Interview with End of Silence!

What is the end of silence? The beginning of noise-right well, all jokes aside, that is actually the name of the library that TMV will be speaking with today. End of Silence is headed by Christian Baczyk and Kevin Mantey who have been in the trailer music industry for several years now. They were excited to answer questions from Trailer Music Vibe. I now present this interview to follow. As always, you can follow them on Facebook and their website.

Enjoy!

How did End Of Silence start?

Chris: We came up with the idea to create our own trailer-music production company during our very first meeting in October 2013.
It all started when I found this big YouTube channel called “Trailer Music World” which focuses on promoting well-known trailer-music publishing companies and composers but also skilled but yet unknown ones. Back then I simply decided to write a message and ask whether there would be any chance to get my own music promoted.  I literally had no idea whether I was good enough because I just started producing my first tracks which is why I was hoping for at least some feedback – even if it would be a rejection.
Once I found out that Kevin was the manager of this trailer channel I wrote him an extremely long email in broken English which contained all the motives of why I started writing this specific kind of music, what it meant to me and how I would like to inspire other people with it. This very specific music genre had a profound impact on my own personal development journey which is why I wanted to give something back to the world if you will.
It turned out that Kevin and I have a lot of common interests and would get along extremely well. It was even more surprising to find out that he is located in Germany as well which is why we decided to meet up after a couple of interesting online chats. He drove around 200 miles to visit me at my place and stay for a couple days.
Once he arrived in the evening we went for a walk and talked about a lot about different topics while enjoying some good, Bavarian beer.
During that walk we randomly came up with the idea to start our own trailer music company even though we had little to no expertise in terms of music production or business back then. In retrospect it was a ridiculous thought but since this very moment we have decided to work extremely hard and make this dream come true. And only a few years later it turned out to be the best decision we have ever made.

What are your current roles at End Of Silence?


Kevin: At the moment we are literally doing everything except producing the music and the digital artworks. Our current tasks include music-, mixing- and mastering supervision, meeting clients, analyzing trailers and tv-spots, licensing, accounting, social media management, organisation and project coordination.

However, we are expanding our team by Kai Rathsack (owner of “Epic Music World I” and “Epic Music World II”, two of the most popular Youtube channels for epic music) who is going to help us out by managing our social media platforms and co-coordinating several projects.

Managing your current amount of music and advising composers on music cues takes much time right?

Chris: We decided to only work with people who have a deep understanding of how trailer music works which is why major feedback usually is not needed. However, we are extremely picky when it comes to mixing and mastering to assure that the music quality is top-notch. All in all I would say that music supervision does not take too much time as long as you work with the very best people in the industry.

It seems like things have been quieter on the epic music front. Do you see the genre leveling off or is there still room for more growth?

Kevin: I guess by “epic music front” you mean the general public audience, right? I would actually say that it becomes more and more popular these days as more trailer-music production companies are willing to release their music catalogue to the public. Usually most trailer-music out there is only available for trailer supervisors and editors.
Due to the big growth of the epic music promotion network on Youtube more people are discovering this new specific genre. In case you are talking about the typical, classic epic music I would definitely agree with you – there has been a big decrease of demand for that kind of music. Trends change from time to time which makes this entire thing so exciting. After using typical, epic classic music for several years I guess trailer supervisors and editors were looking for something more modern and new. That’s when hybrid and sound design trailer music was born.


How has epic music influenced your life in general?

Chris: I always find myself listening to epic music produced by Thomas Bergersen, Paul Dinletir, Ivan Torrent or Mark Petrie whenever I am going through difficult times. It might sound a little bit strange and cheesy but every time I listen to this kind of music I start to feel like a hero from a movie that faces the choice between giving up or proceeding. It definitely had and still has a great empowering impact on my life. 

Kevin: Yeah, I agree with Chris. Epic music definitely channeled our drive to discover as many wonders and secrets of this extremely intriguing universe. I randomly started to ask myself extremely deep and profound questions about life which I have never done before. Those definitely had a huge impact on my own personal development. It also skyrocketed our motivation to become the best possible version of myself and helped me to find a strong purpose in life that I did not really have before.

How do you feel about the community of people supporting epic music?

Chris: What I personally noticed is that it is a very family-like community. There was a time when I decided to help out a good friend of mine whose father got diagnosed with multiple types of cancer. I immediately launched a crowdfunding campaign to help him out financially so that they could afford proper treatment and would have to worry a little bit less.
It was extremely heartwarming to experience how caring this community really is. People who did not know my friend or his father at all suddenly started to donate money which definitely helped to make a positive change. I am still very grateful for this support. I am definitely a big fan of this community and I hope that more and more people will become part of it over the time.

