Back to results SOUND : Melody Rules If you have nothing to say, sing it! Another Ogilvy-ism that’s become part of ad folklore. And, even if you’re not singing it, you can bet the farm there will be a musical element in there somewhere. Patricia Moore’s been listening. By Patricia Moore Music and advertising go back a long way. It’s a marriage that’s seeing increasing numbers of popular songs licensed to sell, and music originally written for commercials make it on to the Top 10 – think Coke’s I’d Like to Teach the World to Sing back in the 70s. (OK, ask your nana.) And, in spite of repeated reports to the contrary, the jingle still has a lot of life in it. “I think it’s alive and well,” says Clive Broughton at Digipost. “It’s instantly recognisable and still provides strong branding – especially for retail clients.” Licensing music for use in advertising once smacked of selling out, but today more and more composers encourage it, says Paul McLaney at Mushroom Music NZ. “Part of that is certainly for financial reward, but if it’s a cool product or a great ad, there are promotional benefits as well and in the end most artists are looking to increase awareness, encourage more people to attend a gig, and sell more of their music.” APRA’s Anthony Healey agrees. “I think in today’s world all composers want their songs used. Obviously the nature of the product and the fee are important, but advertising can be very beneficial to an artist or composer, both for the fee they get and for the exposure.” Published music is expensive, says Healey. “You are paying for the instant recognition factor of well-known and loved songs that often can only be licensed once or twice in their lifetime. Commissioned or library music is often the most economic choice.” There’s a massive difference between an original composition, be it specifically composed or sourced, and production music, says Stacey Thomas Wah at one-stop music services business Franklin Rd (formed by the merger of Soundtrax and Mana Music). “The original music is always going to be an integral part of the creative. Of course, pragmatically budgets will ultimately dictate the final choice in music.” Original music scored to picture will usually work better, as it is about the marriage between music and picture, says producer Tamara O’Neil at Liquid Studios. “The original music becomes essential to reflect and support the storytelling and drama in the pictures.” O’Neill says the last 12 months also saw a demand to re-record existing tracks. “We were commissioned to give a fresh distinctive sound that fitted in with the story-telling of the TV spot Let it Shine for Telecom and Que Sera for Sky TV. Re-recording Have a Little Faith in Me in three different styles was another highlight.” “Production libraries have got pretty slick nowadays and with their online help, finding music in sessions is fairly painless and efficient,” says Clive Broughton at Digipost. There’s even a Kiwi production music catalogue, developed by Woodcut Productions. Director Aaron Christie says Woodcut decided to get into production music because it saw how much was being used here and became aware that revenue was going to overseas based musicians and publishers. “Our musicians have always had it tough but they’re as talented as any in the world and we wanted to create a new revenue stream for them by tapping into an existing market.” Support is very positive, says Christie. “The buzz to support NZ music definitely spills into this industry, but over and above sheer patriotism is the fact that we offer unique, NZ-flavoured content, not available in other libraries.” Patriotism or not, advertisers are opting for NZ-made published music, according to Mushroom’s McLaney. He believes they’ve picked up on the growing appreciation of our own culture and realised that, by attaching the goodwill of something local to a product, they are investing a homegrown sensibility into their endeavour. “Basically Kiwis love listening to Kiwis. And obviously certain local songs will be a lot more affordable than some international classics.” Licensing music is not new and advice is freely available, but many producers still find themselves in difficulty in relation to the music they use, says Healey. “Copyright issues, licensing, sound-alikes etc are tricky areas for producers. APRA/AMCOS are always available to help with licensing queries. “Education around the basic principles of copyright is probably our biggest challenge and our role is about making the process as simple as possible for our clients. In the case of licensing published music, often the process is complex as it can involve various parties overseas, even the composers themselves. The challenge is to ensure everyone understands what needs to happen, how, and when.” McLaney says the greatest confusion he sees is around the distinction between the two rights that apply within pre-existing recorded music – master recording and publishing. “If you’re using an existing recording you need to clear it with both the record label and the publisher – that’s two separate contracts and in many cases, two different entities if the artist is also signed to a record company. “Obviously some songs are more valuable than others and with newer artists sometimes the opportunity factor weighs in.” McLaney says copyright value is based on an understanding of the financial and cultural worth of each song, and takes into consideration what’s involved in a particular campaign. “The basics we ask for are term, territory, media, duration, script and product. Importantly, any use of music in advertising is subject to artist approval. Our songwriters get totally consulted on the process.” And if they’re not OK with it? “One example that springs to mind is the refusal of the use of music on a frozen chicken ad, specifically because the artist is a vegetarian.” The proliferation of newer cheaper equipment is driving changes in the industry, says Phil Yule at The Voice Box. Clients who used studios in the past have discovered that by converting a space into a sound booth they can do it for themselves, he says. “Music studios have a