New Music Friday: May 12, 2017

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

Follow Music Made Me – a Spotify playlist that’s updated every Friday with new releases from TuneCore Artists – stream it below!


2 Soon
Sy Ari Da Kid

Hip Hop/Rap, R&B/Soul


30 Seconds to the Decline of the Planet Earth
Jesu & Sun Kil Moon

Rock, Alternative


One With the Universe
Samsara Blues Experiment

Rock


Invencible
Black 
Guayaba
Pop, Rock


Everything Good Happens After Midnight
Tanner Patrick

Singer/Songwriter, Pop


Welcome to Fabulous Grc Lnd
Marco Pavé

Hip Hop/Rap, R&B/Soul


What’s It Gonna Be
Nathan & Alma Lake

R&B/Soul, Pop


Giving Up
Jake McMullen

Alternative, Singer/Songwriter


New Kids
Jerad Finck

Pop, Singer/Songwriter


Legs Crossed
Whissell

Alternative, Pop


All Biomes Okay EP
Shallou

Electronic, Dance


Eaters
Eaters
Electronic, Rock


Woman’s World
Estelle

R&B/Soul


You Don’t Know About Me
Ella Vos

Pop, Singer/Songwriter


Only Us

Paperwhite
Pop, Electronic


Young at the Bend
Born Without Bones

Alternative, Rock


Young Stunners
Junior Prom

Alternative, Rock


Layers Vol. 1
Heirsound

Alternative


Take Cover (Dark Versions)
Foreign Fields

Alternative, Instrumental


Covered A.R.T.
Alexis Roberts

R&B/Soul, Pop


Metaphor
Mt. Eddy

Alternative


Off the Burner
AdELA

Hip Hop/Rap, R&B/Soul

New Music Friday: May 5, 2017

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

Follow Music Made Me – a Spotify playlist that’s updated every Friday with new releases from TuneCore Artists – stream it below!


Weak Remixes – EP

AJR
Pop, Electronic


Planting the Roots Only to Fall Out the Tree
$uicideboy$

Hip Hop/Rap


Devil’s In the Backseat
Lostboycrow

Pop, R&B/Soul


Moving On
Marshmello

Dance, Electronic


The One That You Want

Madi Diaz

Singer/Songwriter, Alternative


Shakira (feat. Marty)
Nobigdyl

Hip Hop/Rap


We All Fall Down (DNTST Rework)
Meiko

Singer/Songwriter, Electronic


Pretty (Ugly Before) [Live at Largo]
Elliott Smith

Alternative


Snappin’ Lately (feat. Tommy Nova)
Z. Rich

Hip Hop/Rap, Jazz


Five More Minutes
Scotty McCreery

Country


Count On You
Amanda Fondell

Alternative, Pop


Victory Laps
Wax Fang

Alternative, Rock


Perfect Color
SafetySuit

Pop, Rock


Love Hope Faith
Colt Ford
Country


Body On Fire
Maggie Rose

Country


AU
HOTT MT

Alternative, Pop


Silence
Ki: Theory

Electronic, Alternative


Cherry Pop (feat. Gl!tch)
S3RL

Dance, Electronic

 

April Industry Wrap-Up

Facebook Launches ‘Chat Extensions’ That Encourage Music Sharing

As both streaming music and social media use has evolved over the years, it became pretty obvious pretty quickly that people love to share whatever new music they’re digging with their networks. Spotify was an early player in this arena by connecting social profiles to their platform so that users can see in a feed what the folks they follow are listening to at any given time of day. On top of this feature, users have always been able to send music directly to one another via a built-in messaging app.

As the social media giant Facebook looks to appeal to more and more businesses that use the platform for leads and engagement with customers, they’ve announced the introduction of ‘Chat Extensions’ within their messenger platform. The primary function of this launch is to offer the ability to perform actions within Facebook Messenger without switching apps.

