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Beati Sounds has released their hard techno track with some minimal flavours. Grab your copy now from your favourite portal below:

Beati Sounds has released their uplifting and vocal dance track with some EDM flavours. Grab your copy now!

Zen Garden – Beati Sounds Video: EDM Music

Beati Sounds has released their uplifting and vocal dance track with some EDM flavours. Grab your copy now! beati-sounds.com/2015/11/08/zen-garden-beati-sounds-download-free/ If you are on any portals listen to all our tracks via these links: iTunes: https://itunes.apple.com/nl/artist/beati-sounds/id1049244652 Deezer: http://www.deezer.com/artist/9023488 Google Play: https://play.google.com/store/music/artist/Beati_Sounds?id=Awt2d2yxkzipv65pxf7lyyjhiom Rhapsody: http://www.rhapsody.com/artist/beati-sounds Tidal: http://listen.tidal.com/artist/7317491 Amazon mp3: https://www.amazon.com/s?rh=k%3Abeati+sounds%2Cn%3A163856011%2Cp_n_feature_browse-bin%3A625150011&bbn=163856011&keywords=beati+sounds&ie=UTF8&qid=1447192332 Spotify: https://play.spotify.com/artist/2xZlYr3r6ZP1wQrMlXxcHr

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It’s no secret that compression is one of the most important and versatile tools to an audio engineer. Use the following tips to improve your production skills.

1. Sidechain Compression or Ducking

A staple of the EDM production toolkit, the sound of a side-chained synthesizer and kick drum is instantly recognizable. Essentially, it involves using one signal to apply compression upon a another. There are plenty of online tutorials for this process, but the applications below may be ones you’re less familiar with.

Practical applications: Use the signal of vocals to duck drums or guitars to allow the vocal to sit more prominently in the mix, use a sample to replace or augment originally recorded cymbals, use a cowbell or tick sample rather than the kick to duck synth (due to the faster attack of the tick sound.)

Possible plugins: Softube CL1B or Valley People Dyna-mite, Waves H-Comp or API 2500

2. Multiband Compression/Limiting

Multiband compression allows one to affect the dynamic range of multiple frequency ranges independently of one another. Want to tame the beater of a kick drum without altering the low end? No problem. Simply choose a frequency range, and then set threshold, attack and release like you would on a normal compressor.

Practical applications: Master bus for clearing up problem areas like low-mid buildup, or on lead vocals to tame harshness in the 5-10k range.

Possible plugins: FabFilter Pro-MB, iZotope Ozone 6, Waves L3-LL Multimaximizer

3. Lookahead Compression

Lookahead compression essentially analyzes an input signal and applies compression before the signal is audible, allowing one to tame transients in a unique way. Lookahead compression can be achieved with a standard compressor by duplicating the signal onto another track in your DAW, moving the audio back in time, placing a compressor on the original signal, and using the duplicated audio as the sidechain input.

Practical applications: Really anything with prominent, fast transients but especially effective on snare drum and vocals.

Possible plugins: Softube FET compressor, Waves C1 Compressor with Sidechain

4. Brickwall Limiting

[Disclaimer] Learn how to mix before simply applying a brickwall limiter to the master bus of all your productions.

Although arguably the catalyst for the Loudness War, which stripped certain popular music of dynamics for over a decade, brickwall limiting certainly has its place in music production, live sound reinforcement and broadcast. Set the ceiling, and your signal will never go above it. Alter the threshold to bring the lower amplitude of the dynamic range closer to the top, allowing one to reach professional-level RMS without understanding professional-level mixing skills. [see disclaimer!]

Practical applications: Pre-mastering if used properly and mastering. Use on sub-auxiliary tracks to achieve higher RMS values before even hitting the master bus. Can be used on individual tracks to tame transients or shape tone just like a traditional compressor.

Possible plugins: FabFilter Pro-L, Waves L2, PSP Xenon

5. Parallel Compression

Parallel compression (sometimes referred to as New York compression) is great for keeping the original, natural sound of a recording, while still enjoying the benefits of a compressed signal. Simply route your signal to an auxilliary track (via the sends, not output) apply compression, and blend in the aux track to taste. Be aware of delay compensation settings in your DAW to avoid unwanted phase issues.

Practical Applications: Very popular on drums or signals with harsh transients. Also great on the master bus for achieving a boost in RMS.

Possible plugins: Certain plugins like Cytomic’s The Glue or FabFilter’s Pro-L allow for a dry/wet blend which can achieve similar results to parallel, but any of your favorite compressors can achieve great results if used properly.

