The Art of Foley – An Inside Look at Sound Effects in Film

T H E   A R T   O F   F O L E Y –
An Inside Look at Sound Effects in Film

Sound Effects are a driving force behind every film that can steer the audience’s emotions and expectations. An image of a door could be shown but the audience would know the emotional tone whether they heard the sounds of wine glasses clinking with plates and silverware milling about , or alternatively bone cracking and chainsaws revving. In one instance the audience is invited into a feast and the other they want to run in horror. The senses follow the sounds. Creating high quality sounds to use in one’s films is an undertaking and an art form in itself. In one instance there is a vast array of high quality sounds already available to you at AudioMicro.com, but sometimes you just want that personal touch and feel the drive to create your own sound effects. In this post we will be taking a look at what exactly goes into making a custom high quality sound effect and a brief history of how it all came to be.

Creating Sound Effects for Film

One of the great unsung heroes of any movie is easily the Foley Artist. These artists are the ones who create all the sound effects you hear throughout the film by using everyday objects in unexpected ways to generate unique sounds. Think banging a couple of coconut shells together to create the sound of a horse galloping like in Monty Python’s Holy Grail; that is a prime example of foley sound.

While on location of a film, modern day audio equipment is optimized for picking up the actors voice while cancelling out all the surrounding and background sounds that would breath life into the scene. This could be something subtle like the actor’s footsteps, opening a door, or even just scratching his own face, to the more in your face fighting scenes, scuffling, clashing swords, etc. It is these artists’ job to find out how to recreate any sound imaginable for any given scene and convince the audience it’s the real thing. Some examples of this would be something like stepping on VHS tape to create the sound of walking through autumn leaves. You can then pick up the same VHS tape and shake it to give the sense of bushes rustling in the wind. Another example would be stepping on a bag full of corn starch to create that sound of fresh snow crunching and compressing as its walked on. Even snapping or twisting a bunch of celery can sound like bones cracking or breaking. At the end of the day if the foley artist did his job right you will never know he did anything at all.

The Origin of Foley Sound Effects in Film

Before this method of foley sound became mainstream in film it was common practice for the time to have sound effects added into broadcasted radio plays to help paint a richer picture of what is happening for the audience. This is what helped pave the way for post sound effects to emerge into film.

The term Foley Artists comes from its creator, Jack Donovan Foley, who as a Universal employee developed the method of performing sound effects in sync with the film’s moving picture in post production back in the early mid 1900s. Jack and his team would have the movie projected in front of them and perform all the post sounds needed in one go and record it on one single track. Nowadays with the invention of computers and development of Non Linear Editing there are infinite amounts of tracks sounds can be recorded, retimed, and adjusted on that simply did not exist back then. At the time this method of creating post sound was called ‘Direct to Picture,’ and it wasn’t until years later that it became known as foley.

Modern Recording Practices of Foley Sound Effects

Today the common set up for post sound is 2 foley artists and 1 sound mixer on the mixing stage. The two artists will work in tandem to create the sound and will work from visual markers and cues projected on the film supplied by the mixer to help them match timing. However, these days it’s less critical if an artist misses the timing as this can be adjusted by the mixer, but making sure the feel of the sound matches perfectly is more of what’s necessary. These specialized mixing stages the foley artists work on will commonly have special sectioned floors with various textures and materials to step on to create various sounds. Along with having an ever expanding warehouse full of props and everyday items they have catalogued and can use at any given moment.

In the instance that you might need to add some foley sound to one of your own projects you can always go simple and experiment with a basic audio mic recording various sounds like footsteps, slamming doors, breaking celery and then test it out by cutting and remixing the sound back into your edit.

If you need something more robust and professional sounding, or you simply don’t quite know how to get that exact perfect sound effect you’re looking for – audiomicro.com has you covered! Just head to the website, select sound effects, and search for anything you need! There are literally 1000s of professional high quality sound effects to choose from that you can remix and cut back into your projects with confidence.

Meet A&R Manager – Joshua Priest

T E A M   M E M B E R   P R O F I L E :
AN INTERVIEW WITH AUDIOMICRO’S A&R MANAGER:

At AudioMicro, we’ve got a commitment to the high quality of music we provide, and our A&R Manager is at the heart of this mission.  Meet the man, behind the man, behind the man, Joshua Priest.

– Thanks, Josh, for interviewing with me today.  So you are the resident music expert and A&R manager for AudioMicro!  How long have you been working with the company?

Answer: I’ve been with the company for four years, and I’ve been managing A&R and the ingest contracts for artists for the past two years.

– Very nice. What’s your background with music?

Answer: Well, I’ve been playing guitar for 14 years. And I’ve always been into music ever since I was a kid.  I mean, basically, music has just been a big part of the journey in my life. Because, you know, when you play an instrument, you’re forever learning and struggling with things that you don’t know. Your music within itself is a language, so you’re always kind of learning, every single day. And it’s great. I deal with other people’s music every day as well.  I get to kind of get a snapshot of their musical journey as well.

