLING INDUSTRY SESSIONS

Los Angeles, CA, October 12, 2017 – The Production Music Association (PMA,) the leading advocate and voice of the global production music community, has announced that its just concluded 2017 Production Music Conference drew over 600 attendees from all areas of the music industry. The event was held October 4-6 at the Hollywood Loews Hotel.

Conference attendees, many of whom came from Europe and elsewhere around the world, enjoyed the third annual Mark Awards event on Oct 4, as well as keynote speeches from David Israelite, president and CEO of the NMPA, and film composer Mychael Danna. A total of sixteen unique industry panels were presented during the three-day conference, including those with such titles as “Production Music is the Record Industry,” “How Big Data Can Double Your Income,” “Writing a Production Music Hit,” and “Trailerizing Your Music.”

Three renowned music industry executives were honored at this year’s Mark Awards: Romano Di Bari of Italy’s Flipper Music received the “Hall of Fame Award,” Alison Smith of BMI received the “Ambassador Award,” and Dr. Lynne Lummel, formerly with ASCAP, received the “Visionary Award.”

 

Adam Taylor, Chairman of the PMA and president of APM Music said, “We were delighted with the turnout for this year’s conference. Our panelists and guest speakers were top notch and presented not only compelling and intriguing topics, but also offered practical advice to our members as to where the future of our production music industry is heading, and the hurdles we all must face together as we move further into the digital age.”

 

The winners of the 2017 Mark Awards were:

Best Non-Categorical / Wildcard Music Track

“Clockwork”

Richard Pryn

Immediate Music (Immediate Music)

Best PML Artist In Pop / Rock

Monica LaPlante

Black Label Music (Black Label)

Best Cover Art

Cry Baby

Ryan “Roadkill” Quickfall

Sonic Quiver (5 Alarm Music)

Best PML Artist In Country

Christopher McDonald

Black Label Music (Black Label)

Best PML Artist In Folk

Hanging Lanterns

A-List Records (A-List Records)

Best PML Artist In Hip Hop / Urban

Vylan Lyf

A-List Records (A-List Records)

Best PML Artist In Indie / Vocal

Horses Heaven

Bodan Kuma (Bulletproof Bear)

Best PML Artist In Jazz

Leigh McAllister Gracie

KPM (EMI Production Music)

Best Production Music Track in Ambient

“Peaceful Inner Feelings”

Sylvain Ott and Gilles Laurent

AXS Music (AXS Music)

Best Production Music Track in Country

“Good Life”

Christopher McDonald

Black Label Music (Black Label)

Best Production Music Track in Dark/Mysterious/Investigative

“SkyNet”

David Arkestone

Legacy (APM Music)

Best Production Music Track in EDM

“Summer Dance”

Frederic Le Quere

Super Pitch – Entertainment (SuperPitch)

Best Production Music Track in Film Trailer

“Legions of Oceania”

Yoav Goren

Immediate Music (Immediate Music)

Best Production Music Track in Folk

“No Better Place To Go”

Jonathan Monroy, Claire Barnhart, Chris Mathieu and Matthew Naylor

Surefire (APM Music)

Best Production Music Track in Hip Hop / Urban

“Play With Fire”

Nicolas Boscovic, Ashley Clark and Tom Hillock

Justement Music (APM Music)

Best Production Music Track in Jazz

“Steppin’ Out”

Robert J. Walsh

5 Alarm Music (5 Alarm Music)

Best Production Music Track in Orchestral

“Adventure of a Lifetime”

Colleen Sharmat

Scoring Stage (Warner/Chappell Production Music)

Best Production Music Track in Pop / Rock

“City Lights”

Nicolas Boscovic, Tom Hillock and Jennifer Jordan

Justement Music (APM Music)

Best Production Music Track in Vocal

“I’m In Love With You”

Kate Paxton and Charlie Silver

Nightingale Music (APM Music)

Best Production Music Track in World

“Ole Bongo”

