Hey Guys, checkout our new #businessapparel #coolshirt #soundtaxishirt #musicmatters #musicisemotion #digitalmarketing #soundtaxi #soundtaximusic. Meet us in New York – or just come over for a beer!
Soundtaxi recently attended the Spotlight Festival 2017 in Stuttgart. The Spotlight Forum CONNEXION panel session inspired some great perspectives from industry leaders in advertising content creation who joined festival director Michael Preiswerk in the conversation.
The panel identified one the largest challenges in modern ad content to be the ever-shrinking length of ads. Stefan Wübbe, Creative Director of Kolle Rebbe (Hamburg) went so far as to describe “20 seconds, advertising” a “creative zone of death,“ citing a number of issues creatives struggle with producing prerolls, midrolls and ad content for Facebook or YouTube.
However, from new problems arise new solutions. Hartmut Kozok, Creative Director of Grabarz & Partner (Hamburg), urged content creators to adapt, applauding brands and agencies who can successfully pull off creating scores of small ads a year.Martin Prost, Creative Director of Antoni, the agency started by Mercedes-Benz, however, takes a different tack.
Prost cites that Antoni was born out of Mercedes’ desire to “be focused“ in their marketing content. He warned that sometimes, meeting modern ad content demands (numerous ads, short on content), may in fact, create what he described as a fading image for brands. He cited his firm’s successful ‘Grow Up’ campaign lensed by fashion photog icon, Alice Moitié, as an example of brands and creatives working closely together to deliver strong content that connects with consumers.
Miliane Nani Meimeth of Trigger Happy Productions (Berlin) seemed to echo Prost’s notion of working more closely with creatives. She appealed for, increasing personal exchange between agency account execs, and the creatives. She believes integrating content producers earlier in the creative process might be the key to successfully navigating the demands of modern ad content production Her mantra for producers, can be said to embody the ethos of the panel, “Dialog. Dialog. Dialog.“
Soundtaxi has worked with many of these firms, staying ahead of the curve on modern ad content. Produced short effective pieces, and working directly with agencies and brands is how we do business. We encourage our clients, friends, and partners and everyone in the ad music community to become a part of the solution, creating a new industry standard that keeps us all moving forward!
Soundtaxi Relaunch May 4th, 2017
The time has come to start a new era! Also we are happy to announce, Soundtaxi Inc. has a new home in New York, 77 Sands … Soundtaxi says, keep watching what’s coming up next to you guys!!!
#redesign #relaunch #soundtaxi #soundtaximusic #musicisemotion #musicmatters #musicproduction
We’re excited to announce, that seminal shoegaze band The Veldt has joined Soundtaxi, and we’re proud to offer their reunion EP The Shocking Fuzz of Your Electric Fur for synch. Originally formed in the 90s, the band rose to prominence with their acclaimed album Afrodisiac, a record that sits proudly on Pitchfork‘s The 50 Best Shoegaze Albums of All Time list.
Describing the new record to music supervisors, we’d say its a psychedelic trip through big city dive bars, and small town roadhouses. An adventure through alternate realities, hazy lust, strange goodbyes and stranger hellos. It is angst, apathy and love collapsing in on itself. It is every scene of millennial self-destruction and forgotten Gen-X’s lingering disillusionment.
Guitarists Danny Chavis and Hayato Nakao whip an effortless velvet haze over filtered electronic drums. Daniel Chavis’ powerfully subdued vocals offer a tension spectrum that is at once serene, mournful and sensual. The songs soar with a melancholic beauty that seems prophetic, with a heady emotional impact that takes listeners along on a waking dream.
The band hasn’t missed a beat. In fact, their new material, in some places exceeds their best 90s offerings. One of the best reviewed self-relesed records of 2016 with nods from The Guardian and Wax Poetics, the album was recently re-released by Raleigh based indie label Schoolkids Records.
Pioneering 90s shoegaze outfit, The Veldt, is spearheaded by Twin brothers Daniel and Danny Chavis, originally from Raleigh, North Carolina. An alt-rock band with a black frontman, blending psych, authentic southern soul, and ghostly guitars, was an anomaly in a scene dominated by white British bands. However, they quickly commanded the scene’s attention, winning an early fan in alt-rock icon Robin Guthrie (of Cocteau Twins fame).
When the The Veldt disbanded, the Chavis brothers formed Apollo Heights, a thriving New York indie band, finding even more acclaim with a record produced by Guthrie, and collaborations with artists ranging from Mos Def to TV on the Radio and Mike Ladd. They are also featured in the award-winning documentary Afro Punk (2003). Their efforts have cemented the Chavis brothers’ positions as both indie rock icons, and pioneers in alternative African American music.