– So it’s almost like music is a teacher in a way.  And what’s your background before working in the music industry for AudioMicro?

Answer:  I used to work in TV, for  G4 TV, which is now defunct, unfortunately, and I also worked for a year with NBC. I started off as a production assistant for about a year and half, then became a producer myself.

– Ok, so you have a background in music and in producing. With that experience under your belt, what are some top things that you’re looking for as far as the quality of the tracks that you’re ingesting for AudioMicro’s library?

Answer: Well I definitely want to listen to how things are mixed.  We want to provide top-quality music so mixing is very important.I also want to listen to how the melodies fit into the genre that they’re trying to achieve.

Then I also like to listen to the quality of their plugins. Say with a song that has flute, you can basically tell when they have a really good plugin because you can’t tell the difference between a real flute and a really good plugin of the flute.

Sometimes I hear a film score, and I can’t tell if the artist recorded an orchestra or just on his computer doing this?  Either way, it doesn’t matter because it sounds amazing.

I can hear their level of professionalism and effort within the first 30 seconds.

And then there’s timing.  Sometimes people will upload tracks, and you can just hear that the drums are off, or the rhythm guitar is going at a certain beat per minute. But then, the lead guitar is playing way too quick, or way too slow compared to it. And you can tell that it’s not something that they’re actually trying to achieve.

And, one more thing I’d like to add. When you listen to someone’s music, if you can close your eyes, and you can see the song that they’re making being used in some sort of production, like I can see this being in a movie, or I can see this being the background of a blog on YouTube or something like that, then you know that you’ve got something good.

– So the way that it’s mixed, the melody fitting the genre, the quality of the sounds and plugins, and the timing, those are some of the things that you look for when you’re rating.  And, because of your background and TV and music, you need to imagine where it could be used, and it may need to evoke some emotion in you?

Answer: Yeah. Actually, I won’t lie. There’ve been a few times I’ve uploaded contracts to AudioMicro and I was going through a new artist’s music that were just very sad songs. And I felt a very strong reaction, my heartstrings were getting pulled, and I was like, “Oh, I better stop listening to this. I don’t want to start crying at my desk!”

Some of these artists they are really good at what they do. And if I can listen to music and feel emotional, that’s a winner right there.

– I think a lot of video production is telling a story; and that could be a happy story or a sad story, or many times to inspire, right?  Especially motivational videos on YouTube, they’re definitely telling a story, but also evoking some positive, motivational, or inspirational feelings, right?

Answer: You’re absolutely right, because when it comes down to it at the end of the day, if you have a video with audio, the audio is 50% of your video’s impact. If you have a video with audio that doesn’t match what you’re watching, it takes you out of the experience- 100%.  But if you have audio that matches what you’re watching, it can make the impact of the video 100 times better.

– It’s almost as if the measure of a well produced movie or video is that when you’re so involved in the story, that you don’t even notice the music, because it just corresponds so well, it all goes together.

Answer: Yeah, that’s what we hope for at AudioMicro. Content creators for YouTube,  production film houses, or for people that do podcasts. We’re here to help provide music to compliment your visual aspect to make your production the best it can be.  To Complement and Enhance your project.

– Do you ever get requests to help people find music or suggest music for their production?

Answer: Yes, I’m always more than happy to help our customers if they need assistance.  They can just write in to us with info like, “Hey, we’re doing like a little podcast about history and science, that we kind of want something that’s mellow acoustic.” I’ll point them in the right direction or put together 5 or 10 tracks of things that I think they might like.

– It’s great to know you all are there to help!  So, what’s something about AudioMicro that people probably don’t know.

Answer:  It’s a really great working environment at AudioMicro – We all have each other’s backs.  We’re all very chill & casual with each other- I could go talk to my supervisor or CEO and could talk about work or I could talk about something personal.  When you have a work environment where everyone meshes together so well, the productivity and the company morale becomes so high that it feels like the sky’s the limit.

We also have a room that is dedicated to chilling and taking a break.  We have an acoustic bass, a piano, bean bags and couches, and a PlayStation 4 for people want to play video games.  Throughout all hours of the day, you can hear someone in there either banging on the piano, plucking on a guitar, or playing a video game.

I think that is the best way to blow off some steam and clear your head, like if you’re working on something and you kind of hit a brick wall. You can go in there for 10 or 15 minutes, noodle around on the guitar to get some creative juices flowing, and then before you know it, you might be in the middle of playing a song and you go, “Oh, I got it!”  And go back to what you were working on.

– That’s perfect, because they say human beings can only focus efficiently for so long, and then they actually need to take a break and shift into something else.  So last question Joshua, what kind of music are you into right now?

Answer: Right now I’ve really been into Lo Fi Hip Hop to work to.  It’s kind of jazzy, there are a lot of samples from old jazz musicians and they tweak them to create some interesting sounds, and then I’m also really into classical rock and bands I grew up with like the Beatles, the Grateful Dead, Pink Floyd .

