INFO ON THE PROJECT: HIT INDUSTRIA

February 5, 2008

‘PLATINUM BY DEFAULT’ EDITION: ALBUMS CURRENTLY IN RECORDING PROMOTE CREATIVE EFFECTS OF GATSBY & LAUREN(WARE )

Filed under: Uncategorized — hitindustria @ 10:51 am

As published on Music Industry Information Network (www.mi2n.com):

‘ Ivan Gatsby and Isaac Lauren, composers, producers, sound engineers and designers, performers and business toure de force, have revitalised their efforts to create a full-scale milestones in any genre of ‘Classic Pop-Rock Music“.

This is why they penned a double one-off deal with a minimajor on January 27, 2008.

The identity of minimajor is to be stashed as business secret until the date of the opening Gatsby and Lauren’ album“ release becomes due.  It is believed to be from Austria, though.

Following a stream of delays, Gatsby and Lauren have just completed recording of what is conceived to be ‘the most superior debut album ever’, as well as ‘an all-time instant-classsic album’ –namely ‘The World We Are A-Changin’.

The album previously having been announced in this portal features 13 songs of megahit and hit value, empowering outstanding masterpieces of art country, sympho-rock and BritPop genres.

This album notwithstanding, Gatsby and Lauren are ready to record their first dadaistical in-house band DA!DA! (formerly: DAta!DAta!), the one falling into Electro Pop subgenre -‘Tabloid Techno Pop’.

The album, at demo version status for the time being, has been reported as a ‘a gem of the lightweight yet distressing bubble-gummy type of radio-friendly music’.

The album is titled ‘Daily News Café’.
Gatsby and Lauren’s journey into the realm of Electro Pop has not been entirely unexpected, for Ivan Gatsby might have written the first-ever electro poppish song ‘I Am the Computer. You Are the Machine’ back in 1969, which is why David Stone, Gatsby’s associate at that time, ‘calls him the grandfather of Robot-Pop’.

“Ivan (Gatsby) used to put drops of motor oil into the milk while we were composing the songs to be featured on the album”, said Lauren at the rushily organised press conference at the Intercontinetal Hotel on January 24,2008, “He was doing so because he wanted the critics and audience to feel the new dimension in the music. The album we can send to the outter space as the landmark of our mass media achievement. I know that Daily News Café and it’s 13 fantastic, irresistible, magic-grabbing and time proof songs shall deliver the bias of melodies correspondent to the music belonging to whatever being underpinned under the term ‘electro pop’”.

In an off-beat ambient, Gatsby and Lauren displayed the album’s demos to the invited public, and reportedly most of the guests were fascinated by a insightful and deliciously infectious infotainment.

The cynism, a trademark of Gatsby and Lauren’s opus,is to be mitigated at times by the themes such as ‘Kiss Me Automatic..It’s So Chic’, ‘The Art of Bla-Bla-Bla’. Yet, cynism interwines again throughout the album, procyclicaly reappearing thru the words and comments of information-equipped computers and robots, who happen to comment the affairs in the world.

Gatsby and Lauren speak their views on ‘The World We Are A-Changin’ wherein subtle protests travel in between the lines.

‘Daily News Café’ shall present the robots, charged by internet knowledge, questioning the values of the world nowadays.

The album ‘Daily News Caffe’, ‘ which would have sold tripleplatinum in the preinternet age’, as an music industry insider remarked, delivers radio flavoured megahits ‘Kiss Me Automatic.. It’s So Chic’, ‘The Art of Bla-Bla-Bla’, ‘Life Goes On’ ‘Proud To Be Catholique’, backed by the likes of ‘ABC of Singing-So Far Away’, ‘Tell Me What’s Going On’, ‘Paris, London, Amsterdam’, ‘They Used To Be Robots (But We Are Robots No More), ‘The Believers’, ‘How Electric We Can Get’, ‘All Night Hallo’, ‘Das is Mein, Das Kapital ‘, ‘ The Air That We Need’ , ‘ This Very Night’, ‘Unzipped Memories’ and ‘popcornish’ instrumental for SMS generation ‘Wishing by Numbers’.