What is your outlook for the future for End Of Silence and epic music?

Kevin: We are currently working on two major compilation albums – our most innovative and complex products up to this point. There are plans for a second solo album by one of our core composers, Daniel Beijbom and another one by our friends from IMAScore. This will definitely keep us busy enough until the end of the year.
Besides that we are doing some custom scoring jobs for advertisements and events in Dubai and Switzerland, BMW and Hyundai being some of our recent customers.

Our goal is making EOS a well-known audio brand within the trailer, film- and videogame industry.
Last but not least we would love to set up a charity project as well.

Dwayne Ford Interview

Dwayne Ford is an Edmonton born music composer who has worked with the music industry’s top artists, including David Foster, Ronnie Hawkins, members of TOTO and countless others. He has received awards from the American Song Festival, Tokyo Song Festival, and six awards from SOCAN.

I asked Mr. Ford a few questions regarding his work and so on.

What could you tell us about where you get your inspiration to

compose your cues?

My inspiration (or lack thereof) comes from many different emotions. Mostly, sadness and the great mystery of life and death, the finality of it all and how profound it is. Epic music requires a serious subject matter and the unfortunate truth is that death, heroism, sacrifice, loss, love and other weighty emotions are the raw materials.

 Having listened to several of your recent compositions, I can tell
that there’s substance to them. It feels like that there are several
layers as opposed to just one pattern if you will. Could you comment
about this?

Sorry, I cannot answer that question for you accurately. My productions are organic – meaning I don’t usually know what is going to happen until I stumble across it. The layers are a basic part of orchestral arranging however so in some cases there may be literally 40 or 50 layers depending on the track count. Counterpoint melodies, variations on the theme, underlying ghost melodies all play a roll in developing density. So depending on what you are trying to accomplish there may be one layer or many.

Are there any upcoming projects that you can tell us about?

I am working on my fifth “epic” album at the moment. Rather slow going because this album must be different and better than the others if I am to survive the critics. I admit to being a perfectionist but there is no such thing in music. You must try however, to get as close as possible to perfection. The competition is fierce.

Do you listen much to other trailer music cues at all or not so much?

4. I do listen a lot to other composer’s epic music. I find it helps to give me production ideas. It also helps to avoid cloning other people’s work.

Any additional comments?

I would like to know your plans regarding the release of your book or video in which these comments may appear.

And to that last question Dwayne, the answer is publication in this article that is on TMV!

 

Thanks again for taking the time to interview. It’s always a pleasure to hear more from composers like yourself!

 

You can follow him on his website and Facebook page.

Jackdaw Factory – The Awakening

Jackdaw Factory has released ‘The Awakening’. Here is the promo:

The Awakening is collection of Epic Hybrid Orchestral Cues by composers. Christian
Ugenti, Daniel Gardner Berry, David Butler, Dmitry Mityukhin, Franck ancelin, Frank
Romeo, Kyle Booth, Martin Cap and Mohammad Ilyas Butt.

The Darkest Sun by Christian Ugenti starts with traditional percussion sounds.There are few gaps as are present in many trailer cues, and lead you into the next segment of the track.The Siege byDavid Butler , gives the impression of a stealth operation being carried out.

If you wish to license their music please use this address: contact@jackdawfactory.com and also follow them on Facebook.

Interview with Adam Brown of Dual Motion Music

Dual Motion Music is a company that writes original music for trailers, films, video games, commercials and any other forms of media. They strive to be different and innovative; usually working with more than one composer on a project. Dual Motion will also be releasing through Cypher Trailer Music, run by Rob Oxenbridge. The main writing team is made up of a small group of writers for Cypher Music.

Dual Motion has a lot of experience in the industry and are always taking on new exciting projects! They have associations with AIR Studios, the English Session Orchestra and work directly with several professionals in the Hollywood film industry. There are also many other projects that they are working on such as commissions and production music.

Brown answered some questions from TMV.

What led you to form this new company?

The idea is for the company to be collaborations rather than solo works…so me and four others contribute to albums but two composers write each track rather than one! We want to be a bit out there and different.

So writing together we can keep it fresh and ex citing.

How have collaborations gone so far?

It’s the first group collaboration

 Who’s your biggest trailer music influence ?

