The Most Heard, Least Known Composers In America
Category Archives: Stories
January 12, 2016Posted by on
We are really excited about our latest news music branding package “Guardian”. I was recently interviewed by NewscastStudio for a “behind the scenes” look at the new package and details about its creation and development. There is a great deal of thought that goes into producing branded music for media. Much more than just creating “cool” music, one must consider the brand objective, how it will live in various media environments, the target demographic, the context of how it will coexist with both content use and promotions, and both the art and science that go into creating a distinctive set of notes that will anchor a comprehensive, sonically-branded music toolkit.
I thought it would be interesting to share an excerpt from that article and interview:
Stephen Arnold Music recently developed a syndicated news music package that’s already debuted in five local markets, including WSB-TV and KIRO-TV. The package came about from a search for a fresh sound and production style that was more cinematic. We recently had a chance to speak with Chad Cook, the VP of creative services at Stephen Arnold Music, about the package…
How did you find the style?
In recent years, we have been creating more and more sonic brands and custom music packages for international networks and channels – CCTV China, CNN International, Al Jazeera to name a few. Some of our international news music packages have been very percussion and texture based – more in the style of a modern, cinematic soundtrack for news programming. So we drew upon some of these different production techniques as a base for creating this new package.
How would you describe the package and its sonic brand?
Historically, many news music packages have been all about being “big”, “loud”, “fast”, and “high-impact” – where you are pounding on your chest and almost yelling your presence to the viewer. With this package we wanted the impact to be more emotional and intelligent. The tone of this package is confident and empowered, and in-depth. There is a boldness to the package and musical signature, but it is achieved more through mood and textures than conventional musical methods.
The sonic logo/musical signature is very distinctive and memorable. We wanted this sonic logo to be very natural and musical to the ear – a simple melodic riff that you could easily play on a guitar or keyboard. Often times, news branding melodies use intervals, voicings, and harmonies that are more conducive to an orchestra or brass section.
We feel the sonic logo and musical style for this package is very contemporary, accessible, and relatable to a wide demographic – whether Baby Boomers, Generation X, and even Millennials. Not only is the production style very modern, but it’s very clean and uncluttered. It has a sound and feel that fits hand in glove with digital media sonic support and applications.
Why do you think the music has already seen such high pickup?
We are so excited that the package has already been picked up in several markets. I think that the unique sound and distinctive sonic brand of this package is really resonating with some stations that have been looking for a fresh approach to music for news content and promotion. I feel like this is not your standard “news” package but more of a modern soundtrack for news with a clean, textural approach that is very digital content friendly as well.
You can check out the full interview here:
And here is a montage of the finished “Guardian” package:
December 4, 2015Posted by on
We’re very proud of our international work for networks like Al Jazeera (Qatar), Alhurra (Middle East), India TV, GSP Sports (Romania), TRK (Norway), TRT1 (Turkey) … it’s a pretty long list!
A decade ago, we delivered music via FedEx – now we can FTP our latest mixes instantaneously. But in either case, we’re usually tracking and mixing in our Texas studio while our clients are a VERY long way away.
Sometimes, though, we have the opportunity to pitch, present, or deliver in person – such as when we helped launch Al Watan in Kuwait or our recent re-branding of the 5 CCTV China foreign language channels. And whether that’s a trip to the Middle East or to Beijing, it’s always exciting to be able to experience different cultures first hand!
Well, right now IS one of those “sometimes”, and I’m currently in the beautiful Balinese mountains in a town called Ubud. Earlier this week, Stephen and I were speakers at Promax Asia in Singapore giving a talk on the power of Sonic Branding.
The presentation was fantastic! And we even got to say hello to some old friends … friends like Stefan from Flint/Skallen – who we worked the CCTV project with – and Ian from Song Zu – whose music we license via our production music library The Vault.
Of course, 3 days in Singapore for a conference really isn’t the best use of all those hours on a plane to get here … so Stephen and I brought our better halves and hopped over to Bali, Indonesia!
Don’t worry, Stephen Arnold Music is still open for business, so feel free to give our staff back in Texas a call!
November 11, 2015Posted by on
Yesterday, the music world lost a true music legend.
Allen Toussaint was responsible for shaping the sound of an era and crafting early funk and R&B via his recording studio, Sea-Saint Studios, and Sea-Saint house band, The Meters. Songs like “Working In A Cole Mine” (Lee Dorsey), “Mother In Law” (Ernie K. Doe), and “Cissy Strut” (The Meters) had his fingerprints all over them; either as a writer or producer. His discography reads like a who’s who of music legends.
I can still remember as a student in New Orleans, watching “The Last Waltz” on VHS and seeing the end credits roll by; Allen Toussaint is credited as the arranger. Which means he wrote the charts and is the reason everyone else sounds so tight along with The Band. Just listen to that version of “Ophelia” and you’ll understand. That horn section was hot!
