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TESTIMONIALS

The audible component of our work is often just as important as the visual, but I think its a harder conversation for people to have. The music seminar put together by the good folks at EGG was great. It not only helped the production and creative teams here get a better understanding for when to think about music, but it also helped them to communicate their needs more effectively. Definitely a pleasure working with the EGG crew on this. – Dave Annis, EP at Zeus Jones

Little matters more to a production than music—it’s the soul of a spot. Yet, frankly, even at the biggest of agencies, few industries remain as confusing and intimidating as music production. From teaching us how to describe our desires to walking us through the ins-and-outs of cost and licensing to everything in between, Egg’s seminar was hugely beneficial, both to the leadership team and newest of recruits.  – Joseph Kuefler, Minneapolis-based Creative and Marketing Director

Music expresses that which cannot be said and on which it is impossible to be silent.  – Victor Hugo

After silence, that which comes nearest to expressing the inexpressible is music.  – Aldous Huxley

It’s old news that music is powerful. And for creatives who’ve spent anytime working with music, it’s also old news that music can make or break a project. When the music is right, the most beautiful and captivating ideas and images transcend what’s on-screen. When the quality or tone of the music is wrong, those beautiful and captivating ideas and images can, quite literally, be rendered invisible.

There are good reasons why working with music is tricky business. Even when copy, art direction, and music ultimately share the same platform (a commercial, a film, a TV show), each art-form requires a unique development process, and each development process possesses a unique language. And since music is usually created beyond the walls of an agency, physical separation increases the chances that uncertainty and disconnection will foil best practices and best creative. Add to this the meddlesome fact that the music industry plays by its own complicated and sometimes just-plain-nutty rules, and the opportunities for not getting great results are, well, manifold. Then again, you probably wouldn’t be reading this if you didn’t already know what I’m talking about.

Egg Music‘s entertaining and informative music seminars grew out of questions we regularly received while producing original songs and scores for projects, and while screening our work at at advertising agencies in the U.S. and abroad. Many of these questions were asked in private since the asker “didn’t want to look dumb” on the conference call or in the room in front of their peers. Understandable!

We kept track of these questions and quickly realized that there was a real-if-quiet hunger among branding professionals, newbies and veterans alike, for solid, useable information about how original music production and music licensing works.

Watch Egg Music’s 2014 sizzle reel.

Our seminars are candid, customized, packed with helpful info, and include lots of “behind the scenes” media and anecdotes. They’re also 100% confidential; nothing we learn about your company will be shared under any circumstances.

We construct our seminars with all agency departments in mind because in order to create successful projects everyone must be on the same page, from planners to account folks to producers to creatives. Everyone at the agency is encouraged to attend.

And because every agency is different, we solicit questions in advance to best serve the room.

Here are a few of the questions we’ve tackled:

  • Why is music important?
  • How can we convince our client that great music is worth investing in?
  • What’s the best way to communicate about music with a music vendor?
  • Is music we get from companies like Egg created by “real artists”?
  • How is the price of original/library/needle drop music calculated?
  • How does music relate to “sound design,” “audio production,” and “audio finishing”?
  • What is “needle drop”and “library” music?
  • At what point in a project should music be discussed?
  • Why is the process of finding and choosing the right music often tricky?
  • What is music “licensing” and how the hell does it actually work?
  • What role can music play in both traditional advertising and emerging media?

While we prefer to conduct our seminars in-person, but we can also conduct them effectively via Skype.

If you’re interested in learning more, call Egg (612-353-5334) and ask for me, or email me at eric@egg-music.com.

Eric

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