Influences are anything that is big and memorable.I think we will have a focus on the dark side of things on the whole for the next few albums but the first is very broad bin terms of styles and emotions.

Immediate Music and Really Slow Motion are two companies that I’ve worked for and who also receive the most placements.

Two Steps From Hell are the most well known of course.

Stay tune for more info from Dual Motion and Cypher!

 

 

 

WCPM Appoints New Production President

WARNER/CHAPPELL PRODUCTION MUSIC PROMOTES AARON GANT TO SENIOR VICE PRESIDENT OF PRODUCTION
Warner/Chappell Production Music is proud to announce the promotion of Aaron Gant, a 25-year veteran in the industry, to Senior Vice President of Production.
Aaron’s commitment to the company and creativity in finding and delivering new music and artists to our clients are incredible assets to Warner/Chappell Production Music,” says President and CEO Randy Wachtler.  “I appreciate the production team’s dedication to unparalleled quality.”
In the role, Gant oversees news music, custom projects, catalog production and studio operations at the Warner/Chappell Production Music studios in Nashville.  He previously served as the Vice President of Production.
“I am excited to continue and further my contributions alongside the outstanding team here at Warner/Chappell Production Music,” says Gant.
Gant began as an intern and rose to recording engineer at Non-Stop Productions.  He transitioned to Nashville in 2000 to work for 615 Music.  His role expanded to Producer and then Vice President of Production before 615 Music was acquired by Warner/Chappell in 2010.
Traversing through Producer and VP of Production roles with the company, he joined the Warner/Chappell Production Music team when it purchased 615 Music in 2010.

Two Steps From Hell – Vanquish Review

It’s been a while since I’ve done one of these–so without further ado, let’s begin.

In the months prior to the release of this album, there was much anticipation among TSFH fans on Facebook regarding this release. It had seemingly been ages since the release of Battlecry and as you can well imagine, once the official artwork was teased. Once it released, there were those who were no doubt excited now that they could have access to another “gem”. However, there were quite a number of others who voiced their seeming “disapproval” of this latest album, even to the time that I have written this post.

I have yet to see anyone who says this is “the best album yet”. So, what is my personal view or opinion, since that is all it is at the end of the day? Read on to find out. this latest release Vanquish.

Is there a best track on this album? Hmm, I’m not sure that I would say a ‘best track’ but there are certainly good tracks that are worth more than one listen. One of those is track #2 Pegasus by Thomas Bergesen. The track begins with a nice string introduction and a flowing female vocal by Felicia Farrere. The rhythm of the track does remind one of the creature flying through the air against the backdrop of the shining sun.

The title track ‘Vanquish‘ is a peculiar sounding one. The overall message of this song is despite the previous pains of the past, that it is possible to vanquish or get rid of those and push onward to the future. New World Order is more of an ominous tone..it evokes imagery of the phrase that is often heard in conspiracy theory circles and the like. Enchantress is another track that has a nice melody. It’s one of the longer tracks on this album, but the way it is written and conducted makes you want to stay and hear the whole track through.

This is my humble view but by all means, don’t take mine or anyone else’s word for it. LIsten to it for yourself and then form your view.

The album is available for purchase on iTunes.

Epic listening!

 

Warner Chappell cranks out new catalog

 

Contact: Mark Logsdon
Phone: (615) 327-0100
Email: mark.logsdon@plamedia.com

WARNER/CHAPPELL PRODUCTION MUSIC NOW EXCLUSIVELY LICENSING CPM’S 40,000 TRACK CATALOG IN THE US AND CANADA

NASHVILLE, TN (January 10, 2017) – Warner/Chappell Production Music, Warner Music Group’s production music department, proudly announces that the renowned CPM Music Library is available for licensing immediately in the US and Canada. Warner/Chappell Production Music first took ownership of the catalog in 2010, and has since represented the collection outside of the US and Canada. With the addition of the US and Canada, Warner/Chappell Production Music now represents CPM worldwide through its global offices and sub publishing relationships.

One of the largest and most respected production music catalogs in the world, CPM, formerly Carlin Production Music, is comprised of over 40,000 tracks spanning three series: main series, archive series and classical series.

Produced by Warner/Chappell Production Music’s own London production team, CPM got its start in 1988 and has grown its reputation since, gaining a following based on its wide range of musical genres and high production standards.

“CPM has a long history and contains a wealth of versatile music across every genre imaginable,” said Warner/Chappell Production Music President & CEO Randy Wachtler. “We are extremely proud to represent such a well-regarded production music catalog across the US and Canada, and look forward to building on its already fantastic reputation.”