For Spotify, this means the launching a new ‘bot’ that includes search, recommendations, and the ability to share 30-second song clips as well as launch Spotify from the app to hear full songs. Friends now have more options for sharing and discovering music within their chat windows. Facebook has revealed that a similar launch to support Apple Music integration is on the way, too.

As Facebook continues to beef up its music department in general and looks to innovative streaming platforms for partnerships, indie artists of all genres can feel good about new ways for fans to be sharing their tunes with friends.

A Month of Updates From Spotify

It’s hard to get through one of our ‘Monthly Industry Wrap-Ups’ without breaking recent news related to streaming giant and our friendly partner Spotify! This month, Spotify re-structured its multi-year license agreement with global music rights agency Merlin – which represents independent music companies like Beggars Group, Secretly Group, Domino, Sub Pop, and others.

The big story from this signing is that the updated agreement allows these labels to ‘window’ releases for Spotify Premium users only – a tactic used by major label groups to limit access to a release for usually up to two weeks. The significance of windowing is that it allows releases to only be made available to users that contribute higher streaming rates, (when you’re a ‘freemium’ Spotify user, you are using an account that gets served ads and each time you play a song, it pays out less than that of Premium subscribers’ streams who pay a monthly fee).

Spotify and other streaming platforms are required to sign licensing agreements with both independent and major label groups. But what’s new here is the apparent bargaining scraps indie labels have when it comes to keeping up with the majors. As a distributor that sees its artists getting signed to indie labels on a regular basis, it’s encouraging to see that they’re able to take advantage of opportunities offered by streaming platforms like Spotify.

Additionally this month, Spotify rebranded their “Fan Insights” – data about who is listening to artists, from numbers of monthly listeners to cities they’re being streamed in most – as “Spotify For Artists”. It’s available to all artists and managers, and is designed to be a ‘one-stop shop’ that allows you to track growth, update creative profile assets, and feature particular songs and playlists. Here at TuneCore, we’re always excited to see more data and insights being offered to artists to help them make business and branding decisions. If you haven’t already, head over to Spotify’s site to take advantage of these updates.

Google Play Music Gets Cozy With Newest Samsung Galaxy Model

As competition for subscribers and listeners continues to heat up among music streaming platforms, so too does competition among mobile device manufacturers. Nowhere is that more obvious than between Apple’s iPhone and Samsung’s Galaxy. As each company strives to attract brand loyalty to their respective operating systems, Samsung announced that its latest model, the Galaxy S8, has made Google Play Music its preferred music player.

That means those who pick up the newest Galaxy S8 will get the opportunity to use Google Play Music with enhancements just for them. One of these is an increase in cloud locker storage, with Samsung users being able to upload up to 100,000 tracks that can be streamed from anywhere (up from 50,000 for other users). Also, Samsung promises that it’s choice music player will support Samsung’s smartphone assistant, Bixby, “once support for voice commands is actually ready to roll out.”

It remains to be seen how many Galaxy S8 users will adopt Google Play Music over a preferred service, but it’s no doubt that Samsung will do what they can in collaboration to make it more attractive. For independent artists, it’s just another push for a platform that is carrying your releases already (unless, of course, you still need to add your music to Google Play!), and it may in turn end up being a great excuse for you to be promoting your Google Play links, as well.

New Music Friday: April 21, 2017

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

Follow Music Made Me – a Spotify playlist that’s updated every Friday with new releases from TuneCore Artists – stream it below!


Changing
Devan Dubois
Alternative, Pop


Older Men & Whiskey
Chyyanna Lee
Pop, Country


Monument
Lions Lions

Rock, Alternative


Goals
Nate Good

Hip Hop/Rap


Treat You Better
Throw the Fight

Rock, Alternative


In Dank We Trust

Black the Ripper
Hip Hop/Rap, New Age


Battles
Rita Springer
Christian/Gospel


86
Infected Rain

Rock


Passionfruit
Cimorelli

Pop


Addiction Kills
Jelly Roll

Hip Hop/Rap


Change: The Lost Record
Josh Thompson

Country


Black Hole Sun
Break of Reality

Rock, Instrumental

New Music Friday: April 14, 2017

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

Follow Music Made Me – a Spotify playlist that’s updated every Friday with new releases from TuneCore Artists – stream it below!