And also, I normally don’t tell people this, but I have a guilty pleasure… I like to listen to Korean Pop Music or K Pop.  My best friend from elementary and middle school was Korean so I’d always be at his house and that’s what him and his sister listened to all the time. So I learned about it back in 1997 and have been listening to it off and on for a long time, but more recently I’ve kind of gotten back into it.

I’m really digging this girl group called Black Pink.  They’ve been around for a couple of years but recently put out a new album and their sound is pretty different.. It’s like Korean girl rap trap music. Here’s the link to my favorite video.

Awesome Joshua, thanks for your time!

 

T O D A Y ‘S   T A K E A W A Y S

Takeaway 1:  Joshua’s A&R rating is based on track mixing, the melody fitting the genre, the quality of the sounds and plugins, the timing, and if the sounds help to evoke emotion or could help tell a story.

Takeaway 2:  It’s essential to find background or production music that matches your creative project in order to complement and enhance its impact!

Takeaway 3: Joshua and the team at AudioMicro are there to help if you need assistance in finding the right sounds for your production project.  Just write in Here.

Takeaway 4: AudioMicro promotes a work environment that is friendly, supportive, and honors their employees need to express creativity and take breaks!

Takeaway 5: Joshua secretly loves K-Pop! 😉

 

 

AudioMicro Royalty Free Licenses 101

A U D I O M I C R O   M U S I C   L I C E N S E S   1 0 1

 

 

 

 

 

Want to know more about what our Standard License for Music Track covers?
Let us give you the 411.

We’ll cover all the music licensing types in this article, but will focus on our tried and true- The Standard License for our Royalty Free Music Tracks.

We’re stoked to offer you the most affordable Standard License price in the industry, not to mention our HUGE library of HIGH QUALITY tracks, all for just $34.95 per song.  Woot!

So where can you utilize these tracks?  Let us count the ways…

  • In any free apps, podcasts, software, and games, utilized on iPhone, iPad, Android, & Facebook.  As long as it’s free, you’re free to use these songs as many times as you’d like!  Score!
  • In any non-downloadable casual games played exclusively via a web browser, both free and paid.  Live Games = Game on!
  • In any creative project videos that are non-advertisements, for TV, Radio, Wedding Videos, and Corporate Videos.  No Ads = No Problem!
  • ANYWHERE on the world wide web (we like to call it the Interwebs), including on YouTube, Vimeo, Facebook, Websites, Web Videos, & Slideshows.  That’s right, anywhere on YouTube land – so create away!
  • In any Film Festivals projects, both student and professional.  We love making big screen debuts!

And what about Reproduction?

The Fine Print :: The Standard License includes the reproduction of up to 1,000 copies of your project in physical, tangible products like CD’s, DVD’s, VHS tapes, Blu-rays, toys, and console games.

So, in sum, the Standard License is all you need, unless of course, you are using the music in the following scenarios. ::

  • For Ads- In an Advertisement to be run on Television or Radio
  • For Films Not at Film Festivals – In a commercial film release or theatrical presentation (excluding film festival screenings)
  • For large-scale Paid Games- In a paid (i.e. not free) iPhone/iPad/Android app, podcast, or downloadable software/game where more than 1,000 copies will be downloaded. Notice: Apps and games that offer “in-app” purchasing by the user are considering paid (i.e. not free) and require the Mass Reproduction License if more than 1,000 will be distributed.
  • For large-scale Reproduction- In over 1,000 physical/tangible reproductions of a product like CD’s, DVD’s, Blu-rays, toys, and console games.

So there are the In’s and Out’s of our Standard License, and all for $34.95!
Quite the steal, wouldn’t you say?  And just a reminder that your dollars are supporting the very deserving and talented musicians and artists who spend countless hours providing you with premium sounds!

Now remember, these deets cover our Music Tracks only.  Interested in Sound Effects SFX Licenses, click here.

Didn’t cover your intended use?  Keep reading for increased coverage.

Here’s a run-down of ALL the MUSIC LICENSE options – depending on your use:

B) MASS REPRODUCTION – $134.95 for up to 10,000 copies to $284.95 for unlimited.

This license is ONLY required if you wish to make over 1,000 physical/tangible reproductions of your product or utilize the music in a paid (i.e. not free) iPhone/iPad/Android/Facebook app, podcasts, software, and/or games where more than 1,000 copies will be downloaded.

Notice: The Standard License allows up to 1,000 downloads of both free and paid software/games as well as unlimited downloads of free (and not allowing in-app purchasing) iPhone/iPad/Android apps, podcasts, softwares, and games. Therefore, you do NOT need to purchase a mass duplication license unless you’re distributing over 1,000 physical/tangible reproductions of videos, softwares, games, toys within media such as CDs, DVDs, VHS tapes and the like OR using the music in paid (i.e. not free) iPhone/iPad/Android apps and podcasts to be downloaded more than 1,000 times.

Mass Reproduction license prices:

  • The standard license price of $34.95 plus $100 for up to 10,000 reproductions
  • The standard license price of $34.95 plus $250 for unlimited reproductions

 

C) TELEVISION/RADIO ADVERTISEMENT – $134.95 to $284.95.

