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Don’t do commercial music. Instead, produce ‘Mini Records’

Most “commercial” music sucks. There is a much better approach.

What is a mini disc?

A “mini record” is an original track written for a commercial, produced and recorded with the same rigorous techniques and the same attention to detail as records produced for major artists. A successful mini-recording can make legions search for the ad online with queries such as “song ???” and “Where can I find the complete track?” – convinced that the brand has licensed a fabulous existing record.

Some agencies and brands have been able to anticipate this small phenomenon when designing a campaign focused on original music. They’ll decide early in the process to have their music company of choice ultimately create a full-length version for release (often for download and / or on Spotify, Apple Music, etc.) along with the advertisement. Other times, this decision is made after the spot has been released, in reaction to a slew of positive comments on YouTube and public awareness of the brand.

What is “commercial” music and why do most of them suck?

At the start of my musical career, I had a studio opposite a “commercial” composer. I didn’t know anything about music for commercials at the time. I had only worked on records at that time, mostly for great artists. Over time, I got to know this composer from across the room and got a good idea of ​​how he worked. He was completely unhappy. He mostly produced soulless, stereotypical “music” that didn’t sound much like anything that felt real or had a heart or point of view. That is, in a nutshell, how I would define “commercial” music.

But let’s be realistic here. There are loads of announcements that don’t call for an innovative, forward-thinking original piece of music that will generate its own fan base online. This would actually seem quite inappropriate for many advertising projects. I am a fanatic, however, that no matter how mundane a musical brief is, the “mini record” approach still holds sway. In fact, for those of us who have developed our production skills in venues with great artists and sound engineers, there is no choice in the matter – that’s just how we have been. wired. We’re still making a record for a major record company or writing a line for a great feature, even though we’re working on a 15 second spot for the layers. True story.

How can agencies and brands avoid “commercial” music?

If you’re an agency or brand commissioning original music, learn to hear the difference between original music that was made with real craft and a healthy dose of healthy obsession, and that stuff that was produced. I guarantee that a large part of your audience can perceive the difference and will judge you for it one way or another. This is especially true in this day and age when more and more commercials are using a fabulous existing record, leading viewer ears to expect music that is rich and sonically real.

So be bold with your original musical notes. Empower the music company to really dig in and try out some genuinely creative options. Call them if they play too carefully or don’t put enough love into the details: the groove of the drums, the authenticity and feel of the instrumentation, the mix, etc. If you have a hard time hearing that nuance in the music, shoot in a cohort that has golden ears to help.

Any “mini disc” tips for music makers?

If you are a songwriter or artist creating custom music for publicity, continue to put heart into whatever you write, no matter how tough and competitive it is. I know you only have two or three days to write an ad, compared to the weeks or months you spend on your artist projects, but dig hard and learn how to make your ad work in an amazing way anyway. . No dilution, and no shortcuts on production value. If you are NOT keen on playing the song for your friends (those with fussy ears), you have probably created “commercial” music.

The ability to write big chord changes and catchy melodies is a great gift. But those things fall flat without the special attention to production details that make your track sound like a “mini disc”. Every sound and every part you reach has to be sonically special. Save a photo of your favorite artist to your computer screen as you compose. Do whatever it takes not to drift into “bad library music” territory. It is a soul-hungry wasteland, which is reason enough to strive only to create “mini discs”.

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Crisis Commercial Music Industry Needs COVID-19 Financial Boost

A musician from Birnam called on the Scottish government to support the music industry.

Martin Hadden, appreciated for his contribution to classical folk group Silly Wizard, is one of three producers of Birnam CD.

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He was approached to join the Scottish Commercial Music Industry Task Force, which has gathered support from artists such as Biffy Clyro, Deacon Blue, Eddi Reader, KT Tunstall, The Proclaimers and Primal Scream, and d ‘events like Hebcelt Festival and TRNSMT.

Music star KT Tunstall signed the task force letter to the Scottish government

The task force welcomed the announcement of a £ 97million investment from the UK government for cultural, artistic and heritage institutions, as well as the Scottish government’s £ 10million envelope for places of the arts a spectacle.

The group is now calling on the Scottish government to ensure support goes to those in need as it says it is not clear whether the funding will directly benefit commercial music venues.

Martin told PA the music industry is hanging on by a tightrope.

“The musicians are in terrible shape because of the pandemic,” he said.

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“Their entire way of making a living has been completely cut off. I understand that we have to save the place, but also consider the people who perform and those who assist behind the scenes, do the lighting, the sound and transport the equipment.