similar sort of thing. The big studios get the big projects, the guys in the bedroom do everything else. It’s a computer; you can do it at home; you can do it anywhere.” And there could well be more moves by agencies to set up their own production facilities, says Matt Holmes at RedWorks, the production agency created last year by Ogilvy NZ. However he doesn’t see this as a threat to production houses. “We still use other studios when appropriate. RedWorks gives us increased speed and convenience. Clients are demanding more for their money and it’s one way we can provide it.” Technology has also impacted on the voice talent side of the industry. “It’s put a lot of power in the hands of the advertisers,” says Ian Hughes at Bigmouth Voices. “They can actually go online and make decisions without it being filtered through producers or creatives. Decisions are made on what they hear rather than who’s popular.” The right voice makes all the difference, says Broughton at Digipost, which provides voice casting for TV and radio. “The right voice talent, and help from our audio producer Kylie Green, can really make a difference to an ad.” New opportunities have come with new technology, says Liz Delaney at Outspoken by Odd. “Voice jobs now range from the traditional radio and TVC formats to animation, video games, interactive voice response systems and the internet.” And geography is no longer an issue. “Recording can be done anywhere via internet services like ISDN or Source Connect.” But Hughes says those same opportunities have created their own set of problems. He believes there’s a serious need for more standards and a system where the changes in the industry (internet use and fees, client websites, cellphones, plus screens everywhere from pubs and bars, to airports and doctors’ waiting rooms) can be addressed in terms of talent usage. “Talent is being used and not getting what it deserves. This needs sorting.” How to direct voiceover I have been in the voice booth many times and been directed by many people and personalities. I have also had to direct many people over the years and have a few tricks and tips to help get the best out of voice talent. • Too much information running through my brain Sometimes the voice isn’t quite getting it. Be careful not to bombard the voice with too much stuff. You may have been working on a campaign for months and have analysed every detail – demographic, media placement, rollout strategies, tone, parallel campaigns, competitors’ products and ads. After a while the voice artist starts to hear ... “blah blah blah”. They just don’t need to know all that stuff. So what do you say, I hear you ask? Well ... • You are a pixie – but with your own voice The more they are thinking rather than feeling it, the more they will miss the mark. Give them a simple character to think about/distract them? “You are a pixie – but with your own voice” “You are a cowboy” “You are Tom Cruise” “You are Peter Elliot” (this can’t be used when directing Peter!). This keeps things simple and fun. It can bring a laugh and break the tension. I am not saying make them put on a silly voice, I am saying, give them something simple and strong to think about while using their own voice. Sometimes the first take will be a bit silly so give it a few chances. Have a think about who the voiceover’s character is in your ad? A friend, a teacher, a lover, God, a smartarse, an annoying neighbour. If it doesn’t work you can always try something else. • Put a smile in your voice Body language is reflected in the voice. Need more authority? Ask the voice to stand up tall. Need intimacy? Ask them to close their eyes or look down. Voice sounds tense? Get them to put down the paper and wave their arms for a second to relieve the tension in their body. Not friendly enough? Ask them to smile, a big friendly smile. • Be patient Let the voice bash out a few reads uninterrupted – they are just warming up. It’s a bit like you checking your Facebook page before work. Sometimes you will hear something you weren’t expecting anyway and it will make the read even better. • Let the talent sleep in Try not to do hard sell records at 8.30am – a person’s voice warms up during the day and it will sound better if you can get an afternoon appointment. • Do not listen Good VO is often unnoticed in the final mix. By this, I mean it works with FX and images to create a total package. Sometimes if you are listening too hard it’ll stand out because you are paying it too much attention. Pick up a magazine and start reading and ask the engineer to play it back a couple of times while you are only half listening. • Line reads There are a number of reasons to avoid giving line reads. (1) Your voice is not theirs; it will still sound different even if they match you perfectly. (2) It is sort of insulting ... Sorry, it just is! (3) Listen to what the voice is giving you. It might be better than your idea. I know, shocking! (4) For the voice to truly understand and own what they are saying, they need to discover it for themselves. • Take notes Sometimes by the time the talent has go to the end, you have forgotten your directions for the start of the read. You end up working on the last line and ignoring the start. So have pen and paper on hand, even if you just scratch out a word quickly it will remind you to go back and fix it. There are a ton of other things about text and punctuation and inflection and timbre and timing and breath work and posture and blah blah – but these are some good points, without getting technical, to help you and the talent get a better product. Actually, If you want, I could come in and do a little one-on-one with you and your team. I do house calls! Ian Hughes (ian@bigmouth.co.nz) runs voiceover agency Bigmouth. © Copyright AdMedia magazine February 2010 All material appearing is copyright and cannot be reproduced without prior permission of the publisher. Please contact the copyright officer: Ph 0-9-845 5114, Email copyright@mediaweb.co.nz.	Username Password Keep me logged in on this computer Forgotten your password? Enter your email address and we will email your password to you:

