NAB 2014 Audio Panel
April 8, 2014, NAB, Las vVegas—A panel moderated by composer Joel Goodson addressed the idea that music can make or break your program. Panelists incouded Joe Saba from Videohelper, Carl Peel from Killer Tracks, Randy Hart from Megatrax Music, Andrew Gross from Konsonant Music, and Trygge Toven from Descendant of Odin.
One issue is how to choose music for a scene. Common sensibilities, attach to emotion, with computer to match the vision?
Gross suggested that great music can come from collaboration. For example, John Williams for “Star Wars” with George Lucas. This interaction relies on the producer and director to familiarize for loving or hating a musical concept.
A recent job called for adding audio to some Los Angeles scenes. The first pass was symphonic plus a strong beat. The response was it is too western, and needs direction. Try something like Beastie boys. The second demo was too urban, try something like Kanye West. The third trial used some mod rock and a chorus. All of the music could have worked with the scene, but they needed informant to find a good solution. The final result required getting to a consensus and developing mutual respect while defining the music. Instead of adding music at the end, they trusted their music supervisor and composer.
Peel noted that music is very subjective, and a particular genre may not fit. Levels of immersion can enhance the story. In “Drive” the music actually interferes with the story. The techno opening is a cool song, but adds not additional information to the story. The music doesn’t add to the visuals, and in fact just repeats the action in words. This use of songs is manipulative. Music has to help drive the story or it decreases immersion. It has to create mood for the story. Don’t be obvious if possible.
Saba offered the use of contrarian music to enhance the message, and provide a disruptive event to draw attention. An example is the music from the gang battle in “Gangs of New York”. GoPro made a YouTube video of cats chasing a laser dot. The expected background is a light hearted symphonic piece. Instead, they used horror trailer music with a heavy beat. It worked! You don’t need a big budget and lots of time, you can use a music library. You need to pick the right music and find the perfect approach for the scene.
Music first use is a wallpaper, then as dramatic enhancement, how far can you push it to increase drama and immersion?
Saba responded that there is on right answer, but don’t be afraid to push boundaries. A music library makes changes easy and your music selection can be a differentiator. Without time or money, do the unexpected.
Toven added that the music supervisor helps in all media—trailers, promos, ads, TV, and films. One example was some heavy music in a project that needed to change. They also found that the funds for music dropped from $200,000 to $1,000, so they had to go to library music rather than a custom piece. Nevertheless, the library music and the overall production work still helped the story.
If the director chose the music and needs to change, do they try for a direct replacement?
Toven stated that you can tell the story in the same way with a change in the music. Usually the director or producer wants the original sound, but a similar sound and genre is sufficient. In addition, the producer should know of the costs of a Led Zeppelin or Rolling Stones track versus the alternatives. Usually they will change the music to meet the budget.
Emotional connections to music?
Peel offered identifying what is the DNA of the music that causes you to like it. A song is short hand for a feeling and mood.
Hart commented that custom music creators are service providers. There has to be a back-and-forth to refine directions. For example in the show “Alaska” about modern day gold miners in Alaska, they started with a rag-time, old time western music. The second producer changed the vision to increase the drama, but still retain an old west feel. They got some library music that evoked “Ponderosa”, and supported the visuals, but was more epic. The final choice was orchestral, Appalachian, with a little Irish feel to it.
So the point is that the reference music is a starting point. You have to put the music up against the picture and see if the music conveys the feelings and sets a proper frame of mind?
Hart responded that there is a sweet spot from the starting point. Choosing the right piece helps the editing and smoothes the integration of the transitions.
Gross added that a well edited project has in internal rhythm that contributes to the feel and tempo of the show.
Toven considered that the first version has a march-like quality and seemed rigid. The second suggested country and sun, and flowed better. You have to find a tempo that works. A well connected scene may have multiple tempos. The lyrics and mood contain the feelings and set the expectations for the rest of the show.
