Made with love


Simon Marett# TV-Bay Magazine
Read ezine online
by Simon Marett
Issue 89 - May 2014

It can wash over you, hardly heard but intensely felt. It can convey a mood without a word being spoken. It can jar and jangle your nerves - in a good way, if its a thriller. Or it can make you cry. The choice of music is a crucial component to the overall feel of many TV programmes - as important as the grade, the edit, even the script - yet it is often an area where budgets can be scrimped or squeezed. But have you ever thought about where the music comes from or how it is produced?

As a music company, creating original music for TV, film, broadcast and commercials all over the world, we understand budget demands, but we also know the importance of quality music to a production. An authentic piece of music, created by a professional composer using real instruments can make a real difference to any production and evoke the emotion desired by the production team. The great thing for producers is that high quality music doesnt necessarily mean high cost and theres never been so much choice available.

We recently launched a campaign, Made With Love, to demonstrate the passion, time and care that goes into our music. Our catalogue of well over 75,000 original music tracks is created by a team of 500 international composers, from major orchestral recordings Abbey Road Studios to Country music recorded in Nashville. We work with household names such as The Royal Philharmonic Orchestra, Dame Evelyn Glennie DBE, the late Sir John Dankworth CBE but also developing relationships with new and emerging composers such as James Brett, Bryce Jacobs and a number of commercial artists including Bimbo Jones, Annie Drury and Brazilian Drum n Bass duo Drumagick.
You might be surprised to know that, far from simply receiving a CD from a composer and popping in into the archive, an Audio Network track can take three to six months to make it through our stringent production and QC process.

Every one of our 75,000+ tracks goes through the same meticulous process:

1. Composition

The Audio Network music team regularly brainstorms ideas for new music, taking into account customer feedback, music trends, gaps in the the market, and so on. We actively carry out A&R searches for particular genres for instance, due to our current growth in the US market, we are currently collating authentic American music such as Nashville country, New Orleans jazz and LA hip hop. Established composers are also encouraged to send in ideas and compositions if we have a particular requirement.

2. Recording

For the recording session, we use renowned studios such as Abbey Road Studios, or, if the quality is good enough, a composers own studio. Up to six or seven tracks can be recorded during a three hour recording session.

3. Feedback and refinement


The music team listens to the mixed tracks and sends back any that dont meet their production standards. Once approved, there is a formal acceptanceof the track, release forms are signed and the music is assigned to Audio Network. Composers are paid a small one-off fee for each track, then retain a 50% copyright on their track for royalties. Audio Network pays the production costs and retains the other 50%.

4. Coding

This determines how customers find music in our catalogue and each track can take anything from 40 mins to two hours to code, with many layers of metadata added to make searches easy. Tracks are listed with main mixes and all variations 60 sec and 30 sec stings, etc. Audio Network also offers a human search engine if a producer needs help finding exactly what they want.

5. Mastering and final checks

The team checks the tracks again thoroughly, concentrating on glitches, making sure the versions are exactly the right length and getting them cleaned up for mastering, essential for making the music consistent throughout our catalogue.

6. Album registration

This can take a day per album, depending on the number of tracks and involves the tracks being registered with the relevant collection societies around the world. This ensures both the company and the composer get paid the performance royalties due to them when the tracks get used and broadcast.

7. Final release

Once all the above is checked, approved and working, the tracks are finally released into the catalogue some three to six months after commission.

As much time and passion goes into creating a piece of our music as it does into a whole television programme it is truly Made With Love.


Tags: iss089 | Audio Network | composition | recording | feedback and refinement | coding | mastering and final checks | album registration | final release | music | Simon Marett#
Contributing Author Simon Marett#

Read this article in the tv-bay digital magazine
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Audio Network on BroadcastShow LIVE at IBC 2013

