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 : July August 2008
SOUND +MUSI C production houses believe that what you hear is at least f ifty per cent of the p roject , sometime s more i f a TVC can be forever branded with a tune t hat le t’s y ou kn ow what you’re watching without even look- ing at the screen. However, with the wrong creative team, a music al dis- cussion can lead to a la st minut e tack on.” What’s popular right now? Hi ll loves pop mu sic in the t raditional sense and be lieves that, r egardless of instrumentation, the simplicity of a well-de li vere d, memor able melody or lyric is always in fashion. “It’s pleasing to see the juxtaposed revival of e motive and often wordy ‘New Folk’ artists on t he angst rid- den bac kdrop of an eig ht ies inspired in die/electro s cene. No w I’m showing my age but I’m qu ite enjoying the wa lk down memor y lane as long as there’s something fresh in the mix,” he says. Noise’s Higson says the sill y ‘to y pi ano, uke le le , u nhappy-chick singing’ vibe is s till k nockin g around, a trend that overseas agen- cies moved on f rom ag es ag o. On the ups ide, s ome advert isers are taking more risks w ith music and sound, wh ich is a welcome t urn- around. “We d id a j ob earlier this year where t hey let us do whatever we wanted. We c rea ted t he most biza rre , o ff-th e-wall sou nd fo r a whole TV station in N ew Zealand. It blew them away and, to our sur - prise, it ran,” says Higson. Higson s ay s in t he sound and music industry there are always new companies forming … an d d isap- pearing. This is b ecause a s com- posers build their cl ient bas e an d get a decent reel together, they tend to go out on their own and end up competing against their ex-employ- ers. At t he other end of the s cale, some grow old and tired and bored of t his i ndus try an d move on, change, adapt or retire. “I’ve had lots of talks about merg- ers bu t b oth p arties alw ays walk away f rom the table wi th t he con- clusion that nothing is better than running your own company, ke ep- ing it small and simple and concen- trating on doing a great job, making a bit of money an d havi ng s ome fun,” says Higson. Noise has worked on almost every single Optus ad that is on air right now, ba r one . When not working on a ds, ther e’s always some othe r project whether it’s a v iral, sound for a website, TV ID package or an animated child ren’ s TV s erie s. They r ecently worked o n a re ality TV show for the web and a th ree- minute w eb a d fo r Ly nx. Rec ent hires inc lude a full time en gineer/ sound de signer and sev eral f ree- lance c omposer s ha ve a lso bee n taken on. Most of the wor k is st ill from the local market, but the stu- dio h as be en working on pr oject s out of Asia and the UK. Likewise, Supersonic has concen - trated on embracing th e ch anging tides of TVC prod uct ion as a means to fund its less budgeted TV series, films and docos. 70 CAMP AI GN B RIEF Advertisers spending six figure sums to secure a well-known track and then spending what’s left – normally a pittance – on creating the actual ad, leaves Higson bemused. “Spend your money on a locally-written and produced track tailored to the ad and get it done for half the price you can license any decent track for. Give them an open brief. Don’t ask them to make some silly half-arsed copy of a famous track – let them create something original.” Hylton Mowday (Jam) “Fost ering stron g rel ationships wi th l oy al and truly innovative agencies has been a focus and spots for Nike, Yahoo and Lexus are tes- timony to this creative t rust. Films such as the Home Song Sto ries, Ac cidents Happen a nd P rime Movers never cease to ins pire the under sixty-second con tent,” sa ys Hill. As well as working o n TVCs fo r the local market, Supersonic is see- ing r epeat bus iness fr om Asia, specifically from Japan, China and India. TV s eri es in clude All Sain ts, Packed to the Rafters, Embedded, The One , Bogan Pri de , Ma ste r Raindrop and Dex Hamilton. “The ability to weave a na rrative through the use o f aud io in my exp er ienc e can o nly b e fu rthe r honed in practice with many differ- ing mediums,” says H ill. “We a re finding that interactive c ontent is incr easing and tha t lo nger -fo rm commercials and presen tations a re more prevalent. However, it is often difficult to achieve the same quality across such lengths if budgets a re lower than standard TVCs. Quality is generally equipment and time in audio, both of which cost more the longer you spend on a project.” Recent hires at Supersonic include sou nd des igner /engineer M att Pe rr ott and for mer Campaign Pa lace pr odu cer , M adelein e Stracey. As for new t echn ology, there ’s been some fun plug-in s s uch a s speakerphones that h ave s peake r pre-sets for your au dio t o make it sound like any speaker in the world, says Hill. It ’s not the gear , it’s yo ur ear , contends Jam’s Mowday: “I t hink Mozart had all he needed – a quill, ink and manuscript. Musicality is the mos t important thi ng i n my opinion. I have yet to see a piece of software that can tra nsform s ome- one unmusical into something other than a c lever computer p rogram- mer,” he says. After working solo for many years, Jam was started when Mowday set out to offer an all-in-one composi- tion and audio post fa cility. He’s been friends with the other compos- er, Ryan Grogan, since they went to music school together back in Cape Town and they have since h ired sound designer, James Martell. As we ll as wor king for the Australian market, the y s till have strong South African conn ections and have been picking up projects from the UK. Over the pa st year, Jam has be en involved wit h a diverse range of projects including jazz and classical pe rfo rmances, music al festi vals throu ghou t th e world, film projects and an a lbum that is being recorded out of its new facility. “Writing music is what I do and love, I don’t make commercials, but I do enjoy the craft of writing music for commercials. I a lso enjoy writ- ing music for all f orms o f v ision hence writing for TV and film is just another avenue of t he creat ive process. We have concentrated on working on a lot more ar t-based productions, for example a r ecent project was writing a score to one of Matt Palmer’s art-films ‘Slipping in Time’. We are actually planning to do this as a live-performance piece as we ll as other work s,” says Mowday. Song Zu, which ha s pos itio ned itself as a fully diversified music and sound house, not just a n ad shop , has also been working on a dive rse range of projects. “Recent ly, we’ve pr oduced albums (Grinspoon), scored fea- tures (Men ’s Group) and docos (Schapelle Co rby). The reason we attract the talent that we do is that we allow composers to take time off as necessary to work on non-com- mercial projects either via Song Zu or separately. For instance, Nathan Cavaleri just took a one-month sab- batical in the studio to produce The Botanics, who we’ve also worked with on TVCs,” says Lew. Its main commercials work over the past year has been Adidas’ Olympic spots, recording a 60-piece orchestra and choir for the ARU, and some regional work for Sony Ericsson. It has just re-hired a cou- ple of people who left for various reasons including sound designer, Simon Kane in Sydney, and com- poser Lindsay Jehan in Singapore. Song Zu has been called in on a couple of longer-form projects for Lynx and Optus, which involved three-minute songs and the creation of a ‘band’ for the release. These were web releases initially and in the c ase of Optus, eventually was the so und trac k to a 30- second spot. It is also working with a num- ber of direc tors , hel ping create online content. The ad vert ising indust ry has changed dramatically in the past decade with marketers now using completely different mediums to get in touch with their target mar- ket, concurs Soundtrax’s Wah. “More and more i s done through the internet and we must all be able to move with the times or get left behind. The need to do everything faster, cheaper and cooler is always an i ssue, but hey that’s advertis- ing,” she says. ? JU L Y /AUGU ST 2 0 08
May June 2008