It has been such a thrill to see how much Score a Score has accomplished over the past few years. The company has grown to 19 team members (and counting), we supervised our first Super Bowl LVI commercial for Bud Light Next, and a few weeks ago, our custom trailer music was part of 7 campaigns nominated for a GTA! That included Best Music for Babylon, which took home the win. Even more recently, we launched the re-brand of our trailers department! We are now officially called Locked.
SAS Favorites: Custom Trailer Music Edition
To celebrate the re-brand of our trailers department, we want to take you all down memory lane and highlight three of our most memorable and recent custom trailer music placements.
Babylon (Paramount Pictures, written and directed by Damien Chazelle). Babylon was a fun challenge as our own Captain Plantain created a vintage, big-band jazz accompaniment to play against David Bowie’s, Fame. The biggest challenge was to conform a 70s funk rock track to work against glamorous old Hollywood star-studded visuals.
White Lotus (HBO Max, created by Mike White). White Lotus season two was a last-minute hot rush by the client. Our main task was to showcase the new season on the beautiful backdrop of Sicily. Captain Plantain’s Tattered Pin Block was the perfect fit. We were able to create authentic Italian-style instrument overlays like the accordion to lend to the new season’s quirky island vacation getaway vibes.
The Staircase (HBO Max, created by Antonio Campos). The custom trailer music forThe Staircase was a particularly cool custom because the trailer editor was already using the full track plus stems from SAS veteran, JNUARY and his song, At The Brink. However, they still needed help reimagining some overlays for their cut. JNUARY was able to recreate new string pizzicatos and percussive elements along with several rhythmic stems that made the trailer’s soundtrack incredibly tense with dark comedic moments.
Locked, Loaded, and Ready to Score!
While our trailers department has a new look and name, our services remain the same. We are here to provide bespoke music production, curated music, pulls, trimerization, overlays and remixes, sound design, music supervision plus clearance, and one-stop licensing. Our premier collection of top-shelf tracks forges the latest innovative and outside-the-box music styles that will elevate your trailers a cut above the rest. Our team cannot wait to create custom trailer music with you! Connect with us to learn more about what we can do for you at locked@scoreascore.com and head on over to our catalog to listen to all of our current work.
Welcome to our first sonic story of 2024! This round, we’re tuning in with Jeremy Bullock a.k.a JNUARY, a familiar name to those who follow the pulse of trailer and ad music. Jeremy, a pivotal part of our symphony of composers, brings life to visuals with his auditory artistry. Today, we strip back the layers of his compositions to discover what makes his music so memorable.
Sonic Stories with Jeremy Bullock a.k.a. JNUARY
Can you tell us the origin story of your artist name, JNUARY?
The name JNUARY came more out of necessity than anything. I started making music that was more geared towards media and wanted to create an alias that wasn’t my actual name. For whatever reason, usually in spam emails or the occasional coffee shop order, my first name (Jeremy) would sometimes get mistaken for January so I decided to run with that.
What is your creative process like?
At this point, I’ve been working as a full-time musician for over a decade, so I structure my time very much like a regular job. I have a studio behind my house that gives me just enough separation from my daily space to feel like a dedicated work environment, and I’m out there Monday-Friday from 10-5. However, as much work as I’ve done over the years to add structure and consistency to my daily routine, the beautiful thing about the creative process in general is that a lot of times I really don’t know what’s going to come out that day. Allowing myself to be open to that inspiration is usually when I find myself most productive.
What is your specialty/what are you known for when it comes to your compositions with Score a Score?
One of my favorite things about SAS is that they offer me so many varying opportunities to create. Every project can be a completely different genre or style. I think my biggest strength is being able to work in those different spaces; it keeps things interesting, and I don’t feel particularly tied to any one ‘lane.’
Are there any new trends or techniques that you are loving right now?
One trend in trailer music that I’ve seen recently is that composers are straying away from some of the more stereotypical trailer styles. Not everything has to feel like a Marvel movie. Sometimes using something unexpected is a great way to make a trailer stand out.
