Keep Calm and Try More Music

Music can make or break a spot.  Even if a track fits perfectly, it can be overused, rendering it toxic.  Improper staging can also doom an otherwise great spot, as can the resistance to using multiple cuts.  Hiring a composer may be considered a luxury in these budget-conscious times (how's that for a euphemism?), but one noted composer has some advice that just may dial your next spot up to 11. 

Perhaps nobody knows more about using and creating music for promos than FOTPC (Friend of The Promo Code) David Cebert. The owner of Cue 11 has been writing music for networks and scoring films for decades.  In a Promo Code exclusive, he shares his wisdom, all in the name of better promos.


The Three Most Important Factors

If a promo is creatively inspired by a certain song, you'll need to make sure you can afford the use of that song before investing in the spot. If you ignore that advice and are caught with a spot cut to music you are unable to license, seek professional help from a composer that is able to "borrow its spirit."

Library Love

Most promos are copy- and clip-driven, so a good library cue (or multiple cues) is normally a sufficient solution. There is an abundance of these libraries and cost is very reasonable. As a rule, try not to go to the same well too often; familiarize yourself with lesser known libraries and challenge yourself to try new cuts that don't immediately jump out at you.

After you've cut on the spot and listened to the cue 1000 times, "demo love" will be firmly entrenched.
I suggest looking in the opposite direction occasionally. A comedy spot can work well with very dramatic music, an over-the-top dramatic spot can be propelled with a very minimalist track and some cool sound FX. If you think Coldplay is perfect, put some AC/DC on it to gain some perspective. 

Believe it or not, sometimes the best solution... is silence.

And don't rule out jingles.  Subway has sold multiple tons of "5 dollar footlooooooongs."

Getting in Tune with a Composer

From the composer side (in my case anyway), musical examples are the best way to get across your vision. If you have no examples and trust the composer's instincts, make sure to communicate the demo you're trying to reach and the emotional content you're wishing to accomplish (which should be apparent by the copy itself).

I always request a written copy of the spot if it has not been cut, and I am pre-scoring.  It helps frame the subject, convey the producer's vision and can spark some really good options.

Golf Plus Gospel Equals Gold

I always look at a spot and try to avoid the obvious.  For example, a few years ago, I was asked to create a piece of music that encapsulated the I Am a Golfer positioning statement for TaylorMade. Most would go to the obligatory "acoustic guitar, sophisticated James Taylor," contemporary "we're hip" or dreaded "mandolin/ukulele Apple" vibe.

It was a cattle call for several composers, so I conceptualized (a useful habit, if you have the luxury), given the freedom they gave me. Where I landed was two basic truths....serious golfers are some of the least hip individuals on the planet, but their dedication to the sport rivals true religion.  

I composed the antithesis of the music that would be normally associated with The Golfer.  I used gospel soul music over a hip-hop beat, brought in a small gospel choir and the rest was magic. At first, the agency hated it and I thought I was out; two months later, they called and said that no one could imagine the spot being cut to any other piece of music.

Here's the cut: www.myspace.com/video/david-cebert/i-am-a-golfer/49660602

Bonus Track... Your "Spinal Tap" Guide to Composers

When choosing a composer, make sure you know what type you are hiring. Here is a helpful "Spinal Tap" guide:

A "guitarist" composer will always demand that his/her female singer girlfriend/male singer boyfriend be somehow involved in the spot, if not to sing it, to ultimately direct your creative.

A "percussionist/drummer" composer will always prefer a spot that tends to slow down its edits though the duration of the spot as it plays to their "I'm not really a tempo drummer/percussionist" mentality.

A "keyboardist" composer will inevitably complain that your decision to make sure the VO and nat sound are clearly distinguishable from the music track is "dumb" and that the music should always be the loudest thing in the mix....even if you can't understand the end tag.

A "bass-playing" composer will be impossible to find as they are far too successful as singer/songwriters to bother with composing music for spots.

Major props go out to David for sharing his insights, advice and musician's sense of humor.  Cue 11 is at http://cue11.com 509-464-0062.

I can only imagine what's on his playlist.

-Ed

If you live by The Promo Code,  please share this post with friends, colleagues and groups.  You can even use it to show civilians what your profession is really like.

 

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