The meteoric resurgence of dream pop in today’s landscape is the perfect moment for The Veldt’s return. We’re proud to be a part.
The historic, and often debated U.S. Presidential Election of 2016, news stories with international implications, and social media commentary have sparked a significant increase in the popularity and production of news related content in broadcast and new media. The West has its eyes on upcoming elections in Germany and France, and a number of issues are keeping entire populations on edge, and everyone talking. As a result, Soundtaxi anticipates an even larger increase in demand for content used in news and related programming.
Social media sites are now canvased with an unbelievable amount of shared news content from a large number of sources and content developers. As mainstream politics have adopted a volatile nature, there is an increased demand for information from a public that wants to stay informed and aware. It is an exciting time of growth for news media content developers.
We’ve been working hard to shore up our own library with an incredibly robust catalog of music content perfect for news, talk shows, and other multimedia content centered around current events. Our composers are also ready to help craft original music as well. Check our News Playlist, we’d love to help you improve the attention grabbing capabilities of your production as you inform your audience.
The Acuna Boyz, UK based masters of progressive and classic house have been go to producers in dance music and remixes for over a decade. Their breakout hit was the 2006 banger “Living It Up” with Marie Louise. The track spawned a number of remixes, catapulting the duo into the spotlight, leading to residencies at dance mecca Pacha NYC.
By 2007, they were tapped by Sony Music for international remixes, and worked closely with EMI and UK Radio 1 to break dance singles, including the Euro-pop classic “Toca’s Miracle” by Fragma. Their hard work, led to a thriving label, and the sample pack company, Busloops. As it stands today, dance producers world-wide are crafting dancefloor masterpieces…with a little help from the Acuna Boyz.
Their label has since become a digital distributor for Acuna, ADCS, Acunadeep, ABP, Celebration, Club Traxx, SickShark, Sun Global Records, Sports Fitness Media, and Pastel Lounge Records, clocking in a mind-boggling number of releases. The Boyz have secured UK Top 40 hits, synch deals, and special licensing opportunities like Sky TV.
Soundtaxi is proud to represent the legendary Acuna Boyz check their playlist: here
We had an incredible time at this year’s Sync Summit – NYC 2016. Mark Frieser did a woderful job assembling the top music supes from film, TV and advertising. Great insights to advancements in existing and upcoming software, and data analysis tools certain to impact how the business of synch music is done. And of course great insights to the growing music licensing space.
Hello All! It has been a little while since we’ve given you something new to read…I assure you its because we’ve been busy making calls, making deals…and listening to new music. Listening to new music, in fact, is the reason for today’s entry. Most of you reading this site are musicians and producers associated with the Soundtaxi family, and as such we want to bring you useful information we hope helps you as an artist.
In the past few weeks, we’ve been going through the catalog submitting individual tracks to ad agencies, video game companies and music supervisors for film and television. When it comes to multi-media advertising (TV commercials, online marketing, etc.) you’re typically talking content that lasts 30-90 seconds. This is of course much shorter than your average full-length song. When commercials use a big top 40 or indie pop “hit” they tend to go right for the hook, grabbing the most dynamic and memorable piece of the tune (similarly, with a genre like dubstep they may edit a song to start just a few seconds before the drop).
So here’s the thing, (and we’ve mentioned this before…but it is significant enough to mention again): producers and composers out there developing music specifically for commercial use need to consider the time constraints of music used for this purpose. If an ad is 30 seconds long…and your intro is 20 seconds you may run the risk of losing a music supervisor’s interest. Remember, these guys listen to hundreds of pieces of music dozens of tracks daily.
It is, of course, easy to market a 3-minute piece that’s already on the charts. If you’ve created an electro-house masterpiece…but nobody is familiar with it or your name hasn’t gotten out there as a buzz producer yet, you want to sell your track in those first ten seconds. Soundtaxi can afford to evaluate an entire composition. A music supervisor may not be so kind. Imagine having to go through hours of music to satisfy a 30 second ad. Trust us when we say many supervisors are only going to skim a track.
So… if you’re specifically producing a piece intended for commercial use (ads for products & services, movie trailers, etc.) you may want to watch those 30 second-build-ups. Those long and winding roads until we hit the drop, that beautiful 20 second long arpeggio…may wind up being all the music supervisor hears. Its nothing personal, but a professional may not get past those first 30 seconds of music so they can listen to the other 100 tracks they are auditioning. If all they hear is intro, well you can imagine the rest.
This is actually good advice for most modern production…if you can get someone hooked in the first ten seconds, you’ve got a fighting chance of creating the ever elusive ‘hit’. In short…long introductions are cool….but sometimes its nicer to get to the point.
