Film and TV
Inside the Messy Music of Top Gun: Maverick: Lady Gaga Gets First Scoring Credit, but Song Selection Goes Sideways (Variety)
The main title credits to “Top Gun: Maverick” are both surprising and confusing: “Music by Harold Faltermeyer, Lady Gaga and Hans Zimmer. Score produced by Lorne Balfe.”
Our Flag Means Death music supervisor Maggie Phillips on picking the perfect song (Gizmodo)
If you’ve watched Moonlight, Legion, The Umbrella Academy, or even Our Flag Means Death, and you remember thinking, damn, that’s a hell of a song choice, you might have Phillips to thank for that truly epic needle drop.
Star Trek gets its first female composer with Strange New Worlds (Variety)
“When I heard the first pass of Nami’s score for a ‘Short Trek’ we did, It was clear even in the rawness of the material that she was an extraordinary talent,” says executive producer Alex Kurtzman.
The Conversations with Friends Music Supervisor explains how young, queer, and Irish artists help Frances and Bobbi come to life on-screen (Insider)
For “Conversations With Friends,” Juliet Martin said she tended to prioritize artists who felt more “current” and “electronic” than her previous selections for “Normal People,” which skewed towards folksy singer-songwriter music.
Top TV Song Last Week: May 18th: ‘To Build a Home’ by The Cinematic Orchestra, featuring Patrick Watson | May 25th: ‘One and Only’ by Garrett Kato (Tunefind)
Songs by The Cinematic Orchestra and Garrett Kato have been moving audiences recently, creating emotive scenes in hit series such as This is Us and Grey’s Anatomy.
Bridgerton Making a Scene Video Series: Sound & Music (Shondaland)
The “Bridgerton” sound mixer and the music supervisor explain how Anthony and Edwina’s wedding scene sounds as flawless as it looks.
From broadway tunes to burlesque numbers, behind the Music of Marvelous Mrs. Maisel Season 4 (Variety)
“Using existing songs as score presents its own challenges as they have to work perfectly to the visual,” says music supervisor Robin Urdang.
How Vangelis’s cult Blade Runner score became a classic (Vulture)
On the cusp of Blade Runner, Vangelis was enjoying a period that saw his decade in the shadow of Europe’s mainstream step out into the neon sunshine of the American market.
Robert Kiruta-Kigozi on scoring a harrowing documentary film (Composer Magazine)
How do you approach scoring a documentary that details a horrific event, and especially one that was close to home? This was the challenge that faced Robert Kiruta-Kigozi when he was asked to score Damilola: The Boy Next Door.
Advertising
Research reveals power of music in advertising (Advanced Television)
SoundOut, in partnership with the Music, Mind and Brain Research Group of Goldsmiths, University of London, has published the results of a year-long study into the emotional impact of music on consumers.
What does music mean to the marketer? (Forbes)
To understand how brand marketers see this evolving aural world, we asked our Global CMO to create a virtual roundtable with more than 100 of the most influential CMOs on the planet.
The best songs in TV advert history (NME)
These timeless tracks have helped certain ads stick long in the memory and, in some cases, kick-started the careers of their musical creators.
Gaming
A brief history of video game music (ABC)
As technology advanced, so too did the sonic possibilities. Composers in the 1980s had as many as four channels of monophonic sound, and they would look to choral and baroque writing techniques to make these channels come alive.
Business
High Fidelity: How can advancements in AI music metadata revolutionize sync? (Synchblog)
Ben Gilbert explores the emergent tools and profiles two companies specializing in MIR (music information retrieval) to assess how it can take the industry forward.
Here’s how Apple has dominated Sync Licensing for two decades running (Digital Music News)
Beyond these all-time-high income and subscribership totals, a growing stable of memorable song placements attests to the continued relevance of Apple on the sync side.
Production Music: Part 1 — Sports is big part of the industry’s resurgence & Part 2 — What’s happening in libraries (Sports Video Group)
“It has been busy pretty much nonstop for a year,” says Matthew Gutknecht, director, sports entertainment, APM Music. “We anticipate high demand for even more [music] content in coming months.”
Sounds like success: BMG Production Music talks expansion and expertise (Realscreen)
BMG Production Music (BMGPM) is an international, full-service music and sound agency that serves the broadcast, advertising, radio and gaming industries.
UK Music companies to embark on Sync Mission to promote British music in Hollywood (Music Week)
Hosted by East West Studios in the heart of Hollywood, the event supports the growth of UK music exports in film, TV, video games soundtracks and TV/radio adverts – an industry worth over £30 million to the UK recorded music sector in 2021.
Sony Music joins $7.5m funding round for royalty-free music startup Slip.stream (Music Business Worldwide)
Royalty-free music startup Slip.stream has secured $7.5 million of Series A financing from investors including Sony Music Entertainment, Third Prime, and Lightshed Ventures.
Jobs
Coordinator, Synch Licensing Admin – Kobalt Music Group (London)
This position will require you to have some understanding of sync licensing and royalty tracking. You are also curious, target driven and proactive as well as numerical and analytical.
Production Manager, Creative Sync – Fringe (USA – Remote/Hybrid)
A division of Angry Mob Music, Fringe produces and curates music for Film, Television & Game Advertising and is seeking a Production Manager, Creative Sync to join its team.
A&R Coordinator – Music Vine (Leeds)
Working within our Catalogue Team and reporting to our A&R Manager, the core focuses of your role will be to drive strategic catalogue growth.
Check out more available positions here or get in touch to post a 100% free job listing.
Events
Latam, ya! How to sync with Brazil (May 31st, 3:00 PM – 4:00 PM CEST)
The panel will concern musical supervision, legal and publishing topics, and will also take a more global look at the challenges of exporting music from Europe in Brazil and in Latin America.
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