“Think about those who make sets, who sell programs. They are drunk at the moment. Experienced staff are made redundant, skills are lost.

“The feeling behind the letter to the Scottish Government Minister is that so far the money has been targeted at the sites, but without the artists the sites are just empty shells.

“Commercial music companies have been severely affected by the COVID-19 pandemic through no fault of their own.

“We are trying to inform Culture Minister Fiona Hyslop how the music scene works, how aid should be targeted and how to do it.

“The Birnam Arts auditorium can seat 200 people but, under current social distancing rules, they plan to only allow 40 to 50 seated bettors per show.

“It’s a pretty poor alternative to their model before COVID-19 hits.

“The Birnam Book Festival, new last year and an emerging success, was impossible to organize as a physical event.

“I even hear, until January 2021, that Celtic Connections in Glasgow seems fragile.

“It is essential that the government act to protect Scottish music.

“The Scottish Commercial Music Industry Task Force recognizes that a large number of companies are in immediate danger and that without these essential operators the country’s music industry is in danger of being devastating.”

The task force has asked the Scottish government to provide a clear timetable for the reopening of sites without social distancing. He also urged the UK government to grant full VAT exemption on ticket sales, as well as to examine the need for more support if live music remains suspended beyond six months.

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Meet Mortarr: A Platform That Improves Business Design For All

After years of battling industry inefficiencies and scouring the internet for business design ideas, three people have teamed up to streamline how industry professionals and clients get inspired, s supply products, collaborate and develop their activities. The result of this is Mortar, an online resource that allows designers to find inspiration for projects, products, as well as connect and collaborate with commercial construction professionals.

Mortarr is an online source of inspiration from projects, products and professionals in the commercial construction and design industry. Image courtesy of Mortarr.

“What was done so well and so readily available on the residential side is now being applied to the commercial industry,” said Abby Murray, co-founder and CEO of Mortarr. “Over five million Google searches are performed each month for services and ideas in the commercial space. We bring those eyes to Mortarr, so they can finally find what they’re looking for on one platform: the photos that inspire and the products and services that bring those spaces to life.

NanaWall and specific BIM files from other manufacturers are easily accessible through Mortarr’s product label functionality. Image courtesy of Mortarr.

Mortarr features visually appealing finished project and installation photos, allowing users to explore and find inspiration, and connect with industry professionals around the world. Mortarr’s Inspiration Stream allows users to follow favorite companies and manufacturers, save images to Mortarr’s digital pinup boards called Design Rooms, order samples through Material Bank, and upload files Manufacturer-specific BIM via BIMobject.

Mortarr’s product and pro labels deliver the information behind the inspiration right in the image. These tags are direct links to additional information about design experts and featured brands, in addition to serving as a direct line of communication. Image courtesy of Mortarr.

“Our partnership allows us to bring a redesigned customer experience to designers on the Mortarr platform,” says Adam Sandow, CEO and founder of SANDOW, who developed Equipment bankThe proprietary platform to streamline and speed up the process of finding and sampling materials. “By combining our complementary services, we can support individuals throughout their design journey. We continue to seek partners who support the design process and provide innovative solutions that bridge the gap between concept and reality.

Easily search for business project ideas, products and collaborators in Mortarr’s inspiration stream of over 30,000 images. Image courtesy of Mortarr.

Mortarr’s inspiration stream, which contains more than 30,000 images of architectural, design, construction and engineering brands and companies across the country, can be filtered in a number of ways to ensure designers find what they need. With a free personal profile, users can search by industry, business type, or specific product to find information with Pro Tags. In addition, Design Rooms allow connection between professionals and brands, and collaboration with colleagues and clients.

Subscriber Claridge Products showcases its full line of innovative writing surfaces on Mortarr, including its Claridge glass dry-erase whiteboards. Image courtesy of Mortarr.

For all parties involved in commercial projects, Mortarr comes full circle from concept to completion. One example, Claridge Products, uses Mortarr’s presentation and labeling capabilities to highlight new and flagship offerings and ensure customers have direct access to samples and specifications. “We’re showcasing our innovative and new writing surfaces in glass and porcelain on Mortarr,” says Gregg Steliga, vice president of sales for Claridge. “The companies and clients we work with can identify us in their digital project galleries and showrooms, which helps illustrate the versatility of our products. Claridge really covers the entire spectrum of design and spec, from physical samples with Material Bank to inspiration via platforms like Mortarr. From physical to digital, we meet people where they are. This is one of the many benefits made available to the A&D community on the innovative platform, which will help forge new partnerships and, ultimately, mind-blowing projects.