This license is ONLY required if you are using the music in an Advertisement run on either Television or Radio.
Television / Radio Advertisement License prices:

  • For Music used in Local/Regional advertisements played on Television or Radio (with a range of 250 miles in all directions from the broadcast center), the price is the Standard License price of $34.95 plus $100 ($134.95)
  • For Music used in Nationwide/Worldwide advertisements played on Television or Radio, the price is the Standard License price of $34.95 plus $250 ($284.95 total)

 

D) THEATRICAL / COMMERCIAL FILM RELEASE – $284.95 for worldwide rights.

This license is ONLY required for commercial film releases and theatre presentations. Utilization of the music in non-commercial, educational, and editorial projects, like student films and contest submissions, is included in the Standard License. Please be sure to credit “Royalty Free Music by AudioMicro” in your project.

Theatrical/Commercial License Price:  The Standard License price of $34.95 plus $250 per track

Notice:
All of our licenses allow you use the music solely in your own projects. You cannot resell the music as a standalone product or create a derivative work that primarily contains just the music and the resell it as your own, such as a meditation CD with your voice running over the music. If you’d like to use the music in such a manner, please contact us for a special license arrangement.

Bonuses:
We offer a bonus of 20% on purchases over $500 and in the form of store credit to be used with your next purchase. Simply contact us after you have made your purchase and we’ll place the bonus into your account. We also offer bonuses for verified charities and nonprofits.

So that’s AUDIOMICRO’s Licensing 101 friends.

Let us know if you have any questions, and Go Forward and Create!

~The AudioMicro Team

Editing for the Horror Genre

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The horror genre in film is just as old as cinema itself; starting with silent films back in the late 1890s, through the masterpieces of Alfred Hitchcock’s Psycho and Stanley Kubrick’s depiction of The Shining (based on Stephen King’s novel), to more recent films such as The Conjuring. Every Halloween you see an increase in horror films being released to the public, that point should be obvious. But have you ever stopped to ask yourself exactly what makes up a horror film? On the surface, you know a horror film is supposed to invoke terror or fear within you. However, there are specific techniques and timeless elements that are seamlessly woven into these films that make you cover your eyes and make the hair on the back of your neck stand on end. To get in the right mindset, take a gander at the finest moments from these horror movies:

As a filmmaker, you should be aware of some of the basic pieces of the horror puzzle. Not everything relies on how good of a scream your actor has, or how well the make up and costume on your monster looks. A good horror film first starts on paper with a solid story as a foundation. From there, it moves into the camera, the acting, and then down through post production – where I feel the real magic occurs.

Outlined below are three foundational elements every editor should have at their disposal for any horror film:

  • Color
  • Sound
  • Perspective

 

COLOR

On the set, gaffers and light technicians are in charge of creating the core atmosphere for each scene; whether it be something with high contrast, or just dark enough for a creature to creep out of the shadows. Sometimes, a filter will be put on the lens to add or enhance a specific color in the scene. Generally, a blue or green filter would be used with horror films. However, in-camera lighting can only go so far. These days, I find there is no filter added on the camera because you can change the color so easily in post production. The director may want to play around with an assortment of colors and hues to achieve their desired effect. In these instances, CURVES is an editor’s best friend.

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Curves can be found in most Non Linear Editing (NLE) programs such as Final Cut Pro, Premier Pro, and Avid. It can also be found in compositing programs such as After Effects and Nuke. Generally, the option will be under some type of IMAGE CONTROL menu or COLOR CORRECTION menu – if you cannot find it, I recommend consulting the Help Menu. Using Curves gives you control of an image’s highlights, shadows, and the RGB (Red, Green, Blue) color spectrum. If you receive editing notes from the director asking you to “push the image further,” generally, they mean to increase the shadows or contrast. A term they use for this in editing is “crush the blacks.” To do this, click and drag your curve to the proper settings of adjustment. By rule of thumb, blacks are located in the lower right and highlights are located in the upper left of the curve.

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If the director wants to increase a color tone, use the drop down menu to select the color of choice – whether they want to add more blue or green into the footage, respectively.

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SOUND

You sometimes cover your eyes during a horror movie, but most of the time you forget to cover your ears. Even if you can’t see the horrific image, you can still hear the bones crack, the blood spray, and the victim let out one last shriek or a dying breath. A lot of the sound effects are created by Foley Artists (the people who create sounds used in movies). For example, a foley artist would record the sound of a machete slashing a watermelon into little bits to be used where the serial killer slashes a victims skull into little bits. In larger budget films, a foley team is generally hired to produce the sound content for the film, supplying the editor with the appropriate sounds to populate the movie. However, in smaller, or micro budget films, the editor needs to turn to online sound libraries for this content. There are websites out there filled with random sounds, music loops, and scores – sometimes free – to populate your horror film. There are literally hundreds of these websites all over the internet. However, some websites I have had good luck with and recommend include:

 

PERSPECTIVE

This one tends to be less obvious to most editors just starting out in the field. Perspective plays a large part in creating a horrific landscape, or an uneasy tension. Often times, the director of photography will partner up with the director to explore the ‘look’ of the film, mapping out the best camera angles and shots to best achieve the directors vision. In some cases, the director will need the editor to adjust a scene or image to help intensify the scene. The easiest way to add tension to a plain scene is by rotating the image on a angle.