There is no doubt that these songs shall awash the waves and bytes EUwide, launching the finest of sophisticated music kitsch.

Despite the genre, the album is reported to be noiresque, and abundant of surprises to the naďve and openhearted public.

“The scope of DA!DA!’s project is to complete the scope of Kraftwerk, German and Synth disco, Hot Butter and any derivatives thereof”, states Gatsby. ”The opening album, to be followed by the ‘One Forever After’, additional bundle of megahits and hits in Tabloid Techno Pop, shall by the rule of thumb nominate the Project as the ultimate one in the genre”

“Never forget, each of the abums to be issued at Gatsby and Lauren ‘Platinum by Default Edition’ is projected as the very best of each genre,and which poses the achievement of mankind”.

The press asked Gatsby what made him so certain that the next ‘advanced form of artificial living on Earth’ would be Catholics’, as claimed in the song ‘Proud To Be Catholique’, the one having been refused at the four national contests for Eurosong 2007.

“Unlike humans, robots are supposed to be well informed and intelligent. If you are informed and intelligent, what else can you be?”

Robots Catholics? Will they be the only Catcholics left in, say, 100 years?

February 26, 2007

THE WORLD THEY ARE A-CHANGIN’: BRIEF INFO UPON GATSBY AND LAUREN

Filed under: Uncategorized — hitindustria @ 1:41 pm

Listen Now! www.betarecords.com/gatsbyandlauren

DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT / SECRETS OF MY LIFE                 

Ivan Gatsby and Isaac Lauren, the perfect media and business profilers, besides being widely hailed as the premier  creative force, are finally honouring the public with their debut album heralding GATSBY & LAUREN MEGAHIT CATALOGUE (2007-2012), as well as their PLATINUM BY DEFAULT* e-DITION, featuring the acts, created in vitro (in-house) and developed by GATSBY and LAUREN. The acts  shall  perform the songs exclusively  composed, arranged, enginereed, produced and (co)performed by GATSBY and LAUREN.

Ivan Gatsby and Isaac Lauren are currently in the procedure of finalising their privately developed software relating to calculating the ratio of the hit potential and commercial efficiency of any song they create.

The Catalogue, a start-up IP ( Intellectual Property) asset featuring or to- feature more than 200 songs (upgradeable by 2008.) with hit and megahit potential by the parameters and logarhytms of a privately developed software engine, named for the purpose *Hit Potential Meter*, starts the string of releases to follow-up, kicking off with a to-be instant classic THE WORLD WE ARE A-CHANGIN’.

This album, currently in recording, has been propheted by those precious few who have witnessed the development thereof, to turn into an instant all-time classic and a commercially exploitable item up to it’s full capacity in years and decades to come. Gatsby and Lauren, having developed the Catalogue of potentially strong hit songs, lining up in-house act roster, as well as creating a sustainable business and marketing business designs applicable thereto, are deciding to step out into the music industry on their own, as a one-off performers.

Their albums to follow shall include TURN OF THE CARDS (2008) and (working title for the last release of the edition: PLATINUM BY DEFAULT (2009)- alternatively: BLOW-UPS ( provided PLATINUM DEFAULT title would still be used as the edition title), the latter projected to employ revolutionary voice processors (in-development at this stage).Their songs shall be performed live by the ARIEL tHE TEMPLAR, their pillar project, a stadium outfit who is expected to attain the ‘social role next to Bob Dylan’s’ and The Beatles’ in the years to come.

The broad set of musical and otherwise targets Gatsby and Lauren have set thereupon, shall be by no doubt met with their unique repertoire, unifying the variety of genres and related subgenres applied thereto, the mission and and the purpose of their Project-Acts.

Up to this very point, the publicly-known outtings by Gatsby and Lauren’s were:
a) 1999: They scored TOP20 hit on mp3.com charts with their first-ever with their first-ever virtual all-girl group, namely TESLA GIRLS!
b)1978/1979: Ivan Gatsby participated in creating and arranging of a TOP10 (Germany) and a TOP20 (UK) hits, accompanied with his partner at that stage, David Stone.

c) 1989: as well as blockbustering the SEE media environment with the tabloid weekly (ST) which changed the history of Europe, desintegrated a state and introduced new values to the public perception.

