When uploading a new video on YouTube, there are a few basic to do’s to make sure your content is discoverable across the platform, for instance a compelling title and an optimised description. But that’s not all: Considering that 60% of a channel’s views come from outside its home country, including metadata in multiple languages is just as important and helps remove the barrier of language to make the content discoverable for viewers around the world.
Hi everyone, my name is Amy Nelson and I’m joining The Orchard team as Client Relations Manager, Classics. I’ve come over from LSO Live, the label of the London Symphony Orchestra, where I was the Sales & Marketing Coordinator for the last two years. I studied classical music at Junior Trinity College of Music, Greenwich and the University of York, and can play the trumpet, piano, violin and organ although sadly I don’t have much time to play anymore!
The Orchard found love in Austin once again, picking up 2016 SXSW competition contender Donald Cried, a dark comedy by writer/director Kris Avedisian.
Written by Avedisian, Jesse Wakeman and Kyle Espeleta and produced by Electric Chinoland’s Kyle Martin, the film showed at the New Directors/New Films showcase before being chosen for the IFP labs at SXSW. The team of filmmakers behind the movie were subsequently signed by CAA and Cinetic. With North American distribution rights to the film, The Orchard is planning to release Donald Cried in theaters in early 2017.
Last week, we embarked on the crazy rock n’ roll train. This week, The Rind is turning the knob down from 11 to start your weekend with some mellow jams. Let’s kickstart the vibes.
We are all familiar with Hot Chip‘s sweet electronic sounds, but lead singer Alexis Taylor is venturing down a much different path on his solo project’s second effort following 2014’s Await Barbarians. The British frontman premiered “I’m Ready” this week, the first taste of the upcoming Piano, an intimate and unadorned piano-vocal album. “I’m Ready” is a beautifully executed example of what awaits. Taylor delicately hammers chords on the piano, as he softly carries us through the song with his distinct vocals. There’s a lot of breathing room on this record, as pauses punctuate and emphasize the story behind the song. Taylor concludes, whispering: “Don’t you know I’m ready, ready as I’ll ever be.” So are we man, so are we.
They said to me, “write about anything you like Tom, just keep it light. Mine the veins of your imagination and dredge those grey cells for something enriching and life affirming to impart…” So today, I thought we’d talk about classical music metadata.
Digital service providers (DSPs) have copped a lot of flack for a perceived lack of support for classical music. Some of the criticism has been leveled at the methodologies used to ingest and display classical, which can vary widely from store to store. A universal standard amongst stores for organising classical music would be ideal. However, this is half the problem; for DSPs to ever display classical metadata correctly, they’ll always be reliant on a supply of consistently good metadata.