Norbert Galouo, Jose Ortegon Tovar and Francisco Smith Angulo

Cezame (APM Music)

Best Usage of Production Music in Theme Song in TV Programming

“The Toy Box”

Jonathan LaCroix and Jason Moss

Super Sonic Noise | VTown Cartel (Bulletproof Bear)

Best Usage of Production Music in a Commercial Advertisement

“Sainsbury’s Food Dancing”

Alan Hawkshaw, Keith Mansfield and MysDiggi

KPM (EMI Production Music)

Best Usage of Production Music in Theatrical / Video Game Trailer

“Fairy Dust” in Mad Max Fury Road

Bruce Hall

Cute Music Library (Cute Music Library)

Best Usage of Production Music in On-Air Promo

“Waves of Emotion” in This is History

Steward Winter and Joseph Saba

VideoHelper (VideoHelper)

Best Usage of Production Music in Online / Digital Advertising

“The Passing of Time” in ACTIVIA InSync Ingrid

Johann Sebastien Bach and Matteo Locasciulli

SuperPitch (SuperPitch)

ABOUT THE PRODUCTION MUSIC ASSOCIATION:

Founded in 1997, the Production Music Association (PMA) is the leading advocate and voice of the production music community. A non-profit organization with over 40 member companies, plus composers and industry professionals, the mission of the PMA is to elevate the unique value of production music and to ensure the viability of the production music industry.

Headquartered in Los Angeles, the PMA strives to fulfill its mission by:

► Working with performing rights organizations, legislators, legal counsel and broadcasters with the aim of improving the reporting, monitoring, collection and distribution of performance fees and royalties for PMA members;

► Providing its members with a forum in which issues of common concern and interest can be discussed;

► Educating its members and the marketplace about music rights and other issues affecting the production music community; and

► Enhancing the value of PMA members’ music through research, education and public relations.

For more information about the PMA, please visit: http://pmamusic.com/

Epic Music Family – #EMF

If you’ve been a follower of epic music for the last several years, no doubt you can relate to the fact that you can freely interact with other like-minded individuals who share the same passion for epic music, perhaps on YouTube, Facebook as well as other media platforms.

With that in mind, we now turn to the latest project on that front, which is Epic Music Family, or EMFx for short. This project was co-founded and is overseen by composer Christian Baczyk and Kai Rathsack, founder of the popular EpicMusicWorld channel on YouTube.

 


 

 

You have been a composer and followed epic music for some years. What led you to begin EMFx?

Christian:
I believe that by combining profession and purpose big things can happen. EMFx is a charity organization that I have started together with my two friends Kai Rathsack (Founder: Epic Music World I and II) and Kevin Mantey (Founder: Trailer Music World I and II, End Of Silence).
Our goal is to give aspiring music producers from all over the world the chance to make a living with their passion.
At the same time we want to give parts of our earnings away to support charity projects.
Kevin, Kai and I have been dreaming about working together for three years. After creating four of the most successful music-promotion channels for trailer-music on Youtube (“Trailer Music World I”, “Trailer Music World II”, “Epic Music World I”, “Epic Music World II”) with an evergrowing community of over one million people in total, followed by our very own music-production company “End Of Silence”, we decided to use all our resources and work on our newest project, EMFx.

We understand that there was a recent gathering of some in the epic music community over in Munich, Germany not too long ago. Could you let us know what was the purpose of it and how it went?

Kai:
In the first place we wanted to get to know the people we already communicate with over social media for such a long time. It was truly a fascinating and inspirational weekend and it made us many more possibilities for EMFx. The meet up turned out to be exactly as we have expected it to be like. It was the gathering of a big family. Of course we discussed a lot of things depending EMFx there and for us it was definitely just the first meeting of many.

While epic music has continued to grow in terms of the amount of listeners and overall fan base, it may appear that there may not much evidence of other growth to the outsider. How does EMFx address that aspect?