Gatsby and Lauren’s story starts in 1997. when Gatsby, priorly having been hailed as a ‘grandfather of techno pop’ (1969), later to become an innovateur preceding forthcoming punk wave with a demo ‘The Laughing Hero’ (1975, recorded in London, supported by his partners David Stone aka Berndt Schneider), teamed up with a composer, performer, instrumentalist and sound engineer Isac Lauren, with aim of creating the very finest of commercial music releases ever. Currently recording in an almost state-of-art private studio (WHITELIGHT STUDIO!), demoing on their own home studio, Gatsby and Lauren are reported to be exceeding their primary goals with their opening album THE WORLD WE ARE A-CHANGIN’.

The songs derived therefrom, ‘DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT’ and ‘SECRET OF MY LIFE’ are being streamed only on Betarecords.com and previewed/sold at Musisdock.net at the bargain price.

The album is to be followed by a Tabloid Melodic Punk project (COHEN, formely known as: THE TOUCHDOWNS) and Tabloid Techno Pop (DAta!DAta!), as well as the principal artists from their roster, such as ARIEL tHE TEMPLAR (Soft Rock/ Grand Epic/ Neo Brit Pop etc.),TESLA GIRLS! (Global Sympho Pop) and so forth.

Provided the required agreements about distribution and related issues are signed by March 21,2007, the hereinabove albums shall be issued by the end if 2007. THE WORLD WE ARE A-CHANGIN’, a soft and artsy hommage to American folk (protest and /country rock), unifies a variety of genres which Gatsby and Lauren have implemented into a unique Gatsby and Lauren’s style under umbrella term: AFTER POP / ROCK NOIR.

The songs on the album THE WORLD WE ARE A-CHANGIN’ absorb the best of all applicable genres and subgenres, blended into a unique Gatsby and Lauren’s format, not rarely counterpoiting (eg. Glam Rock vs Protest Folk harmonies), being lyrically divided (loosely) into four basic stories:
1. A young man from province, helpless, hopeless, wishing to modify the cirumstances he was born into, and seemingly imprisoned by (the songs corresponding thereto, a.o. :  ‘Secrets of My Life’;  ‘A Town with No Name’; ‘Storyteller against the Rain’;
2. Memorabilia of good ole West, fresh times, dreams we all cherished while being young and identified ourselves within parameters of the times and society (a.o.: ‘The Storm A-Comin‘; ‘Anywhere You Seem’; ‘After the Kiss…They Call Love’);
3. Welfare cause activities as once started by the KnightTemplars, followed and globalised by Masonic rites (comprised in the anthems such as, a.o.: ‘Brothers-in-Blood’; ‘Message to the People’; grand Nashville-based anthem ‘Walk on by (And Never Stop)‘;
4. Pink Floydish dark cynism,croos- collateralised with Leonard Cohen’s Jewish scepticism,both interwining through every song of the album, particurarly thru the bitter yet glamorously noble protest song ‘Don’t Worry, Ma, Nothing Is Gonna Be Alright’.
As to it: ‘The Masterpiece! ‘, cried a noted 54-year old critic, after having listened to the rough-level demoes, the lyrics still having not been upgraded. ‘A Million Seller!‘, claimed the insider and manager in the music industry claimed, yet Gatsby and Lauren were fully unavailable for his offer.

Hence, the album THE WORLD WE ARE A-CHANGIN’, as well as Gatsby and Lauren’ brand, is a media/business opportunity, abundant of substance, catchy melodies and hooks, in-depth lyrics, selling and marketing unique points. The songs anyone can interpret and tailor to his/her circumstances, and at the end of day it is the album you would like to send to the space as a showcase of humankind to any extraterrestrial life on a higher mental level than we are.

‘It is like and epitaph, the highest achievement’, the critic concluded his view of what he claims, shall be a truly sensational album, one of the very best debut albums ever….
Holding hit after hit, THE WORLD WE ARE A-CHANGIN’ is destined to live for decades to come… Soft, decent, cool, genuinely sincere, a landmark of the upper style and manners. The album which provides identification.