The importance of advertising is certainly not a new concept within the music licensing community. Recently, however, with the help of synch deals, music publishers are supplanting labels as the driving force in the music business, and advertising plays a major role in this shift. Soundtaxi attended the Advertising: New Path To The Charts panel (sponsored by Ole, rising stars of marrying music and marketing strategy) at the recent Billboard Film & TV Music Conference in Hollywood late last month. Music execs for leading ad agencies and publishers came together, illustrating just how important synch is, in driving artist success stories.
To put things in perspective, Gary Miller, VP Film/TV Music for Universal Music Publishing Group shared that Alex Clare’s breakout hit “Too Close” sat at a paltry 3,000 units sold before that famous Microsoft Internet Explorer ad. After? 4 million units sold.
Also in attendance was Imagine Dragons producer Alex Da Kid, himself symbolic of the importance of repeated exposure in creating a hit. The psychology behind repeated radio spins relating to fan/customer adoption of a certain band or song, holds true in advertising (how many times have you heard Imagine Dragons’ “Radiocactive” in an ad?). In fact, it was revealed that Imagine Dragons’ music has been used in 200 spots and counting (web, television, etc.). A little clearer why we all love the tune, right? We hear it everywhere.
When asked if being mindful of synch opportunities was something he considered when producing tracks, Alex stated that while he doesn’t want the spotlight on advertising deals to “get in the way”, he is more mindful of its importance than ever in his production process. Sounds like a polite way of saying “yes” to us. Who can blame him?
Jeannette Perez, VP Music for Brands & Advertising for Sony Music discussed how advertising deals have become a key part of record release strategies. She noted that Kelly Clarkson’s 2011 album “Stronger” was released one week prior to the popular Toyota ad featuring the song of the same name. The “Stronger” single was released the following week. To date, the single has sold 5 million copies. Translation: These things don’t happen by accident.
The bottom line here is that synch deals are becoming more than a hopeful source of secondary income for artists and labels. It is sometimes the key to unlocking the full potential of a project. We, at SoundtaxiMusic, have been making this priority one for some time, just take a look at our work. We have been successful in licensing music to globally recognized brands, and will continue our efforts to make this a priority focus of our business.
While we certainly don’t wish to tell our affiliates how to make art…we do think that our writers, producers and composers must become agile thinkers, if in fact securing synch deals is a priority for you as an artist. Enhancing your strategy in composing only enhances our efforts in marketing your material, which of course enhances both our chances of landing that one synch that could change your life forever. Music licensing continues to become an increasingly important aspect of the business, and Soundtaxi will continue to stay ahead of the curve.
SoundtaxiMusic attended the Billboard Film & Television Music Conference last week in Hollywood (quite appropriately). We had a few great meetings, and made some wonderful contacts to better serve our producers and composers. We also came back with a wealth of information about the state of the industry….good and bad.
First the bad news… The most distressing, information was the general consensus among professionals, that rates for licensing are coming down. That’s from some of the industry’s most respected music publisher reps and music supervisors. At the conference’s The Expanding Role of Music Publishers panel discussion, many echoed the sentiment. Brian Lambert, head of Film and Television Music for Universal Music Publishing noted that in addition to this, there were also far “fewer films being made.” The industry is struggling with falling rates, fewer films in production and falling budgets.
The trend of independent film production companies shooting with smaller budgets and then seeking distribution with larger studios, has helped shift the economics of music budgets. With the production phase out of major studios’ hands, music budgets understandably fall to what an independent company is capable of paying. The news was a bit discouraging, with publishers and licensing companies warned to begin managing the expectations of their writers.
However, there is a bright side. The good news is, the panel agreed there are more licensing opportunities than ever before. While big studio films may be declining in frequency, there is an overall boom in multimedia (web series, online ads, growing number of television programs, etc.) opportunities for music. Soundtaxi has been ahead of the curve on this trend, and we continue being an industry leader in Europe, placing our writer’s material in online campaigns and web videos with the same dedication we pay to film, television and commercial synch deals.
Because there are more opportunities, this has shifted the overall perception of music publishers. Panel moderator David Hirshland, EVP Client Services with BMG/Chrysalis noted that this may be the first year where royalty revenue generated from licensing might outpace revenue generated from mechanical royalties (i.e. sale of records). With this changing landscape, it is important for both publishers and writes to draw new conclusions even as they manage expectations on up-front pay.
P.J. Bloom of Neophonic got the entire crowd buzzing as he noted, these days “you can’t get to radio without getting the synch.” The simple translation being: licensing the right song to the right property can catapult the careers of recording artist hopefuls. In that regard, publishing arms of major companies…as well as independents like Soundtaxi stand a great chance of being the “record labels of the future” so to speak as marrying the right song with the right image can help create a new hit…but more on that with Part 2 of our Conference Roundup.