The CPM catalog has been licensed around the globe for many clients including Major League Baseball, Spongebob Squarepants, Dell, Geico, Armani, and more. The Armani spot can be viewed here:

About Warner/Chappell Production Music
Warner/Chappell Production Music is a worldwide leader within the production music industry, with over 35 years of experience and success. It unites many of the most successful and respected independent brands in production music, including 615 Music, Non-Stop Music, Gari Music, Groove Addicts, V – The Production Library, and many others. The brands comprising Warner/Chappell Production Music have been the recipients of many industry awards, including multiple Emmys®, Tellys, ADDYs and Promax honors.
Warner/Chappell Production Music is a proud part of Warner Music Group, home to a collection of the best-known labels in the music industry, including Atlantic Records, Elektra, Fueled By Ramen, Parlophone, Rhino, Roadrunner, Warner Bros. Records as well as Warner/Chappell Music, one of the world’s leading music publishers, with a catalog of more than one million copyrights worldwide.

Website: www.warnerchappellpm.com
Facebook: www.facebook.com/WarnerChappellPM
Twitter: @WCProdMusic
YouTube: WarnerChappellPM

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Interview with Composer Kris Dirksen

 

Meet composer Kris Dirksen who has scored for a few television shows as well as hundreds of film and TV trailers. He answered a few questions with regards to his style of music composition and so on.


 

What inspires you to compose your unique style of music?

We’ve always tried to look outside of film and trailer music for our inspiration. So much of that world is about emulating whatever the popular sound of the day is, it seems like you’re constantly chasing your tail. There are enough Hans Zimmer sound-alikes in the world, that world has never interested me and I’m not that good at it to be honest. We’ve been more informed by the bands and artists we like, which is probably why we sound like a bad Massive Attack/Mogwai cover band.

-You have scored hundreds of trailers. Which few stand out to you and why?

Our material always seems to be a good fit with David Fincher’s movies, those projects always seem to turn out well. One recent memorable project is the ethereal trailer for Jackie that my brother, Nicolas Dirksen, scored. He started off as my assistant and has developed into a great composer with his own sound. I’ve been getting more joy lately out of mentoring and guiding new composers and seeing their work pay off.

– What convinced you that composing was a future career path?

It was something I stumbled upon more than anything, I had no intention of becoming a composer. I went to law school, and ended up starting a music publishing company after graduating, getting various artists’ music into film, TV and video game projects. I started getting opportunities to write spec, custom music for trailers but could never motivate the musicians I worked with to jump on those opportunities, so I taught myself how to write trailer music at night after work on my laptop. After a couple of years of that my music eclipsed that of that the bands I worked with and I started composing full-time with my company Methodic Doubt Music.

– Are there any upcoming projects?

Yes, unfortunately it’s too early in the game to announce them. Check out my last project

Quarry, which just aired on Cinemax/HBO and is on iTunes as of last week.

– How do you approach your work when you're composing for a movie trailer? Movie or TV show?

Trailer music is like a sledge hammer, the focus is almost always on making it bigger, bolder and more brash. TV and movies are more of a delicate, restrained approach where you’re forced to make the music play nicely with dialog and sound. They’re both challenging in their own way.

Thank you to Kris for taking the time to give us some insight into his work!