    Audio Network on BroadcastShow LIVE at IBC 2013

  • Matrox at IBC 2015

    Matrox at IBC 2015

  • Video Devices PIX-E at IBC 2016

    Video Devices PIX-E at IBC 2016

  • Matrox Monarch HD at NAB 2014

    Matrox Monarch HD at NAB 2014

  • Matrox Mojito at NAB 2014

    Matrox Mojito at NAB 2014

  • Matrox Capture Card at NAB 2014

    Matrox Capture Card at NAB 2014

  • Matrox Monarch HD and VS4 at BVE 2014

    Matrox Monarch HD and VS4 at BVE 2014

  • Source Distribution and Rode at BVE North 2011

    Source Distribution and Rode at BVE North 2011

  • Suitcase TV at IBC2011

    Suitcase TV at IBC2011

  • HEVC 4k Encoding from Aviwest at NAB 2017

    HEVC 4k Encoding from Aviwest at NAB 2017

  • Haivision live encoding HEVC at IBC 2013

    Haivision live encoding HEVC at IBC 2013

  • Prime Focus Technologies at IBC 2016

    Prime Focus Technologies at IBC 2016

  • BBright at IBC 2015

    BBright at IBC 2015

  • Dalet at IBC 2014

    Dalet at IBC 2014

  • Thomson Video Networks at IBC 2014

    Thomson Video Networks at IBC 2014

  • Telestream Wirecast and Switch at IBC 2014

    Telestream Wirecast and Switch at IBC 2014

  • Telestream Vantage support for DPP at IBC 2014

    Telestream Vantage support for DPP at IBC 2014

  • Telestream Enterprise at NAB 2014

    Telestream Enterprise at NAB 2014

  • Telestream Switch at NAB 2014

    Telestream Switch at NAB 2014

  • Harmonics Peter Alexander on BroadcastShow LIVE at IBC 2013

    Harmonics Peter Alexander on BroadcastShow LIVE at IBC 2013

  • Haivision on BroadcastShow LIVE at IBC 2013

    Haivision on BroadcastShow LIVE at IBC 2013

  • Telestream with Wirecast version five at IBC 2013

    Telestream with Wirecast version five at IBC 2013

  • Telestream with Post Producer at IBC 2013

    Telestream with Post Producer at IBC 2013

  • Telestream Vantage v5 at NAB 2013

    Telestream Vantage v5 at NAB 2013

  • Telestream at BVE 2013

    Telestream at BVE 2013

  • Haivision at NAB 2012

    Haivision at NAB 2012

  • Telestream at NAB 2012

    Telestream at NAB 2012

  • Elemental Technologies at IBC2011

    Elemental Technologies at IBC2011

  • Digital Rapids at IBC2011

    Digital Rapids at IBC2011

  • AKM Music at BVE North 2011

    AKM Music at BVE North 2011

  • TM3 Rackmount solution from RTW at NAB 2017

    TM3 Rackmount solution from RTW at NAB 2017


Related Shows
  • Bubble and Squeak: Live and Loud from Monday at IBC 2013

    Bubble and Squeak: Live and Loud from Monday at IBC 2013


Articles
Making the Workflow Flow
Bruce Devlin - new The toughest things about being the Standards Vice President (SVP) is that everyone expects standards to be the most important thing. In all the systems that I’ve designed and deployed over the years, I've yet to find any production workflow that is 100% standards based. True, the core technologies may well be standards based, but the overall workflow is made up of many technology pieces from open source code, through de-facto delivery specifications based upon SMPTE or Trade Association Specifications that in turn depend on full, International Standards to work. I can already hear some folks saying "In the good old days, everything used standards", but I beg to disagree.
Tags: iss138 | pye museum | pye-philips | smpte | ietf | ieee | w3c | aes | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read or download PDF
How the Womens World Cup was Boosted by Broadcast
John Griffiths As we write this article, England’s Lionesses have just beaten Norway 3-0 and are smashing viewing figure records, with 6.9 million viewers tuning in to watch them play Cameroon on BBC One. Rewind to the previous World Cup in 2015, and England’s group and early stage knockout games tempted up to 2.5 million viewers for each match. It’s safe to say that women’s football is finally having its moment; what was perhaps once considered a niche sport is finally gaining momentum in the mainstream space with broadcasters giving it the attention it deserves.
Tags: iss138 | wwc | world cup | spicymango | diversity | John Griffiths
Contributing Author John Griffiths Click to read or download PDF
Make Time for Remapping
Alex Macleod For my 4th Kitplus article I thought I’d highlight an effect in Premiere Pro that frankly I would be lost without. Namely - time remapping.
Tags: iss138 | premiere pro | post production | editing | speed remapping | remapping | mediacity training | Alex Macleod
Contributing Author Alex Macleod Click to read or download PDF
News Out Of The Cloud - Technology At The Front Line Of Journalism
Stuart Almond Throughout history, journalists have always had to seek and adapt to new technologies to deliver news in a format and at a speed that consumers demanded. Today, recent technological changes in the media environment have led to another inflection point. If modern media outlets want to empower journalists to remain agile and turn news stories around quickly and efficiently, they have to start embracing new, innovative technologies, like cloud-based media solutions.
Tags: iss138 | sony | ofcom | cloud-based media | intelligent | Stuart Almond
Contributing Author Stuart Almond Click to read or download PDF
The World of 12G 4K/UHD Processing
Varun Patel Technology moves fast and when it comes to audio and video broadcasting, there is always room for improvements in audio and video quality and ease of production. One of the main goals of broadcasters and content providers today is to create an immersive experience for the viewers, giving them the feeling of being part of the viewed content. The 4K/UHD buzz has been in the consumer world for some time but what does that actually mean for the content producer?
Tags: iss138 | lynx technik | ott | greenmachine | yellobrik | conversion | Varun Patel
Contributing Author Varun Patel Click to read or download PDF