“We set out to streamline the way the industry operates and create access to better design for all,” says Murray. “The functionality of our site, enhanced through our various partnerships, allows us to do just that. Image courtesy of Mortarr.

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Land Rover Defender Hard Top moniker relaunched with new business model

New commercial variants of the Land Rover Defender 90 and 110 bring back the Hard Top nickname of the 1950s. They are expected to be on sale by the end of the year.

Land Rover is expanding the Defender model range with the addition of new commercial variants of the Defender 90 and 110 to the famous lineage. Interestingly, the famous ‘Hard Top’ nickname that debuted on Land Rover models in the 1950s is being revived. Although the original Land Rover Hard Top featured removable roofs, the new Defender will keep the same philosophy with a fixed metal roof.

LR Defender Hard Top CV Cargo Loading platform

Although the new Defender Hard Top shares its architecture with its PV counterpart, it is still under development by the Land Rover Special Vehicle Operations (SVO) division to ensure next-level ruggedness and durability. The folks at SVO will also optimize the cargo area of ​​the Defender Hard Top for maximum convenience. One way to do this is to remove the second and third rows of seats. But a folding seat in the front can accommodate up to three people.

LR Defender Hard Top CV Rear Custode

However, don’t assume that the Defender Hard Top will skimp on equipment to be a retail version. Land Rover will offer the Defender Hard Top with either standard coil spring independent suspension (90 and 110) or optional electronic air suspension (only on the 110). Even the new Pivi Pro infotainment system will be offered as part of the standard kit.

LR Defender Hard Top CV Dynamic

Numerous driver aids, such as a ClearSight mirror (which is part of the 3D Panoramic Camera), an advanced towing assistance system, an updated Terrain Response 2 system and a full suite of advanced systems from Driver Assistance System (ADAS), will also be offered with Defender Hard Top models. How much of the standard kit will be, however, is a question that will be answered at the time of the Hard Top’s market launch.

LR Defender Hard Top CV Rear Custode

In terms of numbers, the Defender Hard Top will offer ground clearance of 291mm, wading depth of 900mm, and payload and towing capacity of up to 3,500kg. Detailed specs will, of course, be revealed closer to the car’s launch.

Read more:

Land Rover Defender launched in India at ₹ 69.99 lakh

A look at the anatomy of the new Land Rover Defender

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Land Rover Defender Hard Top 2020 commercial model detailed

Land Rover is hoping to silence critics who claim that the Defender’s upscaling alienates commercial users by releasing an entry-level model called the Hard Top. It’s a cheaper and relatively basic variant of the SUV, designed to feel more comfortable around workers fixing power lines than hauling a family on a weekend camping trip.

We got a glimpse of the Hard Top when the Defender made its world debut at the 2019 Frankfurt Auto Show, but Land Rover chose not to say much about the model in order to focus on more expensive and more profitable variants which are better. aligned with its luxurious image. With those out of the way, the firm explained that the Hard Top (a name that in Land Rover’s glossary dates back to 1950) rides on the exact same aluminum-intensive unibody platform as the Defender, and it is being developed by its Special Vehicle Operations Division. Short and long wheelbase models dubbed 90 and 110, respectively, will be available.

Land Rover has yet to release any technical specs, but it’s safe to assume that this version of the Defender won’t have a V8; you are more likely to find a turbodiesel engine under the hood. Both models will receive independent steel suspension, although the 110 is offered with adaptive air suspension at an additional cost, and they will be able to tow up to 7,700 pounds when properly configured. Four-wheel drive will be standard.

Steel wheels will underline the Hard Top’s commitment to functional design and form, and Land Rover will replace the rear-most window with a metal panel where buyers can paint their logo and / or contact details. business. While interior photos remain under wraps, Land Rover explained that both Hard Top models will offer two front seats in their most basic configuration, but an optional center jump seat will increase their seating capacity to three. Motorists who need second or third row seats will have to move up the trim level hierarchy, as the Hard Tops were developed for freight transport. The rear opening is large enough to swallow a standard size pallet.

Land Rover can’t go this far in its quest to remove content from the Defender, and the Hard Top remains considerably more high-tech than the outgoing Defender. It is compatible with Apple CarPlay and Android Auto, it can receive live updates and it is equipped with a range of electronic driving aids like a ClearSight rearview mirror, an advanced towing assistant, a 360 degree camera. , as well as Terrain Response 2. In the original Defender, driver aids were limited to pedals, a handbrake lever, a shift lever, and a steering wheel.

