The 30-30 career: making 30 grand in 30 seconds! 1 Producing music for commericals
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Bloomington, Ind.
AuthorHouse
2008
|
| Edition: | 1. publ. |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | 200 S. Ill. |
| ISBN: | 9781434382603 |
Staff View
MARC
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Record in the Search Index
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| adam_text | THE
30-30
TABLE OF CONTENTS;
30
Seconds Is a Lifetime - The
30-30
FOREWORD
1
INTRODUCTION
3
1)
COMMERCIAL FALLACIES AND REALITIES
15
Ad music sometimes carries a stigma. The
30-30
addresses these connotations head on.
2)
FIVE POSITIVE ATTRIBUTES TO ACQUIRE IMMEDIATELY
19
Anyone can win one commercial. But to win ten commerciah, composers should implement these five
distinct characteristics.
3)
MAKING MUSIC FORA COMMERCIAL VERSUS A RECORD
25
The production process for creating a record can be very different from scoring a commercial. Here s
how and why.
4)
PLATINUM PRODUCER AND CELEBRITY RAPPER SCORE POPULAR
SHOE ADVERTISEMENT
29
As the former
Weiden
-^-Kennedy senior music producer and current head of production at Anomaly,
Andrew Loevenguth discusses working with producer Just BUze and rapperJueh
Santana
on a popular
shoe commercial.
5)
GETTING STARTED
33
Knowing how and where to start building your
30-30
CAREER is very important. Understanding
the Undscape of your competition and the scope of the business will start you in the right direction.
Having the right equipment is key.
6Ì
INTERPRETING MUSIC BRIEFS
39
Agencies always describe the type of musk they need using very specific
musicai
terms. Its very important
to know how to interpret the jargon correctly. Award- winning composer
jon
Florencio
and Veteran
Composer Gregg Fine describe how they interpret music
Ьгіф.
Learn the hnguage of ad agencies.
71
APPROACHING THE SCORE
45
Learning how to score a commercial L· key in getting repeat work. Knowing the structure and formula
fora commercial will get you prepared to score. But once you master the formula, you must re-write
the formula over and over to stay on top of your game. I ll tell you why.
8)
MEETING AND BEATING DEADLINES
51
You have three hours to come up with something brilliant, what do you
doi
9)
LOSE IT TO YOUR ADVANTAGE
55
Everyone loses! It s time to walk you through the ten stages of losing a commercial. But many of the
demo tracks you lose with can be used for other commercials and win you money down the line.
10)
THF,
NFF.fíl F,
DROP EFFECT
61
John Cabrera has had success needle dropping my music in the past on commerciak. He states the facts
about this common industry practiceX
11)
THE COMPOSER and MUSICIAN RELATIONSHIP
63
No onepUys every instrument. When a commercial calk for an instrument that you don tplay, it s to
your benefit to work with an expert musician. Here are some tips.
12)
TERK OR GENIUS? THE SESSION MUSICIAN S PERSPECTIVE
65
Either you re a Jerk or a genius in the composer s eyes. At least that s what multi-talented session
guitarist and composer Tony Aliperti says. He discusses with the
30-30
how to get consistent session
work and stay a step ahead of the field.
13)
WELCOME TO THE SINGING SIDE OF THINGS!
71
4-TIME GRAMMY NOMINATED singer Oleta Adams chats it up with the
30-30.
VOLITION
SOUND BRANDING vocal producer and prolific session vocalist Gregory Chrk gives hu views on
how aspiring singers can get work in the commercial industry. And
Andree
Kaminsky ofFRETLESS
MANAGEMENT L1X2 Uys down her valuable perspective on session singers.
14)
WORKING AT A MUSIC HOUSE
77
Working as a staff composer at a music house can have its advantages. This chapter will
abo
discuss
hypothetically how money can be divided up between a music house and the composer when a
commercial spot is won.
15)
HOME SWEET HOME: MEET THE MUSIC HOUSES
85
Finding a home at a music house may be the right step for you. There are many chalknges. The talent
and competition can be very strong. This chapter profiles just some of the top music houses in the US
and overseas.