SOUND : Melody Rules

If you have nothing to say, sing it! Another Ogilvy-ism that’s become part of ad folklore. And, even if you’re not singing it, you can bet the farm there will be a musical element in there somewhere. Patricia Moore’s been listening.

By Patricia Moore

Music and advertising go back a long way. It’s a marriage that’s seeing increasing numbers of popular songs licensed to sell, and music originally written for commercials make it on to the Top 10 – think Coke’s I’d Like to Teach the World to Sing back in the 70s. (OK, ask your nana.)
And, in spite of repeated reports to the contrary, the jingle still has a lot of life in it. “I think it’s alive and well,” says Clive Broughton at Digipost. “It’s instantly recognisable and still provides strong branding – especially for retail clients.”
Licensing music for use in advertising once smacked of selling out, but today more and more composers encourage it, says Paul McLaney at Mushroom Music NZ. “Part of that is certainly for financial reward, but if it’s a cool product or a great ad, there are promotional benefits as well and in the end most artists are looking to increase awareness, encourage more people to attend a gig, and sell more of their music.”
APRA’s Anthony Healey agrees. “I think in today’s world all composers want their songs used. Obviously the nature of the product and the fee are important, but advertising can be very beneficial to an artist or composer, both for the fee they get and for the exposure.”
Published music is expensive, says Healey. “You are paying for the instant recognition factor of well-known and loved songs that often can only be licensed once or twice in their lifetime. Commissioned or library music is often the most economic choice.”
There’s a massive difference between an original composition, be it specifically composed or sourced, and production music, says Stacey Thomas Wah at one-stop music services business Franklin Rd (formed by the merger of Soundtrax and Mana Music).
“The original music is always going to be an integral part of the creative. Of course, pragmatically budgets will ultimately dictate the final choice in music.”
Original music scored to picture will usually work better, as it is about the marriage between music and picture, says producer Tamara O’Neil at Liquid Studios. “The original music becomes essential to reflect and support the storytelling and drama in the pictures.”
O’Neill says the last 12 months also saw a demand to re-record existing tracks. “We were commissioned to give a fresh distinctive sound that fitted in with the story-telling of the TV spot Let it Shine for Telecom and Que Sera for Sky TV. Re-recording Have a Little Faith in Me in three different styles was another highlight.”
“Production libraries have got pretty slick nowadays and with their online help, finding music in sessions is fairly painless and efficient,” says Clive Broughton at Digipost.
There’s even a Kiwi production music catalogue, developed by Woodcut Productions. Director Aaron Christie says Woodcut decided to get into production music because it saw how much was being used here and became aware that revenue was going to overseas based musicians and publishers.
“Our musicians have always had it tough but they’re as talented as any in the world and we wanted to create a new revenue stream for them by tapping into an existing market.”
Support is very positive, says Christie. “The buzz to support NZ music definitely spills into this industry, but over and above sheer patriotism is the fact that we offer unique, NZ-flavoured content, not available in other libraries.”
Patriotism or not, advertisers are opting for NZ-made published music, according to Mushroom’s McLaney. He believes they’ve picked up on the growing appreciation of our own culture and realised that, by attaching the goodwill of something local to a product, they are investing a homegrown sensibility into their endeavour.
“Basically Kiwis love listening to Kiwis. And obviously certain local songs will be a lot more affordable than some international classics.”