 BEST  OF ALL, GATSBY AND  LAUREN  SHALL PROVIDE THE INVESTOR/ DISTRIBUTOR WITH COLLATERALS RANGING FROM MARKETABLE INTELLECTUAL PROPERTY; START-UP  INSURANCE POLICIES  WHEREVER APPLICABLE THERETO SUCH AS  COMPREHENSIVE GENERAL LIABILITY – HEALTH INSURANCE   –  DISABILITY INSURANCE – LIABILITY INSURANCE – PRODUCT INSURANCE – PROFESSIONAL LIABILITY (MALPRACTICE) – PROPERTY INSURANCE  AND  IF REQUIRED,  UMBRELLA INSURANCE,  COVERING ALL THE DUES  UNTIL THE FULFILLMENT OF AGREEMENT’S CONTENT.

At the end, let’s not forget to memorise the spectacular Gatsby and Lauren’s charity song BROTHERS-IN-BLOOD and the web site (www.virgin-euro.com; ceased to be active as of 2002.), both rush – released on September 13, 2001. God bless all the innocent mothers, fathers and he heroic innocent people who were the victims of the Islamic terror,the one we in Europe have been familiar with for more than 500 years.

THE WORLD WE ARE A-CHANGIN’ – Technical Data

Filed under: Uncategorized — hitindustria @ 1:11 pm

Album THE WORLD WE ARE A-CHANGIN’ belongs to the class of high-end, extraordinarily profiled, commercially viable megalit albums containing the songs predicted to become all-time standards, as well as hits at the time of release.

Ivan Gatsby and Isaac Lauren are multitalented and CV-ed songwriters, arrangers, (co)performers, instrumentalists, sound engineers, producers, marketing and business designers, promoting new exotic financial instruments as to the start-up financing. Their talent, which has been essentially unutilised to the full limit to this date, is breaking out now with this album, rumoured to feature at least 4-5 to-be standards of modern music.

Album: THE WORLD WE ARE A-CHANGIN’

Act: GATSBY & LAUREN

Back-ups: GREGORIAN DEI CHOIR; The sound of MERSEYWIDE PHILHARMNONIC ORCHESTRA (opt.)

The genres: Cyber Acoustics, featuring Singer-Songwriters subgenres: County Sugar Pop Noir; Protest Folk Soft Rock, whererever applicable; Grand Epic, a style optimised for anthems, with the traces of BritPop

SONGS: BROTHERS – IN – BLOOD. A Grand Epic anthem, a hommage to the KnightTemplars. Originally issued on September 12, 2001 (on www.virgino-euro.com, now defunct website) as a charity hit after 11/9/2001. It is a call for KnightTemplaristic spiritual values to be adopted by every man with the goal of saving this planet from the climate and other relevant disasters threating the humankind, and to revive the White, Christian (Catholic) morals being wasted in new globalised conception of politic-driven and corporations-favoured states. A song to become a hymn to the football stadiums, and a TOP1 Ringtone hit. An identity icon! Generations’ gem!!!

ANYWHERE YOU SEEM. Eternal instrumental intro, a memory of the younger days of late 60s , 70s and early 80s. A superb matinee song., of times when we all dreamed and some still do.

SECRETS OF MY LIFE. Once you were a member of a school-rite. Then you wanted to change the world, within the limits of your unstable information opus. Very few have any chance of doing so. Once, after you have started to modify the environment, you may find out there is very little you can do on your own.

A TOWN WITH NO NAME. Locked within the boundaries of a small city in the middle-of-nowhere, listening to the folk-music celebrities, while being in love with a person who dreams of the persons in the world outta there, having no sight of any road to your town which practically does not exist on the atlas, what can you do?

WALK ON BY ( AND NEVER STOP). Being marginalised, you watch from your window in a block of Bronx people walking down the street, carrying their attaches or themselves in the carrier bags, stepping down the subway arcadium, and never coming back. The next morning, you see from your window another group of people who resemble so much of the group a day ago, walking the same direction, and never returning . Is there anything you can do, supported by the homeless people down there noone cares for? Of course, there is! You gotta just walk on by to your goal, no matter how small or great your goal might be, and never stop. We should all walk on by to the right goal, inspired by the welfare cause and we should never stop until we make it true.