What is your favorite piece of gear in your studio and what is your latest gear purchase?
My favorite piece of gear will always be my upright piano. I have a Yamaha UX that I love and it sounds beautiful. I’m not the best pianist in the world, but even when I’m just working out ideas on it, it’s always inspiring. My latest gear purchase is a new 4-track tape machine. I had an MKII for a long time that started acting up so I got a 414 from Goodwill. I didn’t grow up with a 4-track and I actually purchased my first one after years of working in a DAW, but the limitations of 4-track recording taught me so many things that I use in my DAW recordings now. I also love sending synths or drums out to it and importing it back for tape saturation.
How did you discover Score a Score?
I discovered Score a Score in 2016 through my wife who was actually working for SAS at the time. I had just moved to LA to start composing full-time and met her at a music industry party and she suggested that I try out working with them, which I did. I have been with SAS ever since and have seen them quadruple in size since then.
What are your top three spots/placements that you did for Score a Score that you are most proud of?
The Black Widow trailer is probably my most notable placement to date. I also did a pretty cool custom campaign for Lexus a couple of years back. Although not an ad placement, I scored the film I Love My Dad and SAS supervised it, which went on to win the Grand Jury at SXSW last year. I’m pretty proud of that one.
What have you learned about yourself as a composer since creating trailer music with Score a Score?
Trailer music was something I wasn’t at all familiar with before working with SAS, so my first few years of making trailer music were just figuring out what it was. I spent a lot of time trying to do the trailer thing really well, learning the structure, figuring out all the sounds, etc. Now that I’ve been doing it for a while, I’ve realized that that’s not always the best approach for trailer writing. Usually, editors are looking for something unique and unexpected. So now, when I’m writing music for trailers, I’m trying to tap into what feels most natural and authentic to me, and hope that the music speaks for itself that way.
Your work with Score a Score covers both music for ads and music for trailers. How does your approach differ when composing music for advertisements as opposed to trailers?
The big difference is that when I’m writing music for ads, I’m usually writing to picture, so for me, it’s a lot like working on a film. I spend a lot of time trying to understand the emotional intention and identify the music’s role in the spot. With trailers, I’m very rarely working to picture initially. So a lot of it is tapping into a unique creative direction or creating interesting sound design that feels unique in such a saturated market.
What’s the first piece of music you ever composed, and how do you feel about it now?
I was in a band in middle school called Pico vs. Island Trees, and we wrote and recorded our first song called “Broken” in 7th grade. I’ve made a lot of questionable music over my career, but whenever I listen back to that song, I’m able to look past all its flaws and appreciate it for what it is.
If you could talk to your younger self when you first started composing, what would you say?
To lose any expectations you have for your career in music and be open to wherever it takes you.
When was the last time you surprised yourself both personally and professionally?
I became a father last November which has brought a lot of wonderful changes both personally and professionally. Being able to adapt to the challenge of being a dad has been the most challenging and rewarding experience of my life so far.
Cue the Outro!
Like a good melody that gets stuck in your head, Jeremy’s insights linger long after this interview. We have tons of Sonic Stories in the works this year so stay tuned by subscribing to our newsletters or by following us on Instagram.
Gather ’round, folks! Today we’re diving into a sonic duel: sound design versus music for trailers. Each brings its own set of attributes to the table. Music provides the emotional depth ready to pull at your heartstrings. Sound design, armed with whooshes, booms, and pops provides that extra sizzle, making sure you don’t just see an explosion—you feel it. We love a happy ending, which is why we feel obligated, nay privileged, to end this “feud.” Tag along with us as we explain the distinction between sound design versus music for trailers and how they coexist to enhance the storytelling of a trailer.
Sound Design vs. Music for Trailers: The Roles Defined
Music: The Emotional Maestro
Want to make your audience cry? Cue the violins. Looking for some heart-pounding action? Bring on the drum rolls. Music is basically the comfort food of trailers. It hits you right in the feels, every single time. Music for trailers is a powerful narrative tool that can shape how an audience feels about what they are watching.