Licensing music is not new and advice is freely available, but many producers still find themselves in difficulty in relation to the music they use, says Healey. “Copyright issues, licensing, sound-alikes etc are tricky areas for producers. APRA/AMCOS are always available to help with licensing queries.
“Education around the basic principles of copyright is probably our biggest challenge and our role is about making the process as simple as possible for our clients. In the case of licensing published music, often the process is complex as it can involve various parties overseas, even the composers themselves. The challenge is to ensure everyone understands what needs to happen, how, and when.”
McLaney says the greatest confusion he sees is around the distinction between the two rights that apply within pre-existing recorded music – master recording and publishing. “If you’re using an existing recording you need to clear it with both the record label and the publisher – that’s two separate contracts and in many cases, two different entities if the artist is also signed to a record company.
“Obviously some songs are more valuable than others and with newer artists sometimes the opportunity factor weighs in.”
McLaney says copyright value is based on an understanding of the financial and cultural worth of each song, and takes into consideration what’s involved in a particular campaign. “The basics we ask for are term, territory, media, duration, script and product. Importantly, any use of music in advertising is subject to artist approval. Our songwriters get totally consulted on the process.”
And if they’re not OK with it? “One example that springs to mind is the refusal of the use of music on a frozen chicken ad, specifically because the artist is a vegetarian.”
The proliferation of newer cheaper equipment is driving changes in the industry, says Phil Yule at The Voice Box. Clients who used studios in the past have discovered that by converting a space into a sound booth they can do it for themselves, he says.
“Music studios have a similar sort of thing. The big studios get the big projects, the guys in the bedroom do everything else. It’s a computer; you can do it at home; you can do it anywhere.”
And there could well be more moves by agencies to set up their own production facilities, says Matt Holmes at RedWorks, the production agency created last year by Ogilvy NZ. However he doesn’t see this as a threat to production houses.
“We still use other studios when appropriate. RedWorks gives us increased speed and convenience. Clients are demanding more for their money and it’s one way we can provide it.”
Technology has also impacted on the voice talent side of the industry. “It’s put a lot of power in the hands of the advertisers,” says Ian Hughes at Bigmouth Voices. “They can actually go online and make decisions without it being filtered through producers or creatives. Decisions are made on what they hear rather than who’s popular.”
The right voice makes all the difference, says Broughton at Digipost, which provides voice casting for TV and radio. “The right voice talent, and help from our audio producer Kylie Green, can really make a difference to an ad.”
New opportunities have come with new technology, says Liz Delaney at Outspoken by Odd. “Voice jobs now range from the traditional radio and TVC formats to animation, video games, interactive voice response systems and the internet.” And geography is no longer an issue. “Recording can be done anywhere via internet services like ISDN or Source Connect.”
But Hughes says those same opportunities have created their own set of problems. He believes there’s a serious need for more standards and a system where the changes in the industry (internet use and fees, client websites, cellphones, plus screens everywhere from pubs and bars, to airports and doctors’ waiting rooms) can be addressed in terms of talent usage.
“Talent is being used and not getting what it deserves. This needs sorting.”

