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mmrmmr’s Studio Mysterioso is located in downtown Portland, Oregon
Apple iMac Intel Core Duo, running OSX Snow Leopard
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Second 20 inch Mac screen,
Lacie FW HD’s.
Motu 896 HD
Access Virus Indigo
Korg MS20 controller
Mackie Big Knob
Blue Sky Pro Desk Monitor System
Octavia Russian Mics
Neutrik Patch Bays
Spectrasonics Stylus RMX, all sound modules.
Korg Analog Collection
Native Instruments Reaktor 5, Electronic Instruments 1 & 2, 100′s of user synths and fx.
Native Instruments Battery 3
Native Instruments Absynth 5
Native Instruments Massive
Native Instruments FM8
Native Instruments Kore 2
Native Instruments Kontakt 4
Sonic Projects Oberheim OP-X
Ultra Analog VA-1
Rob Papen Blue
Nomad Factory Blue Tubes
Nomad Blue Verb
Massive sound library; everything you need to make professional, finished electronic music.
email firstname.lastname@example.org for details.
I have decided to propose a panel at next year’s South by South West music festival in Austin, Texas titled ‘Jingle Punks – A Dark Empire or a Force For Good’. I’m aiming to have a debate about the new musical landscape with a focus on this highly successful new company. As a small music company and a loose collective of writers and producers, we are always interested in new ways to generate income from music. With Jingle Punks I saw an opportunity to perhaps open some new doors and potentially create income from music that was otherwise sitting on the shelf. But how does it work? And is it a good, fair deal for writers and producers?
Please take the time to vote for us at the sxsw site here:
Panel Organizer: Lorin Cutts – Director, mmrmmr
Peter Bradbury – Music Executive, BBC UK
Andrew Sunnucks ‐ Chairman/Founder, Audio Network UK
Kevin Vitale ‐ Vice President and Brand Creative Director, IFC
Jared Gutstadt ‐ CEO, Jingle Punks
Karen Craig ‐ Acting Head Of Music, ITV UK
Jingle Punks is a music licensing company that launched in 2008. Its founders said that they wanted to fill the void created by stock music libraries that refused to deliver relevant and hip content. It was named one of “America’s Most Promising Startups” by Business Week, 2009 and now has a client list including ABC, NBC, CBS, Comedy Central, Vh1, MTV, Bravo, TLC, History Channel and A&E plus many top advertising agencies. Jingle Punks received the Soundctrl Award for “outstanding achievement in music and technology” who said they had revolutionized the way film, TV and marketing production company’s access music. Jingle Punks has generated a lot of publicity, but is there another side to this story? Reports, rumours and blogs have been both positive and negative about Jingle Punks. Artists have questioned when, if, and how they will get paid. Many say there is a lack of transparency about the royalties and information on where their music has been used. So what’s the story? We will hear this from the composers, creative media producers and from those Jingle Punks themselves, and we will ask them whether it is possible to have a win/win situation for composers, music users and music licensing companies?
Questions To Be Answered:
Who are Jingle Punks and why are they successful?
What is Jingle Punks payment model for artists and composers?
What is the best way for artists and composers to get their music used in TV, advertising and media platforms?
When, how, and how much do artists and composers get paid when their music is used via Jingle Punks?
Is it possible to have a win/win situation for composers, music users and music licensing companies like Jingle Punks?
I am delighted to be working with top UK music publishers and library catalogue Audio Network. A track that I co-wrote and produced with Peter Bradbury at the BBC has been accepted into their catalog of library music for use within advertising and the media. Audio Network have a library of over 40,000 songs and work with over 270 worldwide composers. Very pleased to be included as one of these. More to follow.
mmrmmr actively pursues opportunities to sync. our music in all multi media formats throughout the globe; television, advertising, motion picture, independent and short film, gaming and emerging technologies.
We already have had some fantastic sync. results in the UK and Europe; BBC, MTV, ITV, Channel 4, E4, independent film; with some top shows such as Top Gear, The Inbetweeners, Eddie Izzard and even The Royal Variety Performance amongst many others.
Whatever your remit, we have music to suit your needs. We also have a back catalog of successfully sync’ed work that spans over a decade… and we also operate a fully professional audio-visual studio that is equipped for all music to motion picture needs.
Contact email@example.com for all enquiries.
MMR006:: Ian Neal – Re-Written EP is out now, released on September 28th 2010 via IODA.
Tracks from last year’s excellent ‘All In The Golden Afternoon…’ LP have been re-mixed, re-vamped, re-mastered and re-written into this beautiful EP. Gone are the various vocal touches to give a more user friendly soundscape specifically for film and TV sync. work. Expect a new Ian Neal album in 2011.
Buy at itunes
Free download ‘Kingdom Of The Birds’ is one of the stand-out tracks on the highly acclaimed compilation album, ‘A Monstrous Psychedelic Bubble Exploding In Your Mind – Volume 1 – Cosmic Space Music’ by DJ’s THE AMORPHOUS ANDROGYNOUS a.k.a. THE FUTURE SOUND OF LONDON.
Ian Neal bio:
Ian Neal sat down to study classical music for several years after playing keyboards in various Sheffield (UK) bands throughout the mid-90s. Technological breakthroughs with digital music production and the birth of software instruments meant that he could now develop some of the large scale projects which had been milling around as ideas recorded onto tape.
It also meant Ian had access to the classic sounds of the Mellotron, Hammond Organ, and Moog synthesizer along with everything orchestral that up to this point would have required spending thousands. Ian’s early influences are never far away, and there is more than a passing sentiment of prog rock lurking in the background of most tracks.
Ian Neal: “It has been great to hear the sound of the Mellotron back in fashion, but I love to look back to the way it was used by the likes of King Crimson, Genesis, Yes, Pink Floyd, and Barclay James Harvest. I learned to play keyboards on a Hammond Organ, and I think that has informed my style in a way that differs from learning on piano. Guitar is my second instrument and I predominantly stick to acoustic, although there is electric on some of my work. Vocals are used as a third instrument, but are pretty much in disguise”.
A starting point for several of the tracks on the album “All in the Golden Afternoon…” came from spoken poetry. The title of the album is the first line of the poem that features as a preface in the book “Alice’s Adventures in Wonderland” by Lewis Carroll, and fragments of the poem inspired the title track. Elsewhere on the album, Ian uses sampled birdsong to create the impression of an English Summer, as seen through the eyes of Lewis Carroll and other Victorian writers.
Ian Neal’s lushly orchestrated music combines ambient, electronica, and classical influences – think Lemon Jelly, Air, and Zero 7 mixed with psychedelia. If you’ve been into progressive music of any style from the 1970′s through to the present, then there will definitely be something in Ian Neal’s music for you.