DON’T WORRY, MA, NOTHING IS GONNA BE ALRIGHT. The subtle protest gem of the 21st century! Cool, hopeless, yet elegant and noble. The islamist have decided to kill mothers and innocent people, aboard of the planes, to promote and export the greatest of humanly produced dangers ever – Islam – into the territories of the Catholics, Christians and White Men. The people die… And actually noone really cares thereabout? Every terrorist has human rights. Those who have been killed don’t have any. Who is responsible therefor? What are exactly human rights? Who do the so called Human Rights refer to? And who is human, by the realistic criteria? Are the humans all those creatures made up of piles of flesh, clad in clothes, having hair, who technically look like people?

MESSAGE TO THE PEOPLE. Once upon atime, the KnightTemplars renovated Europe by the roads, Gothic buildings, cheques…They were excincted later by a French King who owed them money and did not want to return. Centuries thereafter, the groups of FreeMasons started their activities. This is a story of them…

THE PERFECT NOBODIES. You dream of achieving a social, emotional and materialistic success, whichever suiting you better. Then you open your eyes and walk the roads od many. And turn into a man every politician stands for, does nothing for, and who cannot say a word without being humiliated. Welcome to becoming a Perfect Nobody. Unless you have not been one, already. In either way, sing this song with us. And remember: Never give up if your targets are worthy. Walk on by (and never stop).

THE STORM A-COMIN’. Wild West. Heroes dead and gone, the saloon by the road virtually open. The people working on the farms. However, we all feel something is a-comin’. A storm, another storm is spotted on the horizon, black massive clouds close to the ground. Shall we survive another storm a-comin’ to us?

CONFESSIONS OF A TRAVELLER. Our Lord, embodied in the Holy Son Jesus Christ has been travelling thru our souls, and the world the Wholy Father has created, for more than 2.000 years. This could be one of his confessions, if He were physically with us, as once when He was embedded in the flesh and blood of Jesus Christ. We all should be worried at our Lord’s comments. God was thrown out of the EU Constitution. Who remained?

STORYTELLER AGAINST THE RAIN. The little city, deep down in the West, modelled at it’s creation solely of the wooden houses, is rusted and gone now. It’s been a ghost town ever since the people discovered there was no gold-mine at all around. We were proud to live in those few wooden-houses. A storyteller, the man who seemed to be writing books, but never having issued one, still lives there. And keeps record of our love, forgotten and erased by the sands. A song figuratively announcing the new album titled COMMUNICATION LOST to be performed by the Tabloid Melodic Punk outfit COHEN (known also as: THE TOUCHDOWNS) .

RESUME: The songs feature an on-going structure of catchy; hook-based melodies and harmonies, the lyrics contributing to the noblety and credibility of the product substance. Each of the songs herein posseses the quality of a standard; instant hit; all-time evergreen, which we will be discovering through the years and decades to come. The original and often lushy arrangments, unique interpretations, the genres contrasts (artglam – folk/protests etc)…

Gatsby and Lauren, although mainstream, glamourous, often luxurious productionwise, do promote AFTER POP ROCK Noir style implemented thereinto, a cynical approach (wherever it happens to be valued as tasty and semantically valid…

MAKING OF THE WORLD WE ARE A-CHANGIN’ (2) – METADATA

Filed under: Uncategorized — hitindustria @ 1:08 pm

Ivan Gatsby And Isaac Lauren shall provide the Investor / Label-Distributor with all necessary Legal and Metadata issues, such as:

Agreement Between Members of Group.

The performing artist for the opening album are Ivan Gatsby and Isaac Lauren.They are both owners of the Artist name: GATSBY & LAUREN, in equal share (50-50). The in-house named and studio session backing perfomers such as GREGORIAN DEI CHOIR shall be paid on a fixed basis, with no any further rights as to the issue, just as any other backing-vocals to be utilised thereby.