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By putting the perspective on an angle you subconsciously tell the viewer that “something isn’t right.” People like to see their world on an even playing field, and when you start to mess with that perspective, you begin making the viewer uncomfortable and on edge.

There you have it! A solid foundation in editing for the horror genre. Do you know of another horror element you would like to share or know of a link that could help out your fellow editor? Leave it in the comment section below!

 

AudioMicro Introduces Sound Effects Subscriptions

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In April, we unveiled a fantastic redesign of AudioMicro.com – complete with a more straightforward dollar pricing system and increased clarity and options for different music licenses. Unfortunately for some users this also came with the removal of previous subscription options. However our continued interest is the satisfaction of our customer base and correspondingly the constant improvement of our products…

So now we have raised the bar once again – re-introducing monthly sound effects subscriptions for our dedicated sfx buyers.

The sound effects subscriptions offer packages tailored specifically at sound effects users, and greatly reduce the per download cost of a single sound effect. The packages currently available are:

* 5 sounds per month for $9.95

* 25 sounds per month for $39.95

* 100 sounds per month for $99.95

Comparatively speaking, the per sound effect download cost for an a la carte download is $3.95, so needless to say the sound effects subscriptions offer a much more cost effective/cost conscious option for any user who needs several sound effects per month. Even the most modest subscription plan (5 sounds per month for $9.95) cuts the a la carte/per sound effect cost in half. While the best value plan (100 sound effects per month for $99.95) offers users the chance to download sound effects at just $1 per sound effect.

Users can allow the subscription to recur on a monthly basis, or cancel conveniently any time by navigating to their SFX subscriptions page once logged in to their AudioMicro account.

We’re proud to roll out this new addition to our product and know that users will find great value and peace of mind being able to select a package perfectly suited for their sound effects needs. You can sign up now by navigating here.

 

 

AudioMicro Client Success Story: Japanese Fishing Masters!

We’ll be spending the rest of the weekend dreaming of sushi! Click play for Japanese Fishing Master awesomeness!

Video Games and AudioMicro – Endless Possibilities

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AudioMicro has a massive library of royalty free music and sound effects, and its expanding everyday. Listening to such a vast collection of original sounds on a daily bases, its hard not think of all the fun projects that these tracks can be used for. So hard, in fact, that I had to get some of these ideas out of my head and onto the blog.

I am a huge video game fan, and almost every game I play incorporates a heavy dose of production music and sound effects. Video games, whether social apps or full blown computer games, can have an original piece of music for every moment of play. From the “press start” screen, to the main menu, to level select, and of course all levels, music is everywhere. You can have a jingle for when you beat the level, and then another for if you lose! When you fight the “Boss,” or when time is running out, when you got a new high score or watching the game credits, there is a musical need for every situation.

All of this, and we haven’t even gotten to the sound effects! From the ball dribbling to the crowd cheering, every single action requires its own sound effect, and sometimes they need more than one. You can rest assured that AudioMicro has enough sounds (and more) to fill every possible one.

Lets say we have a race-car game that involves cars that are equipped with “offensive weaponry”(sounds awesome already). We’ll call it “Speed Wars.” Now we’ll need some hypothetical music pieces for such a rad sounding title…here are a few potential winners I came across:

An intro piece:

Race Car Intro Techno

The race begins:

3, 2, 1 Go Voice Sound Effect

High action game play music:

Action/Adventure Video Game Music

The race is on! Lets go faster!

Acceleration

Gotta slow down around this turn!

Tire Skid

Whoa that car just crashed!

Metal Explosion

Now, lets get to the weapons:

Machine Gun Fire for when I need to pop a tire or two!

Machine Gun Warfare

The metal tire protectors are stopping my shots from penetrating!

Bullet Hits Metal

No problem, I’ll just bust out the GRENADE LAUNCHER:

Fire Grenade Launcher

I missed! But it made a great explosion!

Big Grenade Explosion

I shoot again, this time, I hit ‘em!

Car Explosion

I pass the finish line in 1st place! The crowd goes wild!

Cheering Crowd

That was fun, but it’s only the beginning. There are so many different ways to use AudioMicro it’s mind-boggling. What can you come up with?

AJ Video Services and AudioMicro Music – A Winning Combination

We get a lot of great stories from users about how our services played a key part in their success.  In Carlstadt, New Jersey, AJ Video Services recently used five of our royalty free tracks for a client’s election campaign video. All three men who participated in the video were elected.  Each of the three men credited the video as “the video that won the campaign.”

The video begins with the story of Carstadt’s humble beginnings, and is accompanied by the track “Piano, Old Mexican Style,” which really brings the visual and narrative together.  As the narrative transitions to the present, the track “Dare to Dream” begins to play as it presents all the wonderful progress the city of Carlstadt has made and the beautiful small-town-feel it has preserved.