How to direct voiceover

I have been in the voice booth many times and been directed by many people and personalities. I have also had to direct many people over the years and have a few tricks and tips to help get the best out of voice talent.
• Too much information running through my brain
Sometimes the voice isn’t quite getting it. Be careful not to bombard the voice with too much stuff. You may have been working on a campaign for months and have analysed every detail – demographic, media placement, rollout strategies, tone, parallel campaigns, competitors’ products and ads. After a while the voice artist starts to hear ... “blah blah blah”. They just don’t need to know all that stuff. So what do you say, I hear you ask? Well ...
• You are a pixie – but with your own voice
The more they are thinking rather than feeling it, the more they will miss the mark. Give them a simple character to think about/distract them? “You are a pixie – but with your own voice” “You are a cowboy” “You are Tom Cruise” “You are Peter Elliot” (this can’t be used when directing Peter!).
This keeps things simple and fun. It can bring a laugh and break the tension. I am not saying make them put on a silly voice, I am saying, give them something simple and strong to think about while using their own voice.
Sometimes the first take will be a bit silly so give it a few chances. Have a think about who the voiceover’s character is in your ad? A friend, a teacher, a lover, God, a smartarse, an annoying neighbour. If it doesn’t work you can always try something else.
• Put a smile in your voice
Body language is reflected in the voice. Need more authority? Ask the voice to stand up tall. Need intimacy? Ask them to close their eyes or look down. Voice sounds tense? Get them to put down the paper and wave their arms for a second to relieve the tension in their body. Not friendly enough? Ask them to smile, a big friendly smile.
• Be patient
Let the voice bash out a few reads uninterrupted – they are just warming up. It’s a bit like you checking your Facebook page before work. Sometimes you will hear something you weren’t expecting anyway and it will make the read even better.
• Let the talent sleep in
Try not to do hard sell records at 8.30am – a person’s voice warms up during the day and it will sound better if you can get an afternoon appointment.
• Do not listen
Good VO is often unnoticed in the final mix. By this, I mean it works with FX and images to create a total package. Sometimes if you are listening too hard it’ll stand out because you are paying it too much attention. Pick up a magazine and start reading and ask the engineer to play it back a couple of times while you are only half listening.
• Line reads
There are a number of reasons to avoid giving line reads. (1) Your voice is not theirs; it will still sound different even if they match you perfectly. (2) It is sort of insulting ... Sorry, it just is! (3) Listen to what the voice is giving you. It might be better than your idea. I know, shocking! (4) For the voice to truly understand and own what they are saying, they need to discover it for themselves.
• Take notes
Sometimes by the time the talent has go to the end, you have forgotten your directions for the start of the read. You end up working on the last line and ignoring the start. So have pen and paper on hand, even if you just scratch out a word quickly it will remind you to go back and fix it.
There are a ton of other things about text and punctuation and inflection and timbre and timing and breath work and posture and blah blah – but these are some good points, without getting technical, to help you and the talent get a better product.
Actually, If you want, I could come in and do a little one-on-one with you and your team. I do house calls!

Ian Hughes (ian@bigmouth.co.nz) runs voiceover agency Bigmouth.

© Copyright AdMedia magazine February 2010

All material appearing is copyright and cannot be reproduced without prior permission of the publisher.

Please contact the copyright officer: Ph 0-9-845 5114, Email copyright@mediaweb.co.nz.

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SOUND : Melody Rules

If you have nothing to say, sing it! Another Ogilvy-ism that’s become part of ad folklore. And, even if you’re not singing it, you can bet the farm there will be a musical element in there somewhere. Patricia Moore’s been listening.