Breathe
Moosh & Twist

Hip Hop/Rap


Made 2 Love U
Johnny Balik

Pop


Freesol (feat. Skyler Stronestreet)
Seven Lions

Electronic, Dance


Bloom
RKCB

R&B/Soul, Electronic


The Outfield
The Night Game

Alternative, Rock


Hinterland
Akurei

Electronic, Alternative


Sail Away
The Dead Sailor Girls

Singer/Songwriter, Folk


Broke Royalty
Flint Eastwood

Alternative


Still Love
Ghost Against Ghost

Alternative, Electronic


I Got You
Superwalkers

Pop, Electronic


Miss Taken (Demos)
RoadTrip

Pop, Rock


The Soulvation Society
The Soulvation Society

R&B/Soul, Pop


Amame o Matame (feat. Don Omar)
Ivy Queen

Latin


Bound 2017
Baco & Termy

Electronic, Hip Hop/Rap


Ain’t Your Girl
BEATZ

Pop, R&B/Soul


So Much to Keep
AirLands

Alternative, Rock


Heart Songs: Adoration

Naomi Raine
Christian/Gospel, Singer/Songwriter


Ladies And Gentlemen: Barenaked Ladies and the Persuasions
Barenaked Ladies and the Persuasions 

Pop, Vocal


Walking In My Favor
Lucinda Moore

Christian/Gospel

Music Streaming Platforms & Mastering – 3 Guiding Concepts

[Editors Note: This blog was written by Alex Sterling, an audio engineer and music producer based in New York City. He runs a commercial studio in Manhattan called Precision Sound where he provides recording, mixing, and mastering services.]

Background:

As an audio engineer and music producer I am constantly striving to help my clients music sound the best that it can for as many listeners as possible. With music streaming services like Apple Music/iTunes Radio, Spotify, Tidal, and YouTube continuing to dominate how people consume music, making sure that the listener is getting the best possible sonic experience from these platforms is very important.

Over the last several years some new technologies have been developed and integrated into the streaming service’s playback systems called Loudness Normalization.

Loudness Normalization is the automatic process of adjusting the perceived loudness of all the songs on the service to sound approximately the same as you listen from track to track.

The idea is that the listener should not have to adjust the volume control on their playback system from song to song and therefore the listening experience is more consistent. This is generally a good and useful thing and can save you from damaging your ears if a loud song comes on right after a quiet one and you had the volume control way up.

The playback system within each streaming service has an algorithm that measures the perceived loudness of your music and adjusts its level to match a loudness target level they have established. By adjusting all the songs in the service to match this target the overall loudness experience is made more consistent as people jump between songs and artists in playlists or browsing.

If your song is louder than the target it gets turned down to match and if it is softer it is sometimes made louder with peak limiting depending on the service (Spotify only).

So how do we use this knowledge to make our music sound better?

The simple answer is that we want to master our music to take into account the loudness standards that are being used to normalize our music when streaming, and prepare a master that generally complies with these new loudness standards.

Concept 1: Master for sound quality, not maximum loudness.

If possible work with a professional Mastering Engineer who understands how to balance loudness issues along with the traditional mastering goals of tonal balance and final polish etc.

If you’re mastering your own music then try to keep this in mind while you work:

Don’t pursue absolute loudness maximization, instead pursue conscious loudness targeting.

If we master our music to be as loud as possible and use a lot of peak limiting to get the loudness level very high then we are most likely sacrificing some dynamic range, transient punch, and impact to get our music to sound loud.