In the UK, the Land Rover Defender Hard Top will go on sale in late 2020 with a base price of £ 35,500 plus tax, a sum that works out to around $ 44,000 at the current conversion rate. That figure makes it about £ 5,000 (around $ 6,200) cheaper than the cheapest non-commercial variant sold in England. Pricing for the US market has yet to be announced, and we don’t know if the Hard Top will be sold on this side of the Atlantic. Autoblog has contacted Land Rover for clarification, and we’ll update this story if we learn more.

When it lands, one of its main rivals will be the Ineos Grenadier, which is developed by one of the world’s largest chemical producers. It looks like the truck will be much closer to the original Defender than the current generation model, in part because it will receive chassis-mounted body construction and solid axles. Then again, it is unclear whether the pomegranate will be sold in the United States, or if it will be exclusively available across the pond. Production is expected to start in Wales in 2021.

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Business design startup Flipspaces helps companies like Google restart their offices

The Coronavirus pandemic changed the way we live – and work. Most organizations closed their offices in March and asked employees to work from home. Now, as containment loosens and we prepare to return to work, the big question arises: Are our workplaces ready in the aftermath of COVID-19?

A recent survey by FYI, a Gurugram-based health technology product, in conjunction with marketing research firm MindMap Advance Research, found that 93 employees feared returning to their offices for fear of their health being compromised. The survey was conducted among 560 employees in Delhi-NCR, Mumbai and Bengaluru.

To allay the fears of employers and employees, commercial interior design startup Flipspaces Recently launched REBOOTSPACES, which offers products and services for “new generation” retail spaces.

The tech startup will focus on providing intuitive, empathetic and safe spaces. Integrated solutions take into account hygiene and sanitation, social distancing, contactless automation and home office solutions.

Pods designed by Flipspaces

The months since the nationwide lockdown have seen a effect towards the south on the turnover of the real estate and offices activity.

“However, new opportunities have arisen and the workspace transformation initiative – REBOOTSPACES – has become a tangible opportunity in the post COVID-19 business environmentSays founder and CEO Kunal Sharma.

The business and the restart

Based in Mumbai Flipspaces was founded in July 2015 by IIT alumni Kunal and Ankur Mucchal. The company specializes in interior design, products and commercial space projects. It serves SMEs, startups and coworking spaces and its USP lies in the use technological suites, powered by virtual learning and game engine based technology.

Since its inception, Flipspaces has executed renovation projects of over three million square feet of commercial space for businesses such as BSH, Aditya Birla, Coverfox, IndiQube InstaOffice, Nivea, Oppo, P&G, Reebok, Royal Enfield, Razorpay, No broker, Bounce, and PlaySimpleGames.

Flipspaces has been launched two new jobs in recent months. The first is REBOOTSPACES, which launched at the end of May and focuses on transforming the workplace. The second, Offshoring of design products, was launched in mid-April and is a vertical that provides remote design services to customers in the United States.

REBOOTSPACES offers a home office solution that meets the need of working professionals to have a seamless and distraction-free remote working experience. Flipspaces has also adapted its business processes to provide interior design and consulting services remotely and manage projects with minimal physical interaction.

“Having said that, we believe that the demand for commercial spaces and the desire to create differentiated spaces will rebound in a few quarters, ”Kunal says. He attributes this to the three Cs that physical spaces provide: culture, connection and change.

The Flipspaces team

The startup has also launched activities to address sanitation challenges. These include the installation Touchless automated disinfection booths in Mumbai, Delhi and Bengaluru police stations.

Since launching its new products, Flipspaces has grown three times its revenue month after month and has served over 150 clients for REBOOTSPACES, including Google, Incred Financial Services and Freightwalla.

Its international clients include Quantiphi, CGK, Discreet, Dispensary, and Capeway tours, among others.

Having established its activities in Bengaluru, Delhi and Mumbai, Flipspaces recently entered the US market and soon plans to expand to Pune, Hyderabad and Ahmedabad.

The commercial design market

According to Business Research and Company, the global design services market was valued at $ 153.4 billion in 2018 and should reach $ 249.5 billion by 2022, growing at a CAGR of 13 percent. Players like Living space, HomeLane, Bonito Designs, and Infurnie have made a mark with their designs in the commercial space.

Demand in the commercial design industry may be reduced for a few quarters, but Kunal thinks the SME ecosystem focuses on generating more savings rather than leveraging credit for survival or expansion.

The co-founder says commercial interior design and construction companies will need to learn and become expert solution providers for new problems.

A workspace designed by Flipspaces

“As workspaces become less dense, a new principle of configurational designs will come into play,” says Kunal. He see absolute respect for hygiene, disinfection, social distancing and contactless automation like the future of retail space design.

