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music for car commercials
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AgentA



Joined: Oct 23, 2003
Posts: 65
Location: Philadelphia Pennsylvania U.S.A.
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PostPosted: Thu Feb 19, 2004 8:32 pm    Post subject: music for car commercials Reply with quote  Mark this post and the followings unread

Music for car commercials.

Does anyone here create music for car commercials?
I'm especially curious about the editing process.
Any informational sites around?

I imagine who ever composes the soundtrack for a car commercial
either creates original music and / or uses pre-recorded material.

Artists such as Bill Laswell, Kit Watkins, Steve Tibbetts and others
have sample libraries for commercial use. I wonder if I hear their stuff in commercials.
Who uses these products? The lowest average price seems to be about $1000, no?

I'm curious about the science and art of this. Rules?
Besides the one of it having to last only a minute?

I'm surprised I find some of the music enjoyable.
Especially the instrumental commercials. I'm not talking about the
classic rock or world pop background tunes. I'm referring to the dark ambient,
breakbeat, dnb, and stuff that reminds me of Prodigy.

I'm nowhere near going pro, but it may be interesting to hear some
process talk and maybe how I could apply it on a lo tech scale.

Thanks for any pointer links.

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Cyxeris



Joined: Oct 30, 2003
Posts: 1125
Location: Louisville, KY

PostPosted: Thu Feb 19, 2004 9:29 pm    Post subject: Reply with quote  Mark this post and the followings unread

I've never done a car commercial, although I have done some tv commercials and a TV show, as well as have produced all of a commercial once. All local, and all were for friend's essentially.

I like several of the car commercials I've seen. Once of my favorites was a Jaguar commercial that was big some 3 years ago that featured Hooverphonc's "Battersea." Wonderful piece of music, beautiful. Insofar as advertizements go, many of the recent trend of edgy and tasteful ads have been quite nice.

Car commercials (the ones you are talking about) are literally edited like music videos. Hell, that's all they are, really. Fast 30 second super high energy music videos, and although I am adamant about not letting my music be used in advertizements, I think it would be alost of fun to produce a car commercial. I think it is a practical subject.

Cyx

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elektro80
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Joined: Mar 25, 2003
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PostPosted: Fri Feb 20, 2004 7:36 am    Post subject: Reply with quote  Mark this post and the followings unread

Some of the music is written for the commercial, some of it is released music.. like Moby.. ( this can be special edits too ) and some is from .. some library CD or watever. Prices vary. If you are a big star and has a demon hired as your agent you might get pretty large sums for this kind of placement/ work.

You could lok for advertisement agency portals for finding out who dod what. You will probably be able to find out whatever you want about specific commercials just by surfing various portals. THis way you might find out who made the music etc.

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paul e.



Joined: Sep 22, 2003
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PostPosted: Fri Feb 20, 2004 9:03 am    Post subject: Reply with quote  Mark this post and the followings unread

i wonder

does the same hold true for music for porno movies Question

i guess it may be difficult to tell the difference sometimes

interesting.. 'let's boycott the RIAA , but let's make music for Ford's '

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mosc
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PostPosted: Fri Feb 20, 2004 10:40 am    Post subject: Reply with quote  Mark this post and the followings unread

The best music available on the commercial media is in car commercials. I think the guys that sell cars like techno-dance electronic music because it sounds modern and high-tech, and the beats are engaging. Just the thing you want to associate with a new car. You hardly ever see a personality associated with a car ad. Nobody would buy a car that Britney Spears endorses, but they will buy a soft drink.

There was a great car commercial where the actors were sampleing the sounds that the new car made; door slams, window motors, button clicks, etc. I forget the car but remember the commercial.

I used to do music for commercials when I lived in the Bay Area, not car commercials though. You can do it both ways, edit the music to the picture, or the picture to the music. The second way always seems to produce the best results. The eye is more forgiving than the ear with respect to timing.