AMBER MUSIC,
ASCHE
AND SPENCER, CRUSHING MUSIC, DUOTONE AUDIO GROUP,
ELIAS
ARTS, EXPANSION TEAM, FACE THE MUSIC, JSMMUSIQ MACHINE HEAD, THREE
TREE PRODUCTIONS, WOJAHNBROS, VOLITION SOUND BRANDING, YESSIANMUSIC
1
S TTME TO FACE THE MUSIC!
101
FACE THE MUSIC Executive Producer David Rice gives it to you straight about how you can get in
the ad music business and what you can expect off the bat.
17>
THE BUSINESS MIND Of AMBER MUSICS MICHELLE
CURRAN
105
Meet a music home oumer with an excellent staff whose goal
krit
just to win spots, but to win spots
with great music. Running a successful music home in three dominant commercial markets takes
passion and excellence! President and Managing Director Michelle
Curran
of AMBER MUSIC gives
yau exclusive insight into her three dimensional world.
18)
EMBRACING AND AVOIDING YOUR MUSICAL STEREOTYPE 111
The Power of Yes
J
Can Do That will get you further than you think in this business. Your reel can
determine what type of commercial you are asked to score. Promoting your strengths while broadening
your opportunities is a must.
191
SUPER-COMPOSER MICHAEL
MONTES!
117
Composer and Sound Designer Michael
Montes
and his company Sacred
Noue
have scored hundreds
of commercials. He sits down with the
30-30
to discuss how composers can stay on top of their crafi
and on top of the industry.
20)
RECORD PRODUCERS... MEET EXPANSION TEAM!
121
Expansion Team works strictly with composers who literally have a track record. All of their composers
are record producers with albums and many have hit songs under their belt. April
Joffe
expounds on
this unique music production company.
21)
MASTERING THE COMMERCIAL MIX
125
Phtinum Producer Steve Pageot weighs in on how to make good music sound great! Learn how to
create the best mix for broadcast.
10
22)
THE SOUND LOUNGE MIX AND PETER HOLCOMB
129
If Peter Holcomb is mixing your music, you have officially arrived in the commercial business. As one
of the owners of a popular post-production company that mixes
30
to
40
percent of the Super bowl
spots each year, Peter gives the
30-30
his take on the business.
23)
COMMERCIAL EDITORS CUT IT UP!
133
Commercial editors
Vito Desario
and Lin
Polito
chop it up about the science of cutting picture to your
music. Editors can sometimes be like pledge delegates in an election. Their opinions can add up.
24)
COMPETING WITH CELEBRITY RECORDING ARTISTS!
139
Pop songs dominate commercial music.
Dorit
be surprised if you re asked to create one. You may be
shocked when someone from an agency says that your rendition sounds corny or contrived. Acquiring
the skill to produce a record, not a commercial, can increase your chances of winning against branded
names in the record industry. If you are already a record-producer, you already have an advantage. It s
up to you to run with it.
25)
MUSIC RIGHTS AGREEMENTS; NO SAMPLES PLEASE!
141
20
year advertising Agency Producer and current President of Production at Nehst Studios, Dana
Offenbach recounts the ramifications of selling a client a track with a hidden sampk. Someone s getting
SUED!
26)
SOUND DESIGN AS A CAREER
145
Sound design is a lot like the art of sampling, except you use sounds that already have legal clearance.
Sound designers make a good living creating unique sounds for pictures. You can become a sound
designer with the right sound library. A great commercial composer can also be a great sound designer.
Learn to be both and double your worth!
11
27)
TOP SOUND DESIGNER MARSHALL
GRUPP
OF THE SOUND LOUNGE
149
30-year sound designer veteran Marshall
Grupp
shares some of his techniques with the
30-30,
28)
TOP ORCHESTRAL COMPOSER ROBERT MILLER SPEAKSl
153
The
30-30
has a candid interview with famed commercial and film orchestral composer and
orchestrator
Robert Miller. Raising the bar on all levels, Miller has created his own niche fir classical, orchestral
scoring. He s undeniably one of the best orchestral composers in advertising.