He adds that working from home is becoming a tangible solution for many organizations, efficient home spaces will become part of the workspace design.

Survival strategy

With a scalable and robust business model, Flipspaces says so does not necessarily need funds to survive.

We were able to take advantage of the debt as an instrument to meet our working capital needs. Our banking partners extended the support we needed to ensure there was no dilution of equityKunal reveals. “Today, we can overcome the crisis because our business model is inherently profitable. We wouldn’t have survived if our unit metric was negative.

The Flipspaces team works from home. He set up a Internal COVID committee to resolve issues, support team members facing challenges, and keep them motivated.

“We will soon resume our functions. Delhi and Mumbai will take longer than Bengaluru, where we are almost ready. Considering the client sites where the projects are initiated, we are working at 30 percent capacity“, says Kunal.

Flipspaces is currently open for investment and in talks to raise funds.

In November 2019, the startup raised Rs 8 crore ($ 1.15 million) as part of a venture capital debt financing round from Unitus Capital Inclusive Credit (UCIC) and Alex Group of Companies. Prior to that, Flipspaces raised an additional $ 3.5 million from Capital of Carpédiem in January 2019.

The startup has big plans and aims to “increase its revenue by 5 times compared to pre-COVID-19 measures, over the next two quarters.”

(With contributions from Tenzin Pema)

YourStory’s Pivot and Persist series shines a light on Indian startups pivoting to seize new business opportunities, transforming their business models and offerings to navigate the current COVID-19 crisis.

(Edited by Teja Lele Desai)

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Land Rover brings back Defender Hard Top name with new commercial model

(Photo: Land Rover)

Land Rover relaunched the Hard Top name for its new defender, with the confirmation of a new range of business models.

The Defender Hard Top will be available in 90 and 110 short and long wheelbase derivatives when it goes on sale later this year, offering a cheaper, more utilitarian version of the all-new 4×4. Prices will start at £ 35,500 before VAT.

The Hard Top label first appeared on Land Rovers in 1950 when the company introduced a sturdy removable metal cover for the Series 1 exposed rear bed. The new model’s roof will be secured in place and will share the same contour. as the passenger versions of the car. .

However, unlike the passenger version, the Hard Top will focus on freight transport and practicality. Full details of capacities and cargo areas have yet to be confirmed, but commercial versions of the Land Rover will come standard with a two-seat arrangement. A third “jump seat” mounted between the front seats will be an option, as is the case on the passenger car.

The Defender Hard Top will be available in 90 and 110 wheelbase variants (Photo: Land Rover)

Michael van der Sande, Managing Director of Land Rover Special Vehicle Operations, said: “We will maximize the functionality and usability of the new Defender’s cargo space, with tough materials and smart storage solutions to ensure that it surpasses the capabilities of any previous Defender Hard Top. “

The 90 and 110 versions of the Defender Hard Top will feature independent coil spring suspension, while the 110 will be available with optional electronic air suspension. Towing capacity of up to 3,500 kg means the Defender will live up to most pickups and other utility vehicles on the market and Land Rover will equip it with the latest technology to make towing easier, including its Advanced system. Tow Assist and ClearSight technology that complements the rearview mirror with footage from a roof mounted camera.

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Land Rover puts Defenders to work to support emergency services

Land Rover claims that the Defender Hard Top will be the “ultimate commercial 4×4” thanks to its advanced four-wheel drive systems, impressive ground clearance, break and departure angles and unmatched wading capabilities.

While the Hard Top is designed to be a tough, hard-working vehicle, the new models will share many of the latest technologies included in the passenger car. The Pivo Pro multimedia and navigation system will offer an internet-connected touchscreen system, while there will also be a suite of driver assistance systems, including a 3D surround camera.

Nick Collins, Land Rover Vehicle Line Manager, said: “The new Defender 90 and 110 Hard Top will be the toughest, most efficient and most connected commercial SUVs we have ever produced. They have been designed to meet global safety standards and provide impressive long-haul comfort, giving businesses and professionals the best of all worlds. “

For the Defender Hard top, the focus will be on practicality (Photo: Land Rover)

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Game design, 3D animation, commercial music and more. Samford School of the Arts Expansions

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The growth is coming to Samford’s School of the Arts in the form of two new programs. Submitted photo

Samford School of the Arts is adding two new programs this fall to meet the needs of the growing arts industries. The new commercial music, game design and 3D animation programs were developed by industry professionals who joined Samford last summer. Read on for more details on these exciting additions to their current program.