Zen Garden – Beati Sounds – {DOWNLOAD} by 🎶 🎶 Beati Sounds 🔑🔑🔑

Beati Sounds has released their uplifting and vocal dance track with some EDM flavours. Grab your copy now! http://beati-sounds.com/2015/11/08/zen-garden-beati-sounds-download-free/

Beati Sounds has released their uplifting and vocal dance track with some EDM flavours. Grab your copy now from your favourite portal below:

According to recent stats from Nielsen Music, digital download music sales are plummeting while streaming continues to boom. During the last week in August, digital downloads in the U.S. plummeted to 15.66 million – its lowest weekly volume since 2007 – whereas on-demand audio and video streams rose to 6.6 billion – its highest weekly volume ever.

Streaming now represents a third of U.S. music revenue; up from just five percent five years ago. Compared to total CD sales, which were down 31.5 percent in the first half of 2015, streaming revenues were up by 23 percent, according to the Recording Industry Association of America (RIAA). For the first time, U.S. sales from streaming surpassed $1 billion in the first six months of the year.

The trend is abundantly clear – as streaming gains favor among consumers, revenues from album sales and digital downloads are drying up. This is an alarming problem for songwriters and composers – the people who are the creative engine powering the entire music industry – because streaming revenue does not come close to closing the gap in physical sales, and certainly does not reflect the scale of music use on these new platforms.

Under the current system of antiquated laws, it takes nearly one million streams, on average, for a songwriter to make just $100 on the largest streaming service. However, songwriters are limited in their ability to negotiate higher compensation in these situations. When licensees and Performing Rights Organizations, cannot reach an agreement, songwriters are forced to use an expensive and inefficient rate court process in which a single federal judge decides the rate.

No other industry works this way, and we are way past due for a change. But that will not happen unless songwriters, composers and music fans make their voices heard in the ongoing debate over music licensing reform. If we truly believe that music has value, we must urge our leaders in Washington to make changes that ensure songwriters are able to receive fair compensation for their work in the marketplace.

Fortunately, the U.S. Copyright Office, members of Congress and many industry observers have realized the absurdity of the current regulatory framework and called for reform. Importantly, the DOJ is formally considering much needed updates to the ASCAP and BMI consent decrees that would better reflect the way people listen to music today. As part of the DOJ process, ASCAP has recommended changes that would foster continued innovation and competition, and result in music licensing rates that better reflect the free market.

Songwriters and composers are the lifeblood of America’s music industry – without their work, Pandora, Apple Music, Spotify, Tidal and the like would have nothing to offer new listeners. A music licensing system that reflects advances in technology and today’s competitive landscape would better serve everyone, allowing songwriters to continue creating the music that is loved by so many.

Economists Luis Aguiar and Joel Waldfogel looked at music sales in countries Spotify operated in between 2013 and 2015, and concluded that: “Spotify use displaces permanent downloads” — that is, if you’re getting your music from Spotify, you don’t need to buy it from iTunes. But they also found that “Spotify displaces music piracy,” and that the two trends balance each other out: “Interactive streaming appears to be revenue-neutral for the recorded music industry.”

The nice thing about the study is that it manages to bolster both Spotify’s main argument to the music industry for the past few years — if you don’t let us distribute your music, and get some money for it, the pirates will do it and you’ll get none — and the music labels’ primary worry about streaming — there’s no way we’re going to sell enough subscriptions to replace albums and single-track sales! 

The study is also timely, since the labels and Spotify are haggling over new distribution contracts — and YouTube, the world’s biggest digital music service, is about to do the same. Then again, there’s only so much haggling each side can do: The streaming services need the labels’ stuff to exist, but the labels need the  streaming services, too — there’s no way they’re convincing people to buy downloads anymore.

It seems that Spotify is renegotiations with the major label groups–that typically would include publishers but the Wall Street Journal reports that the “black box” at streaming services is even worse that we thought:

In the 10 months that ended this past January, Spotify users in the U.S. listened more than 708,000 times to “Out of Time” by the pop-punk band A Day to Remember, but the music-streaming service paid no songwriter royalties, according to data shared with the band’s record label and music publisher.

This omission doesn’t seem to be an isolated event. Of the millions of times Spotify users listened to songs distributed by Victory Records and published by sister company Another Victory Music Publishing during the same period, the service paid songwriter royalties only about 79% of the time, according to an analysis by Audiam Inc., a technology company that seeks to recover unpaid royalties.

So how to understand these numbers on a Spotify-wide basis?  Let’s be kind–Spotify is probably paying on the hits at a far higher rate than indie songwriters.  Let’s just assume that Spotify pays on a rough justice number of 60-70% of total streams.  Meaning that they don’t pay on roughly 30-40% of total spins and that of this 30-40% independent publishers and self-administered songwriters are probably over represented.

