by clicking the arrows at the side of the page, or by using the toolbar.
by clicking anywhere on the page.
by dragging the page around when zoomed in.
by clicking anywhere on the page when zoomed in.
web sites or send emails by clicking on hyperlinks.
button in toolbar for more information.
Email this page to a friend
Search this issue
Index - jump to page or section
Archive - view past issues
Please subscribe by clicking on the link to receive
Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : September 2010
SOUND+MUSIC 54 CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2010 says Evans. “This includes MP3, HD, flash files, ring tones – where does it end? Sound studios need to be more than just a sound studio nowadays. They need to under- stand all of the possible end user formats and the intricacies that accompany them.” Evans also identifies the challenge of creating sound mixes that have impact on a lot of different devices. For example, a mix that sounds amazing on a home theatre set-up with a sub and satellites can sound totally uninspiring on an iPod. Conversely, a mix made to sound great on an iPod will literally shave the hair off your eyebrows if you play it loud on a good full range sound system, he says. “Things never sound the same back at the agency on a laptop com- pared to the mix at the studio. Add to that the mysterious data com- pression of sites like MySpace and YouTube (which could be explained, but then black heli- copters would arrive) and there simply is no standard anymore,” he says. “On the last few songs I’ve produced for artists we’ve actually done two masters - one full range and one ‘pod mix’ tailored to small- er devices where the mix is very focused on the mid range of the fre- quency band and the dynamic lev- els are flattened out with a lot more compression.” An interesting aspect to come out of the GFC was a greater flexibility by major music publishers to work with agencies towards outcomes, says Evans. “We had several projects with major artists, one where Sony gave us the original multi-track session to remix and edit for the TVC, and another the advertising agency asked us to supervise and liaise with a well known US recording artist and her management to re-record her original track,” he says. “The stems (separate musical instrument group sub mixes) were brought back to our Melbourne studio to be edited and rebalanced with the dia- log and FX mix. With publishing now being the final frontier for musical earnings, major publishers seem a lot more amicable provided there is someone with a label back- ground involved in the produc- tion.” Gas has noticed agencies heading back towards bespoke music pro- ductions for their spots instead of pre-recorded tracks. Recent projects includes the music and sound design for Australia’s first 3D cinema com- mercial for the ‘Target Toy Sale’ via The Campaign Palace as well as spots for clients including Galaxy Chocolate UK, TAC and World Andy Evans: “The big growth area is personal devices – mobile phones and media players are the new frontier. It’s unbelievable. Forget airwaves, you now have a direct line to the end user, and you are literally in their pocket. Talk about direct marketing. I can see it driving a much more personalized experience, and advertising will become tailored towards individual demographics rather than ‘one size fits all’.” The big issue facing the industry, according to Evans, is Digital Asset Management, or DAM – an acronym he likes to use every time he has to deal with it: “With the move from traditional media into newer territories such as online and phone apps, agencies can find themselves needing several versions of any finished mix. This includes MP3, HD, flash files, ring tones – where does it end? Sound studios need to be more than just a sound studio nowadays.” Vision. Gas is in negotiations to provide the music for two Asia wide TV shows being produced out of Singapore over the next 12 months. Gas composer Bryony Marks pro- vided the score for a number of projects, including the telemovie Hawke, Tangle, Cloud Street and Dance Academy, which Evans has been playing guitar and bass on. Additionally, they’ve been work- ing on Nick McGee’s new feature Frank & Jerry, Jennifer Ussi’s fea- ture Girl Clock, and re-voicing ‘Helicopter Heroes’ for the Lifestyle Channel. Jason Murphy did the sound design on the three short film docu- mentaries for Coca-Cola Europe through Publicis Mojo Sydney and a myriad of television and radio commercials. Evans says the big growth area is personal devices – tablet style com- puters are a bit big to fit this cate- gory, but mobile phones and media players are the new frontier. “It’s unbelievable. Forget air- waves, you now have a direct line to the end user, and you are literally in their pocket,” he says. “Talk about direct marketing. I can see it driving a much more per- sonalized experience, and advertis- ing will become tailored towards individual demographics rather than ‘one size fits all’.” %
May June 2010