At the BMIM x ESNS Sync Writing Camp, six composers got to work on real advertising briefs. In less than 48 hours, they created high-quality bespoke music tracks in unique pop-up studios. In this panel, a team of experts reviewed the tracks made in the camp. From a discussion on the power of bespoke music in advertising, TV, and film to the creative process with composers and music creatives, these are our recommendations if you want to learn more about syncing.
The difference between bespoke music and sync music
First of all, what is the difference between bespoke music and sync music? Tom Tukker, Music Director at Tom Tukker Music, explains: ‘Bespoke music is a custom track made for a film, where a sync is a licensed (synchronised) track for a film.’ Emeline Marabelle is Founder and Creative Director at Bellemeute. She elaborates on why it’s becoming increasingly important to have music in media in film and television. She laughs: ‘Otherwise, media would be so boring! Music is everywhere now and easily accessible through apps like Spotify and TikTok. In that light, our goal is to educate our clients and audiences on trends and the best music.’
Group photo of six composers at BMIM x ESNS sync writing camp, meet them here.
So, let’s dive into our four experts’ recommendations to make a perfect sync.
Draw inspiration from the brief
Tom Tukker: ‘The brief explains the heart and the story of a film. The brief will often explain what the song you’re about to use has to capture. For example, when you compose a sync for the opening scene of a film, you have to take the beginning of a track as well. When you take an existing song that will most likely be a commercial song, you can’t just start with the chorus in this case. The brief will explain the character of the track.’
Seppl Kretz, Managing Partner & Creative Director at Magma Music Agency, adds how difficult it can be to work on film because there’s a very set story that the sync needs to suit. ‘Sometimes, the music gets lost in the creative process. As music supervisors, we always advise focusing on the songwriting itself and forgetting about the film a bit. You can always come back later to the film when the story of your sync is set.’
Sometimes, the music gets lost in the creative process. As music supervisors, we always advise focusing on the songwriting itself and forgetting about the film a bit. You can always come back later to the film when the story of your sync is set.
Seppl Kretz, Managing Partner & Creative Director at Magma Music Agency
Take creative liberties, but stick to your target group
Terese Gustafsson, Freelance Music Creative & Sync Consultant, adds: ‘A good sync will also not be on the nose too much. Some people love it when the music literally describes what happens in the film; others don’t. It might get a little predictable if a sync is too literal. In my opinion, an overall vibe would work better in today’s world.’
Gustafsson adds that you should always keep your target group in mind. ‘When you sync a song for advertising or a commercial purpose, it’s helpful to create something applicable to many. Finding the balance between telling a heartfelt story and working emotion into your sync without taking it too far is important. It’s not just about creating a great song or making it fit the picture; it’s foremost about making it fit with the brand or the person you’re working with.’
Be playful with the structure
Emeline Marabelle: ‘The structure is important. When I hear something with an unexpected build-up, I get excited. Be playful with vocals, riffs, and directions. When audiences can’t immediately tell where a sync is going, that makes an interesting track.’
Seppl Kretz adds that when you try to work from a brief, you must tick many boxes. The people working on the sync will often try to incorporate all the brief elements, which may become a bit much. ‘When you still feel you’re listening to a fully rounded song, that’s when it’s really well done.’
Terese Gustafsson agrees. ‘I always love to think of it as: let’s create a song that we genuinely would like, and not just like a 30-second snippet. Instead, try to create a full piece of music. I love it when the music gives me time to reflect on what’s happening instead of just throwing everything in there. That’s a challenge, but it becomes good when music breathes.
Tom Tukker agrees with her, stating that editors love it when the build-up of a song is done well. ‘Editors can play around with your sync way easier when songs build steadily. You can mix and match, which makes it delicious for us to work with. This will let us know your sync will probably work very well.’
Editors can play around with your sync way easier when songs build steadily. You can mix and match, which makes it delicious for us to work with. This will let us know your sync will probably work very well.
Tom Tukker, Music Director at Tom Tukker Music
Don’t get scared of feedback
‘You will always get feedback. Don’t worry about it, that’s fine. Focus on the important elements from the feedback, and let the creative flow come’, is Emeline Marabelle’s best advice.
Text by Meike Jentjes