According to Spotify’s head flack, Clintonista and frequent White House guest Jonathan Prince, it’s all the songwriters’ fault:

“We want to pay every penny, but we need to know who to pay,” Spotify spokesman Jonathan Prince explains. “The industry needs to come together and develop an approach to publishing rights based on transparency and accountability.” Spotify says it has paid over $3 billion to rights holders since it launched in 2008.

There  are a couple different ways to back into a number that represents the Spotify black box.  One way is to accept the $3 billion number (which is actually larger now and is increasing at an increasing rate–Billboard reported that Spotify hit that number in first quarter 2015 (so probably earned a bit earlier than that 3/31/15).  If there’s only a 20% shortfall, that would mean that the Spotify black box has something like $60,000,000, rough justice.

But if it’s closer to the Medianet litigation numbers and you assume an underpayment of record royalties as well, that would get you to a much higher number.  Independent artists frequently complain that they have no idea how their recordings are ending up on Spotify, so anecdotally that’s not so far fetched.  If Spotify underpaid songwriters by the songwriter’s share of about $1.4-$2 billion, rough justice perhaps somewhere around $150 million.  These numbers would also have to be further allocated based on US statutory royalties compared to ex-US.

So there’s two good ways to “pay every penny”–first way is to pay them pennies.  (Of course, in Spotify’s case, we’re not really talking whole pennies, but how would it sound for Mr. Prince to say “We want to pay every mil”.)

Another good way is to clear the publishing before the song is used.  In Spotify’s case, if the company qualifies for a compulsory mechanical license, there are very clear rules about what to do if you can’t find a songwriter or if there’s an undeliverable notice from a former address.

It is interesting to know where this “escrow” concept comes from.  If the service wants to rely on the compulsory license they are supposed to send a notice under the Copyright Act and the regulations.  If they can’t find a writer, they send the notice to the Copyright Office and the Copyright Office publishes a list of unknown songs for which they have received notices.  (A thankless job, by the way, so we should all thank them for it.) In this way, the unknown writer has a hope of finding out that the service is trying to reach them.

This is similar to the unclaimed property office list that states typically maintain for closed bank accounts, utility deposit refunds and the like.  It’s also similar to the settlement between the New York Attorney General and the major labels where the labels maintain a public list of artist royalties for artists they can’t locate.

So if they really want to pay every mil that Spotify owes, Spotify could very easily comply with its obligations under the compulsory license (which probably means they haven’t and probably means they’ve lost the ability to rely on the compulsory license and probably means they’re a…you know..a watchamacalit…an infringer).  If they would prefer to ignore their obligations and just bully their way through with independent artists and publishers, they could use the song, get no license, send no notice, and then keep it a secret.  Which is what they seem to be doing now (based on the fact that “Spotify” does not appear once on the Copyright Office list of unknown songwriters).

But let’s be clear–this isn’t just a few songs or partial songs that slipped through the cracks.  This appears to be a standard business practice that affects an untold number of songs that may well measure in the tens of thousands if not more.

Here’s the other thing.  An escrow agent explained that non-statutory escrow instructions have to be agreed upon by the parties, clearly expressed in writing to the escrow agent, the escrow agent has to accept the responsibility for the escrow and that there can never be a moment in the life of the escrow account when the escrow agent doesn’t know what to do based on the escrow instructions.

Of course…if you can’t find the party to pay…then…you can’t have a…you know, a contract…and yet Spotify (or the payors who follow this practice) is purporting to be an escrow agent.  On terms unilaterally established by the service acting as an agent.  There are a couple of escrow accounts established in the Copyright Act, just not for this purpose  (the union share of webcasting royalties [17 USC Sec. 114(g)(2)(B)], the Sound Recordings Fund [17 USC Sec. 1006(b)] and certain rate court situations [17 USC Sec. 513(5)]).

So in Spotify’s case, it certainly seems that Spotify is unilaterally undertaking the responsibility for whatever funds they are accruing, even if they are doing it otherwise without basis in the law.

This situation is, of course, ready made for a class action, or it seems so to me.  Maybe copyright infringement, breach of fiduciary duty, fraud, conversion and misappropriation.

We are very proud to almost hit the 30K plays with the latest beati-sounds track!

Help us to reach it and press play:

Beati Sounds – Koala Power by 🎶 🎶 Beati Sounds 🔑🔑🔑

Another great techno deephouse track by Beati Sounds!

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