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New Songs / Trey Songz - Priceless
« Last post by nanofives on Today at 01:19:58 AM »
New track by Luke, Cirkut, Jmike, R. City and JKash.
I can't feel this one.
Max Martin and friends / Ali Payami: Billboard Interview
« Last post by j.fco.morales on March 28, 2017, 09:54:32 PM »

It was during this time Payami crossed paths with Julius Petersson, then an A&R for Warner/Chappell, a major coup considering the publishing house gave him a cash advance. “It allowed me to not have to work on anything else but music, so you can eat but also concentrate on what you want to do,” he laughs. “Julius was such a visionary. He believed in not just me, but a lot of people who are very successful now.” It was through Petersson that Payami met Shellback, another mega-successful Swedish producer, which eventually thrust him into Max Martin’s orbit. Before long, Payami began collaborating with Martin. “He’s been doing this for so long that you learn something new from him every day,” Payami says of the notoriously reclusive producer who’s become one of the most successful names in pop music history. “He’s not only amazing and talented the way everyone knows him, but he’s also a great guy. It’s not just music; you learn so much about life, how to collaborate with people, and how to be open and not let egos take over the room.”

Cool  ;D
But let's say I want to show my tracks to a big label in the U.S that doesn't want unsolicited demos. What are the ways to get there? Do I need someone representing me :-\ :o

Fantastic! Thanks for posting!!
I wonder if this is a specific way to determine if a song has commercial potential, is it likeable etc. On Youtube Top stars songs have between 0.3 and 1% likes on average, very rarely does it go above 1% and sometimes this number is even less than 0.3%. On a Soundcloud this number goes between 1 and 2% for Top stars and between 0.5 and 1.5% for enthusiasts.

What those numbers say to you. Does it mean that if a song has small number of views but same percentage of likes, that there is only a matter of marketing and PR effort to make it equally successful.

Another thing, if certain songs have so massive number of views we may suppose that people like them. But why the percentags of likes stays the same. Why people that really like a song don't click on a Like more often. I for example always click Like on a song that I feel appealing. Is this all really only about marketing?
taxi, hitquarters, songalliance
Max Martin and friends / Can Cheiron success be outsourced
« Last post by Dagge on March 28, 2017, 01:17:34 PM »
Hi all, here is an intriguing question.

We live in a highly interconnected World, where many products/services are jointly offered/built on different parts of the World. From iPhone to software, everything is outsourced. I wonder if this same principe could be applied in music business.

Cheiron and swedish music success included many non-Suedes as active part of their success. Which means there may be equally good talent elsewhere, but Sweden used intelligent systematic approach and benefited from it. I wonder if there is possibility to replicate and outsource this on a different part of the World.

Ofcourse we must take into account that Sweden is highly developed society with some specifics (bad weather, no ego, willing to collaborate, intelligent folks, folk songs heritage), but some other place could also have their own advantage. In this outsourcing craze, I cannot see that music industry will be left aside. Especially if royalties continue to diminish, it may discourage some but give opportunities to some other with lower salary expectations. Exactly as in software industry. Possible analogy with Silicon Valley is invalid, because there are biggest Venture Capital firms located, best connections etc. In music this is not so specific, you could produce hits out of small island theoretically, and labels wouldn't care about your locations, they only care about hits and commercial side.

Do you think Sweden in music business is at such advantage that it cannot be substituted or outsourced. Please give honest opinion, with no patriotism involved :)
Michael Rodion works 2008-2017


not professional, only hobby and amateurs
Studios, Sounds, Vocals and Tech-Talk / Re: Soft Synths VS Real Synthesizers??
« Last post by Neal Sabel on March 28, 2017, 02:27:26 AM »
I heard the sounds on that link and they are not bad but to be honest they lack the warmness, richness, fullness and vibrance of a cutting edge real synthesizer where you can almost feel the "physical modelling."

Just put in "Yamaha Montage Synthesizer Performance with Blake Angelos" in Youtube and check out what this baby is capable of.  The richness, depth and lushness of the sounds are just something else and without programming, they are factory sounds !
I'm saving up for one of these. Hands down this beats any soft synth, ears don't lie and you just know when a sound really hits you.

Talking of sounds, check out some new sounds I programmed on my Radias for a new track here:


In particular the cool Snap-Synth.

Yes I think you're right, it's an era of convenience, where no-one wants to spend 9 hours programming one sound on a a real synthesizer and everyone is just looking to sound like the charts so they use the same soft synths.  It's a shame, but when I get the montage and start programming 80s and 90s sounds with it, then you will realize the sound power of the universe :). Just wait !
Cool  ;D
But let's say I want to show my tracks to a big label in the U.S that doesn't want unsolicited demos. What are the ways to get there? Do I need someone representing me :-\ :o
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