Investors

Ivan Gatsby and Isaac Lauren shall prepare the documentation tailored and optimised to the Investor’s/ Label-Distributor’s policies. The documents on the Incestment Agreement, containing the values, exit and rights acquired therewith are prepared and shall be refined, provided so required, in order to comply with relevant State laws.

Distribution and Promotion Strategy

Ivan Gatsby and Isaac Lauren shall develop the low cost-full efficiency marketing program for each of the projects therein involved.

Copyrights, Related Rights

Ivan Gatsby and Isaac Lauren are the owners of copyrights to be comprised, as well as all the rights deriving therefrom, which creates the perfectly suitable commercial Intellectual Asset for collaterising any resource of financial support. No samples are used throughout the labum, so no Sampling clerarance is required to be obtained..

Work for Hire Agreements

Agreement of  ‘Work for Hire’ shall be signed prior to any studio and otherwise engagements with any session talent Gatsby and Lauren select hire to preclude any possible future claims by that session talent that they are owed royalties or that they have ownership rights in the masters.

Producer Agreement

Ivan Gatsby and Isaac Lauren are sound engineers, producers, arrangers. No outside producer shall be used.

Production Credits

All the production credits listed in the liner notes–for session people, producers, and others–conform to any contractual requirements. There shall be no “Courtesy Of” engagements.

Liability Releases/Permission Forms

The designer selected by Ivan Gatsby and Isaa Lauren shall create the final original artwork for the label and associated material applicable online and offline. No photograph, logoartwork under liability of the Third Party shall be used thereby.

Copyright Notices for Songs

Album shall contain the correct copyright notices for all of the songs on the record. Each song credit shall correctly state for each song the name of the song’s publisher and the publisher’s performing rights society (i.e., ASCAP, BMI, etc.). Ivan Gatsby and Isaac Lauren are their own, DIY publishers at this stage, planning to register a LTD. company titled ‘MI2 MUSIC’, to deal exclusively with commercial activities relating to the songs from Gatsby and Lauren’ s ever evolving MegaHit Catalogue.

Copyrighting Original Material

Ivan Gatsby and Issac Lauren shall comply copyrights with the best practices in the industry. They have done so using the public notary and public song timeline up to this stage. Once the Pre-Seed/Seed funds have been acquired, and the album recorded, Gatsby and Lauren shall register songs through the copyright applications for recordings and original songs.

Trademark Notices/Registrations

Ivan Gatsby and Isaac Lauren have the legal right to use the group name and label name, and hence shall consider the advantages of filing trademark applications for those names.

Obtaining A Bar Code or Universal Product Code (UPC)

Once the Album has been completed and is ready for release, Barcode and Watermark, required for tax/chart elligible selling and roayltiy payments, shall be obtained after the agreement with the Investor / Label-Distributor. Since the significant sales are anticipated, Gatsby and Lauren shall register with SoundScan and other servicers of the kind of the global level, for SoundScan compiles record sales data based on the scanning of bar codes from sales at retail stores and then sells that information to its subscribers, which include all of the major record companies.

In accordance therewith,

GATSBY AND ALUREN SHALL PROVIDE THE INVESTOR / LABEL-DISTRIBUTOR MEATADATA WHICH ARE INTEGRAL PART OF AN ALBUM’S RELEASE:

Such metadata enable the royalties expected and the payment thereof.

The codes required are: Universal Product Code (UPC): This is also known as a “bar code” and it is attached to nearly every packaged product available in retail stores. Each product has a unique 12-digit number, encoded in the bars, which are scanned upon purchase and allow for the tracking of inventory and sales. Gatsby and Lauren shall obtain the best price barcodes trackable in every region of the world.