29)
ORCHESTRATING
COMMERCIALS
159
РориЫг
commercial
orchestrator
Tony Finno describes orchestration and the process of working with
composers.
30)
CAN SOMEBODY CALL A MUSICOLOGIST?
163
When composers are asked to create apiece of music based on an existing piece of music, everyone likes
to
рЫу
it safe by calling in a musicologist to avoid copyright infringement. Anthony
Ricigliano
has seen
and heard it all. He chimes
infor
the
30-30.
31)
MUSIC RESIDUALS: HOW DO I GET PAID?
167
Time to get paid. Here s how the system ofresiduaL· works.
32)
WHAT ABOUT MY PUBLISHING?
171
The truth about publishing in commerciaL· may surprise you.
12
33)
YOUR COMPETITION!
30
plus MUSIC COMPOSERS KEEPING
THE INDUSTRY FLOWING
173
It s always important to know your competition. Here are just some of the people and companies you
will be competing against reguUrly.
34)
HUSTLE HARDER!
177
You can t take over the commercial world without a commercial reel. You may be able to win a couple,
butin
order to get consistent opportunities, you re going to needa reel. Here s a fast-food way to compile
a spec reel and market your work as a composer.
35) 30
RULES TO
30
GRAND!
181
This comprehensive checklist of
30
traits and behaviors will help to condition your thoughts and
actions while achieving YOUR
30-30
CAREER.
36)
REGISTER FOR THE WEBSITE; THE3030CAREER.COM
185
If you re serious about getting started in this business, register for this website.
37)
VOLUME
2:
THE
30-30
CAREER; MAKING
30
GRAND IN
30
SECONDS!
Branding Your Music and Artists in Commercials!
187
Afier reading Volume
1,
you have the knowledge of how to make music like a pro. VOLUME
2
in
this series takes you to the next level. You will learn ways to attract clients and
кат
about branding
your music in the Advertising world. MEET THE AGENCY PRODUCERS and learn the big
business of sound branding! An absolute must for artists, managers, record labek, composers, and
beat- makers!
IMPORTANT WEBSITES TO VISIT
189
GLOSSARY
191
13
|
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| spelling | Hanes, Wendell Verfasser aut The 30-30 career making 30 grand in 30 seconds! 1 Producing music for commericals by Wendell Hanes 1. publ. Bloomington, Ind. AuthorHouse 2008 200 S. Ill. txt rdacontent n rdamedia nc rdacarrier Musikproduktion (DE-588)4235850-4 gnd rswk-swf Werbung (DE-588)4065541-6 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content Werbung (DE-588)4065541-6 s Musikproduktion (DE-588)4235850-4 s DE-604 (DE-604)BV035537314 1 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017593422&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Hanes, Wendell The 30-30 career making 30 grand in 30 seconds! Musikproduktion (DE-588)4235850-4 gnd Werbung (DE-588)4065541-6 gnd |
| subject_GND | (DE-588)4235850-4 (DE-588)4065541-6 (DE-588)4151278-9 |
| title | The 30-30 career making 30 grand in 30 seconds! |
| title_auth | The 30-30 career making 30 grand in 30 seconds! |
| title_exact_search | The 30-30 career making 30 grand in 30 seconds! |
| title_full | The 30-30 career making 30 grand in 30 seconds! 1 Producing music for commericals by Wendell Hanes |
| title_fullStr | The 30-30 career making 30 grand in 30 seconds! 1 Producing music for commericals by Wendell Hanes |
| title_full_unstemmed | The 30-30 career making 30 grand in 30 seconds! 1 Producing music for commericals by Wendell Hanes |
| title_short | The 30-30 career |
| title_sort | the 30 30 career making 30 grand in 30 seconds producing music for commericals |
| title_sub | making 30 grand in 30 seconds! |
| topic | Musikproduktion (DE-588)4235850-4 gnd Werbung (DE-588)4065541-6 gnd |
| topic_facet | Musikproduktion Werbung Einführung |
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