Here's an interesting one for you. When I started grad school at Mill College, I expected to study composition with Darius Milhaud, but unfortunately, he died shortly after I arrived. I did get some time with him, but that's another story. Anyway, I got assigned a new teacher, Robert Ashley. I had never heard of him before so I asked him what was his musical experience. He thought for a moment and said, "I used to do Cadillac commercials." Shocked That was good enough for me. Smile
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Cyxeris



Joined: Oct 30, 2003
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PostPosted: Fri Feb 20, 2004 11:42 am    Post subject: Reply with quote  Mark this post and the followings unread

sudden wrote:
interesting.. 'let's boycott the RIAA , but let's make music for Ford's '


I suppose one could say making music for Ford is one degree more tollerable, and the RIAA isnt in the middle sueing anyone who tapes the commercial off of cable while keeping 96% of profits from the commercial for themselves. Wink

I could appreciate, to an extent, musicians who are supporting their work by scoring carefully chosen commercials as independent contractors. They would certainly be several steps ahead of me, and if popping a car commercial funds my CD, you'd see me right up on it. Whore? Yeah. Sellout? Maybe. Financed and able to release this CD in a dignified manner? Absolutely. Bring on the Astroglide!

Cyx

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elektro80
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PostPosted: Fri Feb 20, 2004 12:17 pm    Post subject: Reply with quote  Mark this post and the followings unread

This one is relevant: http://www.wired.com/wired/archive/10.05/moby.html

Quote:
Organization Moby


Tech-smart, self-effacing, and supremely market-savvy, electronica superstar Moby isn't a cog in the machine. He is the machine.


By Ethan Smith


Quote:
Like any proper hitmaker, Moby has incorporated commerce into his creative method. He sells his music to commercials and soundtracks; he sells his likeness - such as it is - to advertisers. Moby's successes on this score have been, in many ways, unprecedented. The dozen and a half songs on Play, for instance, have been sold hundreds of times for commercials, movies, and TV shows - a licensing venture so staggeringly lucrative that the album was a financial success months before it reached its multi-platinum sales total. Likewise, as coproducer and creative director of the Area Festival, Moby has helped resuscitate the kind of corporate-sponsored, alternative-music mega-tour first embodied by Lollapalooza. And Moby has made obligatory appearances in Gap ads and mass-market spectacles like the Salt Lake City Olympics' closing ceremonies.

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Cyxeris



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PostPosted: Fri Feb 20, 2004 12:36 pm    Post subject: Reply with quote  Mark this post and the followings unread

This raises an insteresting notion, that as a means of survival and development, perhaps doing such work is not as integrity-defacing as we, or at least I, often maintain.

Cyx

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elektro80
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PostPosted: Fri Feb 20, 2004 12:40 pm    Post subject: Reply with quote  Mark this post and the followings unread

Same article:

Quote:
With Play, three years later, the managers took the formula and turned the album into an industry. They had seen Moby's first three major-label albums ignored by radio and Play rejected by record company after record company before being picked up by indie newcomer V2. (Moby parted amicably with Elektra after his second effort for the label.) Clearly, the music industry's version of business as usual wasn't working out for him. So, says Taylor, "we made a conscious effort to create a marketing plan that had nothing to do with radio."


Hundreds of phone calls and faxes later, all but one of the songs on Play had been "exploited," as music-publishing vernacular puts it. "Porcelain" tinkled away for Bailey's Irish Cream and Nordstrom; "Find My Baby" was hooking hipster consumers for American Express.


On April 20, 2000, almost 11 months after the album's release, the producers of a British television program faxed a request to use the one album track that hadn't been licensed. No one had actually expected "7," a brief, unremarkable bit of incidental music, to be bought. When the fax arrived, says Taylor, "we celebrated."

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AgentA



Joined: Oct 23, 2003
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PostPosted: Fri Feb 20, 2004 4:00 pm    Post subject: Reply with quote  Mark this post and the followings unread

Thanks for sharing some interesting info, opinions, anecdotes etc. in your replies guys. Cool
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paul e.



Joined: Sep 22, 2003
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PostPosted: Fri Feb 20, 2004 8:57 pm    Post subject: Reply with quote  Mark this post and the followings unread

moby is a wanker
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