The mechanism of loudness maximization intentionally reduces the dynamic range of our music so the average level can be made higher. There are benefits to this such as increasing the weight and density of a mix, but there are also negatives such as the loss of punch and an increase in distortion. It’s a fine line to walk between loud enough and too loud.

Here is where loudness normalization comes in:

If our song is mastered louder than the streaming target loudness level then our song will be gained down (by the service) as a result. If you are mastering louder than the target level then you are throwing away potential dynamic range and punch for no benefit and your song will sound smaller, less punchy, and more dynamically constrained in comparison to a song that was mastered more conservatively in regards to loudness.

If we master softer than the target level then in some cases (Spotify) the streaming service actually adds gain and peak limiting to bring up the level. This is potentially sonically adverse because we don’t know what that limiting process will do to our music. Will it sound good or not? It most likely will create some loss of punch but how much is lost will be based on what content was put in.

Some music is more sensitive to this limiting process. High dynamic range jazz or classical music with pristine acoustic instruments might be more sonically damaged than a rock band song with distorted guitars for example so the result is not entirely predictable just on loudness measurement but also on musical style.

Thankfully the main platforms other than Spotify don’t add gain and peak limiting as of this writing so they are less potentially destructive to sound quality for below target content.

Concept 2: Measure loudness using a LUFS/LKFS meter.

The different streaming services have different loudness standards and algorithms to take measurements and apply the normalization but for the most part they use the basic unit system of loudness measurement called LUFS or LKFS. This metering system allows engineers to numerically meter how loud content is and make adjustments to the dynamic range accordingly.

Being able to understand how our music masters are metering with this scale is useful to see what will happen when they are streamed on different services (i.e. will the algorithm gain them up or down to meet the target or not?)

Concept 3: Choose which loudness standard to master to.

Direct your mastering engineer if you are working with one to master to a target loudness level and consult with them about what they feel is an appropriate target level for your music. If you are mastering jazz or classical music you probably don’t want to make a very loud master for sound quality and dynamic range reasons but if you are making a heavy rock, pop, or, hip hop master that wants to be more intense then a louder target may be more suitable.

iTunes Sound Check and Apple Music/iTunes Radio use a target level of
-16LUFS and this would be a suitable target for more dynamic material.

Tidal uses a target level of -14LUFS that is a nice middle ground for most music that wants to be somewhat dynamic.

YouTube uses a target level of -13LUFS, a tiny bit less dynamic than Tidal.

Spotify uses a loudness target of -11LUFS and as you can see this is 5 dB louder than iTunes/Apple Music. This is more in the territory of low dynamic range, heavily limited content.

Somewhere in the middle of -16LUFS and -11LUFS might be the best target loudness for your music based on your desired dynamic range but the goal is not to go above the chosen target otherwise your content gets gained down on playback and dynamic range is lost.

In all services except Spotify, content that measures lower than target loudness is not gained up. So for people working with very dynamic classical music or film soundtracks those big dynamic movements will not be lost on most streaming platforms.

However since Spotify is unique and adds gain and peak limiting if your content is below target it is potentially the most destructive sonically. So should you master to -11LUFS and save your music from Spotify’s peak limiting but lose dynamic range on the other platforms? It’s a compromise that you have to decide for yourself in consultation with your mastering engineer.

You might want to test out what -11LUFS sounds like in the studio and hear what the effect of that limiting is. Is it better to master that loud yourself and compensate in other ways for the lost punch and lower dynamic range? Or should you accept that Spotify users get a different dynamic range than iTunes users and let your music be more dynamic for the rest of the platforms?

In all cases there is no benefit to going above -11 LUFS because that is the loudest target level used by any service. If you go louder than -11LUFS then your music will be turned down and dynamic range and punch will be lost on all the services needlessly and permanently.

Further Reading:

Great info – graphic on the different streaming loudness targets.

More info on LUFS/LKFS metering.