Kevin:
You mentioned the aspect of a growing audience but thanks to EMFx there is definitely a huge growth on the side of the composers, too. While a few years ago one often had to struggle for a long period of time, starting with small and probably even unpaid projects – just to gain more recognition and reputation to finally establish as a professional composer – we now have the chance through our Youtube network to directly recognize potential and give young composers the chance to immediately enter the Trailer/TV industry with just a little guidance from us (sometimes it’s not even necessary).
Since you mentioned the meet up in Munich I remember when we entered the piano store and the guys started playing the most beautiful compositions and we just thought to ourselves ‘’Damn, they are very good. Why aren’t they famous yet?’’ We can give them a chance to get their music professionally produced and also create music which is less constructed for to the trailer industry but more for listening purpose which means the music will be often longer and more free in terms of structure and composition.
Also in general we are building a community and try to connect like minded people which we connect with through more than just the music. We ourselves have found a lot of new, great friends.

Leighton:
From what we can see, this is only the beginning for this project. There must be much more exciting things in store we hope?

Christian:
This is only the beginning indeed. I can only say so much. 🙂

Trailer music is billion dollar industry “hidden in plain sight”

PRODUCTION MUSIC CONFERENCE TO GATHER

A BILLION DOLLAR GLOBAL INDUSTRY “HIDDEN IN PLAIN SIGHT”:

Fourth Annual Production Music Conference is Oct 4-6 in Hollywood

 

I don’t normally say this, but this is pretty cool to see! Someone is actually recognizing the value inherent in trailer music, production music or epic music. Let’s see what the future brings!


Los Angeles, CA, September 19, 2017 – For the very first time in its 20 years history, the Production Music Association (PMA) has placed a dollar value estimate on the revenues generated by production music – citing it as a one billion dollar a year global industry. “Yet one that is almost quite literally ‘hidden in plain sight,’ according to PMA Chairman Adam Taylor, who is also the president of APM Music.

Anyone who has ever watched a TV, film or mobile screen, or listened to the radio for any amount of time, is almost certain to have heard production music – and likely never realized it. From the biggest events (the Olympics, the Academy Awards, the World Cup) to the most widely-used platforms (YouTube, Facebook, Netflix), to the Billboard charts, production music is quite literally everywhere.

 

According to the PMA, the production music industry creates meaningful economic value for publishers and composers around the world. For example, in 2017 the PMA estimates that production music will generate revenue of at least $500 Million a year in the U.S. alone, and well over $1 Billion a year globally. Notably, production music is a sector that not only supports tens of thousands of songwriters, composers and musicians, but also provides increased opportunities for a host of related professions, ranging from graphic designers to music rights administrators to software developers.

 

“With substantial economic, creative and technological impact, the production music community has evolved during the past 90 years to become a significant part of the entertainment landscape in its own right,” said Joe Saba, PMA Vice Chairman. “Yet, the community has often not quite gotten the full respect or recognition it deserves – and has long been treated as the music industry’s step-child. Today, production music stands ready for its spotlight, and is poised for an even brighter future.”

 

The PMA will host its fourth annual Production Music Conference (PMC) Oct 4-6 at the Loews Hollywood Hotel. Begun in 2014 as a one-day series of panels, the conference has grown significantly. This year, the PMC will be a three-day event with 80 speakers across 16 panels, and will also feature The Mark Awards, a ceremony honoring production music excellence across 28 categories.

 

Partners and sponsors for this year’s PMC event include BMI, ASCAP, Haawk, AdRev, and others. Keynote speakers will include David Israelite, CEO of the National Music Publisher’s Association, along with composers Jeff Danna and his Academy

Award™- winning brother, Mychael Danna. For full schedule and information, please see: pmc.pmamusic.com

 

Background:

 

The first production music library was established in 1927, almost immediately after the arrival of sound in motion pictures. Loosely defined as music primarily composed for media, and designed to be easily licensed for multiple projects, production music has evolved dramatically over the last several years.