Warner Chappell Production – New Music Catalogs Press Release

WARNER/CHAPPELL PRODUCTION MUSIC DEBUTS “COLOR TV”
AND “ELBROAR” CATALOGS
Warner/Chappell Production Music is proud to announce the debut of its new Color TV and Elbroar catalogs.  Color TV is comprised of German composer Curt Cress’ nearly 14,000 track collection from Curt Cress Publishing GmbH, and its sister company F.A.M.E. Recordings Publishing GmbH. Color TV and the Elbroar catalog, also from Germany, are available for licensing now.
Color TV is a comprehensive library that brings to life a wide range of TV production styles, with the initial release including nine albums:
  • Panoramic Landscapes
  • Simply Happy
  • Quirky & Eccentric
  • Piano Moods
  • Chase & Surveillance
  • Secret Service
  • Actionism
  • Drama Cuts
  • Crime Scene
Following the initial release, Warner/Chappell Production Music plans to release two new compilations from the catalog every two weeks. Color TV is available for licensing worldwide, excluding Italy and France.
“We are extremely proud to have gained access to the talented works of Curt Cress and to launch Color TV,” says Warner/Chappell Production Music President Randy Wachtler. “Curt’s unique talents have been featured in film and television broadcasts in Germany and we are excited share this catalog internationally.”
Elbroar, hailing from Hamburg, Germany, is a state-of-the-art collection ranging from epic to minimal, jazz to techno and drama to fun.  The catalog serves creatives in the fields of television, film and advertising, with a strong focus on trailers and daytime TV.  The catalog’s first release, “Epic Fairy Tales,” is an album of orchestral arrangements that set the scene for fantastic stories and epic emotions.  Elbroar is available for licensing immediately, worldwide.
About Curt Cress
German composer Curt Cress began his musical career in the 1960s, performing in acts such as Klaus Doldinger’s Passport and Snowball, as well as in Falco and Udo Lindenber’s bands.  His solo projects involved work with local and international artists including Freddie Mercury, Tina Turner, Rick Springfield, SAGA, Meat Loaf and Scorpions, as well as releasing his own solo material. He made a name for himself as a composer for popular German films and hit TV series such as SK KölschHeliCops and The Red Mile, with many of his works now featured as background music in an average of 25 leading German TV programs every year.
About Warner/Chappell Production Music
Warner/Chappell Production Music is a worldwide leader within the production music industry, with over 35 years of experience and success. It unites many of the most successful and respected independent brands in production music, including 615 Music, Non-Stop Music, Gari Music, Groove Addicts, V – The Production Library, and many others. The brands comprising Warner/Chappell Production Music have been the recipients of many industry awards, including multiple Emmys®, Tellys, ADDYs and Promax honors.
Warner/Chappell Production Music is a proud part of Warner Music Group, home to a collection of the best-known labels in the music industry, including Atlantic, Elektra, Fueled By Ramen, Rhino, and Roadrunner, as well as Warner/Chappell Music, one of the world’s leading music publishers, with a catalog of more than one million copyrights worldwide.
For additional information, visit www.warnerchappellpm.com.

A-List Music – Annihilator by composer Steve E. Williams

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Annihilator from music library A-List Music has been released. The artist behind this work was composer Steve E. Williams.

Here is a preview of the Annihilator release :

https://www.youtube.com/watch?v=2JOyYy-zWRE

According to the YouTube description:

This album packs an extreme musical sound design journey into a world created from decimating, pounding, pulsing electronics, heavy swagger rock, orchestral hybrids and ethereal vocals. Annihilate with massive impacts, huge bass stabs, raging build-ups, hard rock guitars, bass and drums, sweeping synth atmospheres, deep pulses, edgy risers and vocal phrases. Warning: Use of these tracks creates unnerving tension, adrenaline-rush and epic suspense!

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The second one is a preview of Annihilator Tools:

https://www.youtube.com/watch?v=m5KrxjYwhfo

It’s described as:

Decimating, pounding, pulsing electronics, heavy swagger rock, orchestral hybrids and ethereal vocals. Massive impacts, huge bass stabs, raging build-ups, hard rock guitars, bass and drums, sweeping synth atmospheres, deep pulses, and edgy risers.

A-List Music website:

http://alistmusic.com

Bio:

Steve E. Williams is a television, trailer, film and ad composer, producer and keyboardist. He has written music for the motion picture and television advertising campaigns of Disney/Marvel “Ant-Man”, Warner Bros. “The 33″, CW “Arrow”, “Reign”, ABC “Agents of SHIELD”, “American Crime”, “Nashville”, CBS “Elementary”, “NCIS”, “Criminal Minds” & “Blue Bloods”. Williams’ television credits include “The Game Awards 2016”, “48 Hours”, “A Current Affair”, “CBS Sports Spectacular”, National Geographic Wild, Discovery ID, NBC’s “Life”, “Jeff Probst Show”, MSNBC “Your Business” and extensive contributions to the sound of the BBC, ESPN, CBS, Fox, Warner as well as various documentaries including the CNN special “Voices of Auschwitz” featuring an interview with Steven Spielberg.

Williams’ unique sound can be heard on Billboard Top 100 singles and Top 10 club remixes.  His diverse career includes teaming up with platinum artists and major songwriters as well as receiving five district ADDY and two Communicator Awards for trendy advertising music. His work has helped shape the brand identities of Saab, Mattel, Sears, Levi’s, Nokia/Vertu, Nissan, PF Changs, Chevy, the Dr. Phil Show, and more.