Growth ahead at Samford School of the Arts

2020 will be a year of growth for Samford’s School of the Arts. They are implementing new programs and making investments that will deepen the curriculum in traditional fields of study and expand opportunities that reflect more contemporary career paths.

Students will have many options ranging from theater and directing, technical theater, youth theater, dance, music, music and worship, graphic design, architecture to interior, studio art and Christian ministry, as well as two new degrees: Commercial Music and Game Design and 3D Animation.

3D Animation and Game Design Program Added to Samford Art and Design Majors Division

An aerial view of a Samford design student creating magic. Submitted photo

Samford’s art and design division continues to expand its offering with committed faculty who teach both artists and mentors. Students gain a foundation in art and explore other creative fields, including studio art, graphic design, and interior architecture.

One of the recent additions to the Art and Design Division is a new 3D animation and game design program. Digital designer Wink Winkler has joined the faculty to lead this program. He brings with him his knowledge of the industry and will teach specialized skills in animation, 2D, 3D and game design.

Digital designer Wink Winkler has joined Samford faculty to lead the new 3D animation and game design program. Submitted photo

His resume is impressive, with experience at Universal Studios in Orlando, Florida; Amazon TV; and iHeart Radio, to name a few. Its aim is to build a solid foundation in both art and technology so that students are ready to forge their own path.

“In our industry a lot of what we do is project based, so sometimes I work on just one job, and other times I can juggle 15 that have short and long due dates. term.”


In many ways, much of higher education is catching up with this ever-changing industry, but with the addition of this program, Samford students will be equipped with the skills and technological tools necessary to be ready for employment a once graduated. Find more details about the program on their website.

Commercial Music Program added to Samford’s School of the Arts

Submitted photo

Samford’s Music Division is focused on providing talented teachers who can mentor and develop their students to their full potential, both as a musician and as a person as a whole. When planning the new Commercial Music degree, they looked for a candidate who gave their students the pulse of the industry.

Artist and producer Steven Potaczek joined Samford Faculty last fall to enter the Commercial Music Program in the Music Division. After a year of planning, it was officially approved by the Board of Directors on May 5, 2020.

From producing music for big names like The Band Perry and Skillet to collaborating with organizations like MTV and National Geographic, Potaczek brings more than two decades of music production expertise to the classroom.

Artist and producer Steven Potaczek joined Samford Faculty last fall to enter the Commercial Music Program in the Music Division. Submitted photo

His songs have been featured on favorite television channels like Parks and Rec and New Girl, he has toured nationally, and he has also received numerous industry accolades.

“My goal is to help the students leave this place and fly. These courses are truly a way to help students achieve their unique career goals. The courses offered in Commercial Music teach students the artistic, technological, and entrepreneurial skills they need to not only survive in today’s rapidly changing landscape, but also to thrive.

Steven potaczek

Starting in Fall 2020, Potaczek will be teaching songwriting, recording, music business and performance classes that will blend well with the current program and music offerings. Find more information about Samford’s music program.

More details

A bird’s eye view of the Samford campus. Submitted photo

Current and incoming students can take advantage of these new programs. For students interested in applying to Samford, the application opens August 1.

Interested? Contact Samford Arts recruiter Katie Overturf by email at [email protected] or make a virtual appointment to learn more about these and other programs offered by the School of the Arts.

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The ever-changing faces of Australian commercial design

If you ask someone what their idea for a “commercial building” is, you will probably get a different answer each time.

Restaurants, offices, aquatic centers, gas stations and even universities can all be considered “commercial”. However, each of these types of buildings has a unique architectural style and with that, different cladding needs.

For some buildings, exterior materials are chosen to make a bold statement, while others are more concerned with what is practical for the climate and site conditions. And of course fire safety is of the utmost importance to all new and existing Australian structures.

Given the diversity of commercial structures, there are endless siding materials and exterior walls to choose from. However, in saying this, there are a number of high quality versatile materials that can serve the purposes of any commercial building.

The rise of wood in tertiary buildings

The last few years have seen a significant increase in the use of timber siding for Australian commercial structures.

Timber siding certainly has a long history in Australian residential structures, if one recalls the wood plank siding of Federation and Queenslander homes across the country. But the use of wood for commercial structures is more of a recent trend, especially with the advent of engineered wood and the growing awareness of wood as a material that promotes the physical and mental well-being of employees.