The next sequence cues the danger-infused track “Deadline,” as it warns how Carlstadt’s beauty is being threatened by the proposal of massive new housing, accommodating for 20,000 new people that would be built on Carlstadt’s coveted meadowlands.  Will Roseman, the mayor who is running for reelection, speaks about his commitment to preserving the beauty of Carlstadt and its natural surroundings while “Deadline” fades out.

Next up in the soundtrack is the inspirational “Shades of Blue”, which progressively builds momentum as city councilman Dennis Ritchie expresses his commitment to the hard work and pride he takes in maintaining the integrity of the city’s financial structure.

Transitioning into “Business World”, the video and music work together to strike an inspiring and triumphant chord as Council Candidate Jim Lenoy talks about the strong and safe community that is Carlstadt and his commitment to its preservation.

Each of the five tracks were placed incredibly well in the 11 minute video, and certainly puts on display the versatility and depth of the AudioMicro Library (Not to mention the fantastic video production services by AJ Video).

Congratulations to AJ Video Services and the three newly elected officials for a great campaign. You can check out the full campaign video here.

If you like the tracks, please find the individual links to them below.

Royalty Free Latin Music – Piano, Old Mexican Style

Royalty Free Corporate Music – Dare to Dream

Royalty Free Rock Music – Deadline

Royalty Free Business Music – Shades of Blue

Royalty Free Epic Music – Business World

We’ll be back soon with more exciting news from the AudioMicro community.

 

Royalty Free Christmas Music to Add to your 2011 Christmas Playlist

Christmas Image Santa Claus

Now that December is in full swing, Christmas is right around the corner.  And with the holiday season comes the promise of cooler weather, hot chocolate, wish lists to Santa (hey, you’ve been good this year!), and of course…royalty free Christmas music.

So if you’re looking for the kind of royalty-free music for your store, office, phone lines, commercials, productions or presentations that is going to give all who hear it a jollier feeling than a mob of carolers on a candy cane rush…then consider the top ten best holiday classics to add to your playlist this year:

#1:  Christmas Song: This song is number one on the list because it has withstood the test of time and appeals to every generation.  It is commonly subtitled, “Chestnuts Roasting on an Open Fire” which is the opening line of the song and one to which we can all sing along.

#2:  White Christmas: If you’re dreaming of a white Christmas, it only adds to the magical theme in the air.  This holiday favorite is an Irving Berlin song reminiscing about an old-fashioned Christmas scene.  It became popular during WWII as the lyrics were heartfelt by soldiers and their families.  According to the Guinness Book of World Records, the version sung by Bing Crosby is the best-selling single of all time, selling over 50 million copies worldwide.

#3:  Silent Night. This classic was originally written in 1816 by an Austrian priest and it was first performed at the Church of St. Nicholas on Christmas Eve in 1818.  Ever since then it’s hard to imagine Christmas without it.

#4:  Jingle Bell Rock: Released by Bobby Helms in 1957, this festive tune is another oldie, but goodie.  When you hear the verse about “dancing and prancing in jingle bell square,” you can’t help but to get up and join in the Christmas spirit as you’re on your merry way!

#5:  Carol of the Bells. This song performed by the Trans-Siberian Orchestra has no words but is a necessity for any Christmas enthusiast.  With its dramatic buildup it is unlike any other tune of the season.

#6:  Oh Holy Night. Written in the 1800s by Placide Cappeau de Roquermaure, a wine merchant and poet, this is a song that reflects on the birth of Christ and the redemption of mankind…and it is powerful enough to bring tears to the eyes of listeners and take their breath away.

#7:  Rockin’ Around the Christmas Tree: A more modern tune than many of the traditional sounds of Christmas, this number was made famous by Brenda Lee.  No Christmas event of any kind would be complete without this cheerful song…put it on and even the Grinch would be sure to get in the celebratory mood!

#8:  Feliz Navidad: This jam was written by a Puerto Rican singer-songwriter, Jose Feliciano, and has both a Spanish and an English version.  It is one of the top 25 most played Christmas songs around the globe and is another fun song to have you feeling holly-jolly.

#9:  Santa Clause is Coming to Town: It just wouldn’t be Christmas without this one—not only is it a favorite amongst the kiddos, but the adults love this little jingle as well.  Who isn’t excited about Santa coming to town?

#10:  Joy to the World. This popular Christmas carol came from the words of English hymn writer, Isaac Watts, based on Psalm 98 in the Bible.  It was written in 1700s to glorify Christ’s birth and still brings joy to us today.

Erica St. Claire is a guest post author sharing with us the top classic Christmas songs this year.  Erica is also a writer about online dating and you can find her work on Best Catholic Dating Sites.

 

 

Royalty Free Music with a Bang- Happy July 4th Weekend!