ISRC (International Standard Recording Code): Gatsby and Lauren shall obtain this relatively new international identification system for sound recordings and music DVDs. Peter Spellman of Music Business Solutions writes thereabout: “ The 12-character alphanumeric ISRC functions as a digital “fingerprint” for each track. Each ISRC is a unique and permanent identifier for a specific recording, to help identify recordings for royalty payments. It is assigned per track, not per CD. Unlike UPCs, the ISRC is tied to the track, not the carrier of the track. No one knows which code will end up being the universal identifier for digital music tracks, but the ISRC is a good start (even though the RIAA runs the program). It’s smart to identify your recordings this way. They are embedded in the metadata of your CD during the mastering phase. Make sure you let your CD manufacturer know these codes are in your master. If your CD manufacturer doesn’t know about ISRCs, find one that does. ISRC codes can be obtained by both large and small music companies, even single artist labels. The full application process can be performed online and via email. Those based in the U.S. can download forms and get further information at: www.riaa.com . If you are based outside the U.S., visit http://ifpi.org/isrc for the information you need.”

CD Text: Gatsby and Luren shall fully provide information about the release that can be encoded as a separate file on an audio CD. It stores information like the album and song titles. When playing back an audio CD containing CD Text information on a CD Text-enabled player (usually an LCD screen), the listener will be able to read this information on the display panel. It’s displayed only on CD or DVD players, not on the desktop of most computers. One fast-growing space for these displays is satellite-radio-enabled cars.

CDDB (CD Data Base) : Assuming the imporftance of the online developing sales, Gatsby and Lauren shall provided CDDB, a database for software applications to look up CD information over the Internet, identifying CDs and tracks listed thereupon.

MAKING OF ‘THE WORLD WE ARE A-CHANGIN’ (1)

Filed under: Uncategorized — hitindustria @ 1:05 pm

 

THE EQUIPMENT (TO-BE) UTILISED AT THE DEVELOPMENT AND RECORDING OF THE ALBUM ‘THE WORLD WE ARE A-CHANGIN’:

As a proof of professionaly developed and executed product, the studio equipment for any phase of the product development and execution, supported by relevant software, which Ivan GATSBY and Isaac LAUREN currently utilise is listed hereinunder. The list, however, displays only selection of the full-capacitity equipment Gatsby and Lauren use.

Selected list of the equipment employed thereby:

LAUREN HOMESTUDIO FOR COMPOSING, DEMOING:

  1. Mackie Sound Mixer 24/8
  2. Sampler E-MU ESI 4000
  3. Proteus 2000
  4. Alesis Quadreverb Q2
  5. Lexicom 100
  6. Sehnheisser Mic’s
  7. Roland HD18880
  8. Yamaha, Tannoy Studio Monitors
  9. Tascam CD700 Recorder Master,

As well as other devices and applicable software, for the upadating and upgrading of th equipment has been a permanent process with aim of achieving the perfect professional sound within the limits of Gatsby and Lauren’ current financial capabilities.

white-light-studio-mix-pult.jpgwhite-light-mix-pult-2.jpgwhite-light-view-1.jpg

WHITE LIGHT STUDIO EQUIPMENT:

  1. Mackie D8b (x 2)
  2. Focus Right Preamps
  3. TVBE Tech…
  4. TL Audio Preamps
  5. Lexicon PCM 91
  6. TC Electronic 2000
  7. Mackie Studio Monitors
  8. Sony LCD Monitors (x 4)
  9. Apogee WorldClock Cards
  10. Mogami Cables
  11. Mackie Hard Disc system
  12. Cubase 3.0 Software

THE TIMELINE OF GATSBY & LAUREN’S CREATIVE PROCEDURE:

A)
Drafts of melody/harmony lines, lyrics, and related contents are rehearsed, filtered out and defined by Gatsby and Lauren through the sessions in their Sound Atellier located in a highly sophisticated urban environment.

B)
The melodies, harmonies, lyrics are synchronised, hooks elaborated in their substantial entirety, the final fixing of the lyrics, titles. The rough demoes (guitar,piano, vocals) are made, in the projected dynamics, and are processed by their private HIT POTENTIAL METER software for evaluation and possible correction.

C)
Most of the songs created are recorded in their rough shape, melody-,harmonywise. The songs of more complicated structure are demoed for the sake of refining each bit of it.