The wood had to overcome some negative perceptions, such as its vulnerability to termites, humidity and fire. While these concerns are still valid, Australian forest products have come a long way from where they were at 19e century, with cross-laminated timber (CLT) for example offering superior resistance, fire protection and energy efficiency compared to traditional wood materials. There are also a number of resins and powder coatings which, when applied, improve the ability of wood to withstand harsh Australian weather conditions, not to mention the increasing use of techniques such as Shou Sugi Ban, a Japanese method of charring wood to make it burn and waterproof.

Wood is sometimes associated with Japanese design, evoking images of tranquil, minimalist and natural structures. However, it is a material that lends itself to many cultures.

Te Ara a Tāwhaki is an amazing example of wood used to reflect elements of Maori culture.

Located in Otaki, New Zealand, Te Ara a Tāwhaki is a new building that is part of Te Wānanga o Raukawa (a unique learning lab specifically for Maori). The building houses a library, a main amphitheater, student services and a student center.

Designed by Tivez Brown, the facade features a unique crisscross pattern reminiscent of traditional Maori linen weaving patterns. This project required a wood stable enough to cope with this application, while resisting the elements. Maintenance was also a key factor given the high nature of the structure of a commercial building.

The product used was Abodo’s Vulcan Screening, which was chosen for its stability and weather resistance characteristics. According to Abodo, Vulcan is thermally modified wood of sustainable origin – a chemical-free heat treatment that dramatically increases the durability and stability of the wood.

For added protection, the wood is coated with Sioo: x, a patented silicon technology that cures by reacting with atmospheric carbon dioxide and moisture to form an insoluble and flexible silica network on the surface of the wood. The formation of this silica network hardens the surface of the wood and forms an effective barrier against insect attack and rot. The application of Sioo: x also leaves the wood with a natural and aesthetic silver gray finish.

Another amazing application of this product can be seen at the Fleurieu Aquatic Center in South Australia, a sustainable indoor aquatic center designed by Chief Architect Hames Sharley. The facade of the building is clad in Vulcan in a WB10 profile, which was used to create a vertical rebate look.

In this case, Vulcan was chosen for its aesthetics as well as its invisible fixings and durability; Vulcan is FSC certified natural wood from sustainable plantations in New Zealand.

Keeping buildings “cool” with aluminum

While modern wood products have certainly proven to be more than able to cope with the Australian environment, there are some applications where aluminum or “wood look” aluminum might be preferred.

A good example is the BP and David Jones Bayside store in Melbourne.

Designed by Modus Projects, the store is a new concept of gas station that aims to provide consumers with innovative and high quality food options. The project used Deco’s 50×50 “Quick Click” DecoBattens to create an entryway that is both welcoming and reminiscent of a high-end convenience store.

In particular, the finished DecoWood ‘Smoked Ash’ slats are featured above the store entrance, creating a soft, elegant and warm presence.

Although they look like wood, the slats are actually made from 100% aluminum. The advantage of the slat series is its ease of installation. Available in widths of 50mm and 25mm, the slats have a base and cover system where the slat base is fixed to the surface and the slat cover is simply snapped onto the base.

According to Deco, slats are an alternative to premium wood, providing durability and flexibility that traditional wood or composite products cannot achieve. With their powder-coated finish, the slats are also resistant to UV rays and marine environments, while providing a low-maintenance solution that never needs painting or staining.

Another aluminum product suitable for commercial exteriors is Mondoclad from HVG Façades.

Mondoclad was used to cover two buildings on the Berwick campus of Federation University in Victoria. As these buildings had a contrasting design from the rest of the site, it was essential that the cladding works meet the architects’ strict specifications to maintain the original ‘cubic’ aesthetic.

Mondoclad was chosen not only for its style, but also for its strong fire safety ratings.

This product was also used in the Brisbane 183 North Quay office and residential development, where the building had its existing aluminum composite cladding removed from the ground level columns and main portal, then replaced with Mondoclad panels in a natural brushed finish.

According to HVG Façades, Mondoclad is an ideal non-combustible coating alternative for constructions focused on exceeding fire compliance laws, as well as for coating existing projects that may have previously used a combustible coating project.

Made from marine grade aluminum, this product is very durable, with its architectural PVDF paint finish ensuring UV stability and color retention. It is also a sustainable option which is 100 percent recyclable.

Revisiting a traditional choice: brick

Not to mention brick, a traditional choice that has been making a strong comeback in recent years.

The Kaz Tower is a vivid example of a modern and traditional commercial and residential building.

Designed by Tony Owen Partners, the Kaz Tower is a 14-story tower surrounded by heritage buildings in the city of Sydney.

There were challenges from the start, with strict heritage requirements from the City of Sydney. One of these requirements was to construct a brick podium for the first three floors of the building, as the Kaz Tower would adjoin several historic brick buildings.