Sound Design: The Realism Wrangler
Sound design, on the other hand, often operates in the background, adding layers of realism and dimension to the visual elements. Whether it’s the clang of swords or the rustle of leaves, sound design layers a textured atmosphere that complements the visual narrative and enhances audience immersion. In short, music tells you how to feel, and sound design ensures you feel it in 4D.
Striking a Balance
Timing and Focus
Deciding when to let music take center stage and when to amp up the sound design is a delicate dance. These two elements should weave together seamlessly, complementing rather than competing with each other to serve the narrative.
Story Arc Considerations
Both music and sound design should align with the story’s flow. For instance, sound design elements might be more pronounced in scenes that require attention to detail, whereas a soaring musical score could dominate key emotional or action-packed sequences.
Collaboration: The Hidden Key
One cannot underestimate the value of collaboration between composers and sound designers when it comes to music for trailers. An open line of communication ensures that the trailer provides a unified auditory experience, enriched by both musical and sonic elements.
Pro Tips for Aspiring Sonic Wizards
Narrative Know-How: Whether it’s through music or sound design, your loyalty should always be to the story.
Genre Guru: An action flick isn’t going to have the same audio needs as a rom-com, folks. Know your field, and play accordingly.
Trial and Even More Trial: Rome wasn’t built in a day, and neither is impeccable sound design. Test, adjust, repeat.
That’s a Wrap!
It is very clear that sound design and music for trailers are not competitors. They aren’t even frenemies. Nay… they are allies! The key lies in understanding the role and impact of sound design, and how it can work in tandem with music to elevate the art of the trailer. So the next time you find yourself on the edge of your seat during a trailer, don’t forget to send a silent (or loud, we don’t judge) “thank you” to the audio wizards who’ve crafted the sonic feast. After all, in this game of sonic thrones, the true winner is always you, the audience.
Dive deep into the world of music licensing with Amanda Levine, Senior Director of Music & Licensing at Platinum Rye Entertainment, in our first SAS Speaker Series interview of 2024! Amanda shares invaluable insights into the complexities of music licensing and pricing, unraveling the mysteries of hidden fees within contracts, the impact of geo-gigs and geo-blocking on music distribution, and the nuanced world of samples and interpolations.
Unlocking Music Licensing Secrets with Amanda Levine
Jordan Passman: One thing I’m curious about is the future of licensing. When I started out, airing on TV was considered the best. Broadcast was a big term that could always get a big budget. When you think about paid media on YouTube though, you are getting more eyeballs and bang for your buck than airing on TV these days. Do you think we’re moving towards an all-media, worldwide perpetuity license, especially with the emergence of new platforms and media? I know that drives up the cost a lot but will broader rights lead to lower fees for those rights? Or do you still see the term being so tied to the media?
Amanda Levine: I think we’re starting to see fees change in that respect. As you mentioned, there was a time when TV dominated the value of licensed music or talent. Now, digital plays a huge role in this landscape. As a result, digital fees are cranking up. I don’t know if there is ever going to be a point where they’re synonymous. We are finding that if you just license something for digital only and it’s a big catalog track that everyone knows, fees are going up, which is an industry-wide situation. There will always be songs that have that premium value. Everyone knows them. It’s nostalgic. It’s emotional and connects people to something greater. I think it’s important to have a problem-solving mentality when big shifts like this happen, which Score a Score has done so well. I think licensing has become such a money-maker for musicians, music agencies, and producers. Unless the music industry shifts so much and values things very differently, I don’t see a world where it will equal out.
Jordan Passman: Can you tell us about the hidden fees that many people outside of your industry wouldn’t necessarily think of that would be on a contract like SAG?
Amanda Levine: Yeah, of course! So I am well versed with this to an extent because I have a lot of clients that are signatory to music unions. When we’re talking about music unions as far as the US is concerned, we’re mainly talking about SAG or AFTRA and the artist or their vocal likeness. There is also AFM, which is the American Federation of Musicians, which supports musicians that are in the Union. Let’s say a brand in the US is licensing a song in the US and the song was recorded under a union contract like AFM, a side contract, or both, additional fees would be due to the singers of that song and/or the musicians. In those situations, you would probably work with an expert of the signatory company, which there are a bunch of, or reach out to the union directly so they can help navigate what your costs might be. Similar to a licensing fee, there are fixed rates for those things, but they’re based on the usage of your commercial.
