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Music production for
film, television and commercials - dealing with the artist
Music supervisors (or the film/tv/commercial producers who put them in charge) sometimes
need a very specific piece of music for their production. Be it they couldn’t find “that” track
in an otherwise good music catalogue or that they want something absolutely unique – and
exclusive – they can contact a music producer or artist to commission “that specific song”
production.
Now how does such a production execute? Here are a few basic steps as to how I am
handling matters with soundsofaction.com:
1. The Briefing
The all important conversation that lays the foundation. My client explains her needs such as
style, mood, tempo, instrumentation, length, type of vocal and lyrics (if any). It is crucial to
get an exact understanding of the music supervisor’s ideas. When it comes to a certain style,
say rock, conceptions often differ. A few examples for reference always do a great job (and
enable doing one…) and so does information about the film or commecial spot the music is
needed for.
This is also the time to discuss the use of the finished song, budget, fees, payment and
deadline. This should be cleared at the very beginning to avoid any bad surprises for either
party. According to the budget I explain what is possible production wise (e.g. using a live
drummer or drum samples).
2. The Demo
The first thing I do is create a rough draft of the song. That demo version features the basic
rhythmics, harmonies, melodies and the main instruments in order to give my client an
impression and for her being able to decide whether she likes the song itself. The mix is yet
rough, un-mastered and if vocals are involved then they are mine – all just for demonstration
purposes.
3. Feedback
My client now adds her suggestions. Since the production by then is very basic changes can
be made easily. I prefer discussing changes at this early stage since – in my genre – I work
with live instruments which have to be re-recorded in the event of any changes other than
MIDI instruments which can be edited, pitched, stretched, sped-up or slowed down to a
certain extent. After adding these changes (unless they are only small) I submit the revised
song for review again.
4. The Full Arrangement
After successfully adding the changes I fully arrange the song. That means adding fills,
breaks, additional instruments and the final vocal (male, female, soft or edgy – as my client
wishes) including harmony voices. The mix will be rather rough again in order not to keep
my client hanging on. First she will be presented the song for another review.
5. Review and Feedback
Now that my client can hear the almost finished song (except for some effects, a few db
here or there and the mastering) she will find out whether our ideas of the perfect song have
really matched. Now it is her turn to reconsider the details which is fairly okay because even
within those few days of songwriting and recording her thoughts and ideas have been
constantly developing – if not changing. This is the moment to finally clarify things, suggest
changes to the arrangement or review the singer’s phrasing.
6. Final Version
After a thorough revision (in case of a huge number of changes I inquire about feedback once
more) I mix the song to taste and add mastering to it (if desired).
Of course, I don’t count on this being the all final version. Though the music may sound good
itself some further EQing might be necessary, for example, when the music will be used in
connection with a narrator and some instruments eventually interfere with his voice. Just a
small twist for me which I’ll be happy to perform.
To me as a composer and producer commissioned production can be really exciting. There
are two fine lines to walk, which I consider more of a challenge than a risk:
The line between meeting my client’s expectations and adding my own creativity and style.
The line between keeping my client involved in the creation and out of the hassle at the same
time.
Of course, it is not always those six steps. Depending on the volume of work and the
importance the commissioned song has for my client there can be less or sometimes more
steps. I always let my clients know from the start how often and in which intervals I may call…
(by Julian Angel)
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