While historically a relatively small community, the recent explosion in visual content creation across multiple platforms and screens has fostered tremendous growth in the production music industry. Today, the industry includes an estimated 1,000+ production music catalogs, featuring millions of copyrights in a global and dynamic multi-media marketplace.

All of the major record labels are actively invested in production music: Sony/

EMI, Warner, Universal and BMG each have substantial production music divisions, and each have greatly expanded their catalogs over the last few years while making significant commitments for the future.

 

In addition, a diverse and thriving independent music scene provides opportunities for both musical and business-model innovation. Creatively, the industry has attracted an extraordinary range of talent, from legendary figures such as Hans Zimmer, Chuck D and George Martin to current indie artists such as Tamarin and The Last Year.

 

At the highest levels, the quality of production music equals any traditional record album being released today. Indeed, production music libraries work with many of the world’s greatest musicians, including the London Symphony Orchestra, and regularly book the best studios, including as the historic studio at Abbey Road.

 

More importantly, there are thousands of talented composers and songwriters actively working in the field within the United States alone, and they’re pushing the creative envelope in everything from epic trailer music to avant-garde sound design.

 

Though traditionally behind the scenes, production music has always stood at the cutting edge of technological innovation, leading the music industry in search engine development, monetizing videos, integrating fingerprinting with rights societies, and deploying digital detection and monitoring in innovative and unprecedented new ways.

 

ABOUT THE PRODUCTION MUSIC ASSOCIATION:

 

Founded in 1997, the Production Music Association (PMA) is the leading advocate and voice of the production music community.  A non-profit organization with over 40 member companies, hundreds of partner companies and representing thousands of composers and industry professionals, the mission of the PMA is to elevate the unique value of production music and to ensure the viability of the production music industry.

 

Adam Taylor, the president of APM Music, is the Chairman of the PMA.

Joe Saba, the Co-Founder of Videohelper, is the Vice Chairman of the PMA.

 

Headquartered in Los Angeles, the PMA strives to fulfill its mission by:

 

► Working with performing rights organizations, legislators, legal counsel and broadcasters with the aim of improving the reporting, monitoring, collection and distribution of performance fees and royalties for PMA members;

 

► Providing its members with a forum in which issues of common concern and interest can be discussed;

 

► Educating its members and the marketplace about music rights and other issues affecting the production music community; and

 

► Enhancing the value of PMA members’ music through research, education and public relations.

 

For more information about the PMA, please visit: pmamusic.com

 

 

# # #

 

PMA Contact:

Morgan McKnight

Operations Director

310/913-2289

morgan@pmamusic.com

 

Media Contact for PMA:

Dan Harary

The Asbury PR Agency

Beverly Hills, CA

310/859-1831

dan@asburypr.com

Love and War

 

Composer Kenny Mac has released a new trailer music album titled ‘Love and War’. The album description is as follows:

Beautiful and tender, “Love & War” explores the depth of human passion and love. From the exhilarating experience of falling in love, to the grief of separation, the epic followup to “Rise & Fall” will accompany you through a beautiful, touching, and emotional journey filled with heartfelt passion.

Sometimes we forget about the other dimensions of the epic sector, and hopefully you may very well come to appreciate one aspect of those dimensions as you listen to this album.

Available on Bandcamp now!

Interview with Composer Dirk Leupolz!

5 Minutes with Dirk Leupolz

Composer of BERLIN – Contemporary Cinematic from Sonic Quiver

Dirk Leupolz is a German composer living and working in Berlin since 1993. He has composed more than 100 episodes of Germany’s top-rated crime series for all major TV networks and more than 35 movies. He was nominated for the prestigious Grimme-Award and is a recipient of the Deutsche Fernsehpreis, the highest rated Award for TV in Germany.