Jordan Passman: What tips do you have for musicians, composers, or artists who are looking to break into having these Fortune 100 companies that you work with to license their music?
Amanda Levine: There are some trends in the ad world like covers. That’s a big one! Things that feel good and happy always sit well with clients. Rap is sort of getting back into it so I feel like hip-hop music with no samples is great. If you’re a musician, definitely try exploring that. I think in general, the advice I like to give is just to network. The internet is crazy and amazing all at the same time. Use it to connect with people in your industry. Research! If you see a commercial online that inspires you, look to see what producers or agencies are creating those ads. Trades like Adweek will include an entire list of people who worked on that project. Attend webinars like this! Network by attending concerts or happy hours, and make it a point to speak with someone new; you never know where a conversation might lead. Finally, stay positive. I’m not a musician myself, but being one is hard and can take a lot out of you. It’s emotional, it’s vulnerable, and it’s important to stay true to yourself.
That’s a Wrap with Amanda Levine on Music Licensing!
A massive thank you to Amanda Levine for joining us and enlightening us on the ins and outs of music licensing. Stay tuned for upcoming episodes by following us on LinkedIn or Instagram. Until next time!
Instagram—a place where cat videos meet culinary masterpieces, and everyone’s a photographer. But when you decide to spice up your content with a little tune, you enter the wild world of copyright laws. Understanding Instagram copyright rules for music is crucial to avoiding legal pitfalls and leveraging all of Instagram’s capabilities. This guide will help you dance through the Instagram copyright rules without stepping on any legal toes.
Instagram Copyright Rules for Music: Everything You Need to Know
Understanding Instagram’s Copyright Rules
At its core, copyright law protects creators’ rights to their original works. That includes music. Instagram’s copyright rules reflect a commitment to these legal standards, aiming to balance the rights of music owners with the creative opportunities for users. Simply put, these rules prevent unauthorized use of copyrighted music and ensure that creators get fairly credited and compensated for their work.
Licensing Music for Instagram
The cornerstone of legally using music on Instagram is getting permission. There are different licenses for different uses. For Instagram, you’re mostly looking at synchronization licenses. Good news: there are places online where you can get music that’s pre-cleared for social media use.
Navigating Music Rights with Music Licensing Agencies
Cue Score a Score! Music licensing agencies, such as ourselves, can be invaluable partners in navigating Instagram copyright rules. We can help manage the complexities of music rights, so you don’t have to. Music licensing agencies offer extensive catalogs of music that can be legally used in Instagram content. What makes this so useful is that it provides a hassle-free solution for creators and brands that want to use popular tracks in their campaigns.
Copyrighted Music in Instagram Features
Instagram does not come up short with its features. They have Stories, Reels, livestreams, and static posts you can add music to. Each feature, however, has its own little quirks when it comes to adding music legally. That especially goes if you are a business/creator account. Commercial or branded content might face more stringent restrictions or require additional licensing agreements.
Common Misconceptions: Credit, Fair Use, and the ’30-Second Rule’
There’s no shortage of misunderstandings regarding music copyright on Instagram, including the notions that giving credit, claiming fair use, or adhering to a ’30-second rule’ provides immunity from infringement. Spoiler alert! Crediting an artist or playing less than 30 seconds of their song won’t shield you from copyright claims. It’s a jungle out there, and ignorance isn’t an invisibility cloak.
Exploring Public Domain and Copyright-Free Music Options
Once again, cue Score a Score! If you are looking to avoid the complexities of music licensing, it’s us. Our catalog has tons of copyright-free music.
That’s a Wrap on Instagram Copyright Rules for Music!
When it comes to using music on Instagram, the main goal is to play by the copyright rules. With the right know-how and resources, you can make your content sing without overstepping any legal boundaries. Have fun!