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What’s up media lovers and music fanatics? We hope you are enjoying your summer so far and are looking forward to a fun filled July 4th Weekend. Happy Birthday USA! You know the drill, we are back checking in with the monthly hotness to keep you in the loop on June’s top new uploads and artists in the royalty free music game. Let’s get right into it.

WeAreAA

We recently saw an influx of very true to form Lady Gaga/Katy Perry/Rihanna esque productions, coupled with some fun urban and hip hop tunes, from Los Angeles based WeAreAA. They recently began compiling their cue library and we are excited to be their exclusive online distributor. Check out their rapidly expanding library of modern synth pop, hip hop and urban music here.

LLMillerMedia

We know, we know, we mentioned her last month…But Lori has been on an absolute tear recently as her portfolio has grown by over 200 tracks since our last post…wow. Most tracks feature her fantastic guitar work, be it acoustic noodling or wall of sound metal style shredding, Lori is on it. Take a few minutes to check out all the new goods here.

NatKingKong

Natkingkong is a fantastic composer who recently began uploading several new cuts in experimental, corporate, dramatic and orchestral feels. His portfolio of just over 30 tracks is not about quantity, but quality, and that quality is par excellence. You will find nothing but world-class compositions and mixes in this collection, and they are both refreshing and incredibly useful. Check them out here.

Know any hot artists we need to get on board? Want some different genres of vibes featured next month? Drop a comment in the comments section and let us know your thoughts. Have a great 4th of July.

Sound Effects and Royalty Free Music -April Uploads

The last couple months have been bustling here at AudioMicro, and we have received an influx of fantastic new sounds and music. From sound effects artists to world class classical guitar players, our catalog continues to grow in both size and quality.

On the Sound Effects side of things the SFX Bible collection grew by over 15,000 sounds. These astoundingly high quality effects range from Outdoor Ambiences to Sports to Alien Sounds, and everything else in between. With the baseball season getting fired up, you might want to peruse some of these fantastic baseball sounds here. If Science Fiction is more your cup of tea, check out a massive collection of awesome Alien sounds.

Also joining us in April was Sound Effects artist David Fienup. His collection spans over 3,000 sounds and he is well known for his meticuous recording and editing techniques, producing amazingly high quality sound effects. This collection is quite dynamic, but has a heavy focus on organic sounds, such as these very well produced lake ambiences.

On the music side of things, we continue to flourish. Dirk Lind aka Particleheadrecently joined the platform providing some fantastic vocal pop, rock, reggae and folk tunes. A gritty vocal and uplifting, fun instrumentation are the cornerstones of his tunes. Check out his awesome royalty free music collection.

Long time top contributor Martyn Harvey has been a busy bee lately, uploading over 20 new cuts in April alone. This brings his total track count on AudioMicro to well over 100, and we couldn’t be happier to have him on board. Check out his entire portfolio of top quality production music compositions here.

New contributor Michael85 has also been uploading some great tunes lately, many supported by his fantastic guitar playing. Flamenco, classical, and good old fashioned shredding rock styles all find their way into his tunes. Check out the goods here.

We’ll keep you posted on new uploads with an updated post in the next few weeks. Until then, thanks for reading!

AudioMicro Holiday Sale – Receive Up to 20 Free Bonus Credits on Purchases now through Christmas Night.

You read it right. Sale is live now through Christmas Night.

There are two tiers for this sale:

1. Make any credit package purchase of $199.99 or greater and receive an additional 20 bonus credits.

2. Make any credit package purchase of $99.99 or greater and receive an additional 10 bonus credits.

How it works:

Simply make your purchase as you would normally, and once your transaction is complete email customer service at audiomicro [at] audiomicro [dot] com and put in the subject line, “Redeem Holiday Sale Credits – ‘AudioMicro username’ “. We will confirm your purchase amount and put the appropriate number of bonus credits in your account immediately thereafter (It is important you include your username in the subject line for speedy turnaround).

That’s it. No hassle or promo codes necessary.

Sale closes officially at 11:59 PM PST on December 25th.

Happy Holidays from everyone here at AudioMicro.

Florida Governor in Trouble

Any song that is used in an ad runs the risk of forever being associated with that particular product.  Many younger people, for instance, don’t realize that “Like a Rock” is not the Chevy song but a Billboard chart topper by Bob Seger.  For this reason, some artists choose not to allow their work to be used in advertising.  David Byrne of the Talking Heads is one such artist, so he was understandably irked to find that his voice and music was feature in a campaign ad for Florida governor Charlie Crist when proper permission had not been granted.

Byrne, who has a longstanding reputation for not allowing his work to be used in advertising, does allow use of his music in commercial films and television if the proper fees are paid. This is how he makes his living.  But Crist failed to ask permission – which he would have been denied anyway, according to Byrne’s blog post:

“Besides being theft, use of the song and my voice in a campaign ad implies that I, as writer and singer of the song, might have granted Crist permission to use it, and that I therefore endorse him and/or the Republican Party, of which he was a member until very, very recently.”