With the architect simultaneously wishing for a glass facade that would maximize sunlight through each window facing the street (a challenge in the Sydney shopping center), the design of the Kaz Tower required the use of a innovative parametric design.

“At different times of the day, the sun hits different parts of the building,” says Tony Owen, director of Tony Owen Partners.

“So [using parametric design], we oriented the windows of each part of the building according to the source of the light at a certain time of the day. And we ended up with a building that had patterned glazing where each window was at a different angle because the different height would get the sun at different times, and at different times the sun would have a different angle.

The addition of a three-story brick podium and brick side facade to the slanted red, yellow and white glass facade resulted in a very unique design. While traditional facing bricks were chosen to build the podium, a brick inlay facade was the system of choice for the side walls.

Choosing a brick product was not easy, as it was crucial to ensure visual continuity across the podium and facade. In the end, the architects chose the Iron Mountains bricks and brick tiles from Robertson Facade Systems.

“We just couldn’t find a brick tile in a suitable color,” says Marianna Mioduszewski, director of Tony Owen Partners.

“We had a lot of samples that no one was happy with. Then Robertson’s Building Products came up with a solid brick and a brick tile, which was extremely attractive to us. So when we found the same face, it was like, that’s it. And color wise, it was comparable to the desired look as it was dark – a gray / brown – and not a uniform color across the face, which was also very appealing.

The next challenge was to figure out how to combine the sloping facade with the bricks.

“We thought the assembly of the side facade would be very difficult, but Hanson Precast suggested the brick inlay from Robertson Facade Systems,” says Mioduszewski.

“We went to the factory to see how the individual panels are formed and shaped and we gained great confidence that these panels would be made right. So we were very confident from day one and they proved this is definitely the way to go. “

According to Robertson Facade Systems, Brick Inlay is a solution that involves placing thin brick, porcelain, or stone tiles in precast concrete panels, to create the look and feel of a facade or brick wall. traditional brick with the efficiency and advantages of precast concrete. The panels are then delivered to the site, ready to be built.

The advantage of this product is that it speeds up construction time, which in turn can significantly reduce construction costs. The product also allows you to customize any pattern and texture you need for your facade efficiently and economically.


Robertson facade systems

Britton Wood

HVG facades


Image: Tour Kaz / Partners Tony Owen

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BLACKPINK LISA has signed a business model for a large corporation. A rush of love calls

Lisa, a member of the BLACKPINK group, is gaining attention as she has been selected one after another as an advertising model for a global brand and a Chinese conglomerate.

According to her agency YG Entertainment on May 13, BLACKPINK’s Lisa signed a contract for a local Chinese advertising model for P&G Downey fabric softeners, a global everyday brand, to launch a full-fledged promotion.

It has also signed a new advertising model contract with one of China’s biggest dairy brands and is set to shoot.

In addition to the two companies, love appeals to Lisa are increasing in various industries in the Chinese market, YG Entertainment said.

Lisa’s infatuation with China is unusual. Lisa captivated the continent as a member of the world-class girl group Blackpink, which represents the Korean wave, and as a talented artist.

Her worldwide popularity, unsurpassed dance skills, bright and charming image, exotic features and fashion sense have become the talk of the city, making her a “star in the making” for Chinese youth.

In particular, Lisa was very well received for her appearance as a dance mentor in the audition program “Youth with You2”, which is broadcast on the famous Chinese platform iQIYI.

Shortly after the weekly “Youth with You2” show, Lisa’s name took the # 1 spot in Weibo’s realtime search keyword, proving Lisa’s buzz.

In fact, Lisa’s global influence is strong. She has an impressive number of followers on social networks such as Instagram and Weibo. The number of subscribers on SNS is known as one of the measures of popularity, credibility and influence.

Lisa’s Weibo account easily surpassed 5 million subscribers in no time, with Instagram followers surpassing 32 million. This is the largest number of Korean active artists and one percent of the world total.

Attention is also being drawn to whether Lisa’s decision will serve as a springboard for local stars to reopen the Chinese advertising market.

Previously, G-Dragon, a member of the Big Bang group, an artist from the same agency, had signed an advertising model contract with the mainland Chinese brand Chappi and fired a flare. It was the first time since 2016 that a famous mainland Chinese brand has publicly promoted a Korean wave star as a local advertising model. Lisa opened the door as a female K-pop artist.

Meanwhile, BLACKPINK, which includes Lisa, has announced their participation in Lady Gaga’s new album, due out on May 29, sparking expectations for a comeback. BLACKPINK is also currently preparing their new album.

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