Leupolz’s latest release is BERLIN – Contemporary Cinematic for Sonic Quiver, described as a stunning collection of contemporary cinematic cues from the award-winning German film and TV composer Dirk Leupolz. Chilling thriller, epic trailer, enigmatic crime, modern warfare, ethereal sci-fi and romantic drama. Recorded with live orchestra, orchestrated by Johannes Vogel.

Q: Can you briefly speak about your music background and how you got into music composition?

DL: I had classical piano lessons from 6-16, but once I discovered Pete Townshend, Jimmy Page and Andy Summers I switched to guitar.Played in lots of (bad) bands, studied BeBop Guitar in Cologne for two years from 90-92, worked as a music journalist and producer for a couple of years when I came to Berlin, but desperately wanted to get back to playing and writing music.

After seeing the movie Mullholland Falls in 96 with a great score from Dave Gruisin I naively thought I should try out this”film-music thing”, and somehow got stuck with it.

Q: I see you have over 60 instruments – what are you favourites and why?

DL: I guess it´s a bit like asking which of your children is your favourite – I love them all, but definitely have a soft spot for my old rattly gretsch, gibson and fender guitars (Yeah, I´m bragging, I know)

Q: Which music composers do you admire and which of their works?

DL: Too many to mention – I like all the big Hollywood composers very much, but I usually don´t listen to film music too much.I seem to be a big fan of The Police since I was 11. Here are my favourite tracks of the moment:

  • Disasterpeace – Vignette:Panacea
  • Nick Cave + Warren Ellis – Memory
  • Soundgarden – My Wave
  • Brahms – Symphony 3 Poco Allegretto Gustavo Santaolalla – Atacama
  • Paul Kalkbrenner – Acces RapideMiles Davis – So What
  • Grauzone- Eisbär
  • Club der toten Dichter – Schon mal gelebt?

I also really like John M Keane and Sean Callery – they did the music for CSI and 24 and totally changed the game with their cool atmospheric sound-design attitude towards scoring. The scores from Nick Cave and Warren Ellis are awesome. I could go on for hours…

Q: Where was the album recorded? What can you tell us about that experience?

DL: I have a studio full of hoarded instruments in Berlin and a tiny composing room in the countryside. I wrote and recorded piano, synths, guitars etc in both places. I played some guitarviol tracks and did an orchestral mockup, which we happily replaced with live players which we recorded in Budapest.

Q: What was your favorite part of working on this project?

DL:To have total creative freedom inside the given parameters (Urban modern drama if I remember correctly) and not writing to picture, which in the end was quite a challenge, but was really enjoyable!Q: Did you have any collaborators?

DL: I composed and played all tracks and parts myself but then gladly handed over the orchestration to my good friend Johannes Vogel who has a ton of experience working with really good composers like both Gregson-Williams brothers, Hans Zimmer and David Newman. I was actually quite happy that he could make the time for somebody like me!Together we recorded the brilliant Hungarian Studio Orchestra who played their hearts out.

Q: How do you find the inspiration for writing an album like Berlin? What can you tell us about your creative process?

DL: Not too much, I´m afraid. Whenever I sit down at my old Yamaha CP 70 piano I always seem to find some unused notes between the keys that I can turn into a melody…My creative process is buried deeply in my subconscious mind and I´m just trying not to interfere with myself whilst writing.

Q: Berlin is a varied album of ‘contemporary cinematic’ cues not all ‘epic trailer’. Describe a few of the different vibes and genres you focused on.

DL: We wanted the album to have an modern atmospheric and emotional feel, that sometimes would turn dark with tension + suspense and sometimes have a little more light and beauty.

Q: What are your future goals?

DL: It would be a privilege if I could continue with what I´ve been doing over the years. And if I could get the tomatoes in our garden to grow a little more I´d be the happiest man around.

Track Listing:

BERLIN – Contemporary Cinematic, Dirk Leupolz

1 Intelligence

2 The listening tower

3 Terror plot

4 The ultimate price

5 Decipher the code

6 Berlin Dawn

7 Moonlight

8 Life and Light

9 Borders between us

10 Kino