Byrne most assuredly does not support the Republican party, whom he says has stolen music before.  John McCain, for instance, used Jackson Browne’s classic “Running on Empty” during one of his campaigns even though he had failed to gain proper authorization.  Browne sued and eventually the McCain camp settled with him.  In the past, lawyers have tried to claim that their use of purloined songs should be protected by their First Amendment rights because it is integral in making a political point.  Byrne is hoping that a judge sees this as the ridiculous argument it is and awards him $1 million.

More Music News From Around the Web . . .

The Nimbit vs. Topspin Smackdown

Family of the Year: Silver Lake Jubilee Photos and Review

Nada Surf, Telekinesis @ The Troubadour, LA 5/25/10

Blu “Just Too Perfect (prod. Exile)”

Is a US Version of the Digital Economy Bill on the Horizon?

Piracy costs the music industry billions of dollars per year; the UK has been attempting to combat the problem with the newly adopted Digital Economy Bill, and a judge in Ireland just cleared the way for an Irish version of the anti-piracy act.  Both of these are designed the concept of graduated response, and music companies and rights holders are asking Congress to consider a similar bill in the United States.

A group of music publishers and rights holders, including the National Music Publishers Assn., ASCAP, BMI, and SESAC, asked the Federal Communication Commission to consider allowing them to work with ISPs in order to develop a graduated response to end online piracy.  The widespread problem has the following results:

  • $12.5 billion in economic losses overall
  • 71,060 lost jobs and $2.7 billion in lost wages
  • Loss of $422 million in tax revenue
  • 32 percent reduction in songwriter mechanical royalty income between 2003 and 2006

According to the International Federation of the Phonographic Industry (IFPI) estimates that some 95 percent of music downloads in 2008, which equals about 40 billion downloads, were unlawfully gained.  When the judge in Ireland allowed music rights organizations and ISPs to develop graduate responses to piracy, he wrote in his decision that just because the music being stolen was on the internet, it wasn’t any less illegal to take.  A comment delivered by the music rights groups to the FCC echoed that sentiment:

“[T]he FCC draws and important and necessary conceptual distinction between lawful and unlawful content, appearing to recognize that the net neutrality should not somehow facilitate the transfer of illegal content.”  They go on to argue that “ISPs must have the ability to establish not only a system of warnings but also a penalty regime for violators in order to ensure that a reasonable deterrent to unlawful activity exists…Final rules on net neutrality must ensure that ISPs have the flexibility to employ the best available technologies and methods to combat the illegal transmission and distribution of copyrighted works in the future.

Without the graduated response, they say, digital piracy will only increase in scope and “diminish the quality of content on the internet for the vast majority of users.”

The graduated response they would prefer the ISPs be able to follow was not mentioned specifically, but according to the UK’s Digital Economy Bill, ISPs must send out letters to those who illegally download copyrighted material, and if repeated warnings go unheeded, their internet service may be terminated.  A similar plan seems likely in Ireland, and graduated responses plans are or will be implemented in New Zealand, France, and other countries around the world.

Other Music News from Around the Web . . .

Trade Your Fans On Headliner.fm For New Ones

Cheap MP3s: MGMT, Saint Motel, Andy Clockwise, Temper Trap

Best Coast – “Our Deal”

J. Cole “Who Dat”

Are You Ready for an Upgrade?

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According to a recent press release, CSS Music, a Los Angeles-based royalty free music library, has upgraded its entire collection of music tracks for the film, video, television and digital media industry to a superior quality .mp3 320 kbs file format. The 12,000 tracks are now available for digital download in the new upgraded format.

Michael M. Fuller, president and owner, had this to say about the upgrade, “When you’re talking about compressed files in an .mp3 format, the gold standard without a doubt is 320 kbs. While our 160 kbs files were excellent, taking our royalty free music downloads up to .mp3 320 kbs was a necessary move. Today’s clients are looking for ways to stretch their dollars and at the same time they’re looking for quality. They demand quality. Now because of this upgrade, our mp3 files will sound smoother with a more transparent high frequency response.”

Sounds like a pretty good upgrade, doesn’t it? It’s top-quality royalty free music without higher fees. You can download the new tracks either on a single-track basis or through a bulk download package. When you purchase a download bulk package, you can expect to save anywhere from 30 to 90 percent off. That’s more than an upgrade — that’s a bargain. CSS Music offers three independent search systems. Each track in a search result can be reviewed in its entirety in full 44.1khz sound quality. Site users can also use a “Playlist Tool” to create an unlimited number of playlists for different projects, scenes, etc. Playlists can be e-mailed to clients or associates.

CSS Music was founded in 1982 in Los Angeles, CA and is the oldest US based royalty free music library under original management. CSS has more than 300 CD volumes and 12,000 downloadable music tracks in its 17-library package. CSS Music is intended for use in AV/Video, Film, Television, Multimedia and Internet applications. Delivery formats include CD, Custom CD-R, Single Track Download, Downloadable CD, CD-ROM, DVD-ROM and Hard Drive. Popular CSS libraries include Super Themes, Target Trax and Repro-file. For more information, visit www.CSSmusic.com.