I was invited to compose a track for a panel discussion as part of ADE a.k.a. Amsterdam Dance Event, the biggest electronic music festival & conference in the world.
It came about a few weeks ago, when Steph Perrin - Head of Sync at Cloud 9 Music/Downtown Music Benelux (formerly Senior Music Supervisor at Felt Music) reached out to me by Facebook. We've known each other for about a year, when I came across her profile on LinkedIn and we met for coffee because I wanted to ask her some things about the music industry and getting into the world of music sync.
The panel wa: So You Think You Can Sync! and it was part of the ADE Pro / ADE Dance & Brands conferences. We were 8 producers and we were given a brief to create a soundtrack to a specific advertisement (NFL - Super Bowl XLIV Best Fans on the Planet commercial starring Reggie Bush’s famous touchdown), and a panel of 4 industry experts discussed our approach.
The event was on Friday 19th October at 16:15 - 17:30 at DeLaMar Theater (D8 Panel Room) | Marnixstraat 402, Amsterdam.
If you’re curious how my track sounded, here it is:
This is what Steph Perrin, Head of Sync (Cloud 9 Music/Downtown Benelux, NL) had to say:
“That kind of pounding beat in the beginning, I really liked it, it was very anticipative, it makes you think “God, what’s coming next?”. It built really well, the whole track did, and it had a nice ark to it which was really good. My only criticism from knowing how a client operates would be, when it comes to sound effects.. actually, I really like what you’ve done in terms of putting the crowd in and I think for the purpose of this it’s a really nice touch and you’ve thought about it and what the commercial is for but I don’t think an advertising agency might feel the same way. If they want sound effects, they tend to think about that themselves and do that separately. But as a track and as a piece, it was really nice and emotionally worked really well.”
Here’s what Connie Edwards, Music Supervisor (Major Tom, US) had to say:
“I really liked where you were coming from, when you said you wanted to incorporate the crowd. I think you probably could have done it differently, maybe stomping or clapping being used more as a texture rather than a straight sound effect. It’s a great ad to do this kind of stuff because you have got two clear halves. And what’s brilliant is each half is very very different, which makes the one one much more effective, so you’re really starting at one place and going to another which really helps with the journey rather than starting at a similar place and then ending up a little bit bigger than what you had before, so I liked that bridge”.
and Toby Williams, Music Supervisor (Leland Music, GB):
“Your instinct is great, because The Cinematic Orchestra are an act that are referenced endlessly by advertisers, so it is a great place to start, and I think your cello work obviously provides a lot; a great texture which is something tactile; you can touch it. Then, the two human elements; the heartbeat bass kick in the beginning I really liked, the crowd noise not so much, but I think as an experiment, it would be worth considering that it could be dealt with in collaboration with the agency. I can imagine it could be something that could help make it compelling, I’m not sure it’s executed quite right there. But overall good job.
Overall, I am happy with the feedback, and it was really a great experience. Hopefully this is the start of more sync work!
Producers (in order on the stage from Left to Right):
Gary Beck (GB)
Homay Schmitz (DE) & Oliver Weder (CH)
Niklas Paschburg (DE)
The Wong Janice (NL)
Panel list (from Moderator to Panelists Left to Right):
Josh Rabinowitz (Grey Worldwide, US)
SVP Director of Music
Steph Perrin (Cloud 9 Music/Downtown Benelux, NL)
Head of Sync
Connie Edwards (Major Tom, US)
Toby Williams (Leland Music, GB)