D)
Songs are recorded in the studio within the free terms, often thru the night. This is why Gatsby and Lauren would like to accomplish the deal/agreement with a serious investor/ label-distributor: to utilise their benefits as to the studio, and book it for a month at bargain price to complete the recording of album THE WORLD WE A-CHANGING’, the Choir and other bonuses inclusive, and to develop the basic tracks and sound design for ther project to follow-up, such as: 1. DAta!DAta! – Kiss Me Automatic…It’s So Chic / Proud To Be Catholique (Eurosong 2007 ex-candidate, a superb marketing story thereabout), 2. COHEN Hallo. How Are You? / They Always Come Back / Have You Seen Anything At All, a.o. as SUPER eP (EP), announcing COHEN’s album COMMUNICATION LOST, as a Gatsby and Lauren’s issue after their debut album as producers, composers, soundengineers, arrangers, performers, marketing and business designers relating to the niche positioning of the Brand and Acts featured therein, as well as online-offline comprehensive commercial platform projected to serve the cause of product and service development and finalisation of the projects involved, both media-; and business-wise.

E)
Mastering; mixing; enrichening the song and enhancing it’s potential, placing it as magically driven anfd fully commercially viable art of commercial work.

TIMELINE OF THE MUSIC PROJECT DEVELOPMENT:

MARCH 2007:

The recording of Gatsby and Lauren’s debut album THE WORLD WE ARE A-CHANGIN’ , whose mission is to set standards of Gatsby and Lauren’s artwork, commercial targets and introduce them as credible creative and business partners referring to HIT INDUSTRIA Programe (Music; ePress, Film Development, Original books publishing, New Media investment, Media business services relating to the financial instruments used thereby etc.) as well as their business development projects, such as forming a VC company as the founder of the ‘plusBANK’, plusINVEST’ etc., the strategic project within the realm and policy of SEE countries Ivan Gatsby participated in. The recording shall be executed with the perfomance of an in-house choir, named for the purpose GREGORIAN DEI CHOIR, a 14-vocals strong unit, as well as the software featuring a well-known Philharmonic Orchestra. The lead vocals shall be performed by Isaac Lauren, backed up by a female vocals whenever so required.

Some rough drafts as to the albums covers of Gatsby and Lauren roster are displayed hereinunder:

data-box-front-cover-9-2-07-novi-soft.jpgthe-world-we-are-mob-draft.jpgcd-cover-novi-soft-back-9-2-07.jpg

MARCH /APRIL 2007:

Mastering, Mixing, MetaData Enabling for the album THE WORLD WE ARE A-CHANGIN’, the online site platform being developed and created, as well as the marketing materials such as video spot (Brothers-in-Blood). Singles by DAta! DAta! Recorded, mastered, mixed. Their identities created and unique marketing scheme released. The contracts with the outosourcing creative partners as to basic track/sound design under set paramethers deliverance are signed

MAY/JUNE 2007:

Recording of COHEN’s debut album COMMUNICATION LOST, following the SUPER eP issued earlier. Developing TESLA GIRLS! single ‘Summertime Cola’ / ‘Alert on Planet Earth’ , projected to be a SummerHit of 2007 around the world. Developing and recording DAta!DAta! album ONE FOREVER AFTER. Announcements of the principal project ARIEL tHE TEMPLAR are made.

JULY/SEPTEMBER 2007:

Mixing, mastering of COHEN’s and DAta!DAta’s albums, all metadata readied. Recording of ARIEL tHE TEMPLAR’s album WORLDS INSIDE (alt. FROM THE SHADOWS THEY CAME).

SEPTEMBER /DECEMBER 2007: Gatsby and Lauren display their MegaHit Catalogue, containing cca 200 songs, majority of which posses hit;megahit potential, primarily used and to be used by their in-house acts. The recording, mastering mixing of ARIEL tHE TEMPLAR’s debut album, as well as TESLA GIRLS! album AN EVENING ON EARTH, to follow relaease of AtT‘s album. Marketing and business designes for TG!.

JANUARY-FEBRUARY 2008:

Development and recording Gatsby & Lauren’s second on-off album, featuring up to 16 songs, TURN OF THE CARDS. Mastering, mixing.

NOTE: Each of the hereinabove stages implements the related activities of marketing, acts’ full-capacity design, related business activities, etc.

Blog at WordPress.com.