Now I have to be honest. Once upon a time, I did spend 3 days with Allen Toussaint. But they weren’t consecutive days. And he didn’t know my name. Or even recognize me on our 2nd, or even our 3rd day together [sigh]. But if you’ve been raised on music, you can appreciate those moments; even if you know its one-sided.
Allen Toussaint Day 1 – WWOZ Piano Night 2004:
I was a fresh-faced 22-year-old student at Tulane, who had essentially stopped going to class two years before; pushing road cases at The House of Blues and pretending to be a sound engineer everywhere else. This would have been about 18 months before Hurricane Katrina.
WWOZ’s Piano Night happens on the Monday between Jazz Fest weekends. It’s a fundraiser and an absolute blast. And somehow I weaseled my way in as the engineer for the solo stage that night and actually got paid for it.
I don’t remember much of that night (those days are still a bit fuzzy) but I do remember 3 things:
- I was so busy making a mess of the patch on the main stage during initial sound checks, someone else hung all the speakers for the solo stage
- The PA we put in was woefully inadequate for the amount of people who would surround the stage to see Allen Toussaint play solo
- I mixed Allen Toussaint that night
And even though everyone that night kept telling me to “turn it up” despite only having 3 speakers all hung off of one vertical pole, everyone standing 15 deep around a tiny stage, #3 is all that’s important.
Allen Toussaint Day 2 – Cambridge Folk Festival 2008:
I was still a fresh-faced 26-year-old Texas/Louisiana transplant, whose post-Katrina travels had landed me in Cambridge, England (for the weekend; I was living in London at the time).
I had graduated from pretending to be a sound engineer in New Orleans, to working for reputable Sound Companies in London. Who immediately recognized I was still pretending. So I hung and stacked PA, pushed road cases, and patched the main stage (which, by this time, I could do without making a mess of it).
Now, The Cambridge Folk Festival, while small in overall attendance, is revered in many circles. And given my love of mandolins, banjos, ukulele’s, and guitars – which I all play to different degrees of acceptability – it’s right up my alley. That and they have a great beer tent and take home pint glasses.
One of the headliners that year was none other than Allen Toussaint. So, after unsuccessfully trying to convince the other crew of his legendary status, I donned my “Bless You Boys” New Orleans Saints T-Shirt I had acquired through Stephen Arnold Music years before (SAM had composed their promo theme in the late 80s, so you can imagine the state of the t-shirt) and went about my rock n roll day (at a Folk Festival). Knowing a living legend was going to be on my stage, and wanting nothing more than a picture with him.
I remember a bit more from that night (although those days are also a bit fuzzy), including these 3 things:
- Even in my mid-20’s, I was still too nervous to approach Mr Toussaint to get a picture
- I still have a recording of that show, graciously given to me by the awesome Radio 4 Outside Broadcasts fellas
- Allen Toussaint’s bass player pointed out my “Bless You Boys” t-shirt
Obviously #3 is the most important here and we will skip over #1.
Allen Toussaint Day 3 – The Barbican 2009
Still a fresh-faced, but self-proclaimed “Road Dog” 27-year-old (I had been on 3 rock n roll tours, and thought that was pretty awesome), I had graduated to actual Sound Engineer status. My gig that night was at The Barbican in London where we were supplying the stage monitors/mixing desks/line system and monitor engineer (me – I had made the big time!). As is often the case when picking up side jobs as a freelancer, I hadn’t bothered to check out the gig beyond load-in times. So imagine my surprise when I saw Allen Toussaint on the bill with The Blind Boys of Alabama.
I remember quite a bit from that night (although those days are also still fuzzy…it was only one year later after all!), including these 4 things:
- The Blind Boys of Alabama’s drummer is not only sight impaired, but also most likely deaf given the level of high hat I had to crank through his monitors.
- It’s really strange to randomly run into someone who gave a talk at your Tulane music business class 7 years earlier – especially when you’re mixing monitors on a random stage in London and you recognize their voice after they tell you to turn up the high hat in the Blind Boys of Alabama’s drummer’s wedge (it was literally deafeningly loud at that point; I walked over to check and it nearly took my head off).
- I had in-depth discussions with Allen Toussaint about the quality of the concert grand Steinway piano supplied by The Barbican, and how to best replicate it in his monitor
- I got a picture with Allen Toussaint!! Courtesy of his Production Manager, Reginald (I never actually got a copy of it…)
So rest in peace Allen Toussaint. You will forever be revered in New Orleans, throughout the world (whether or not they realize your far-reaching influences), and of course by me. Who spent 3 unforgettable days with you
Editors Note: Scott Aiges and Clarence “Reginald” Toussiant – both featured above – tour manage(d) Blind Boys of Alabama and Allen Toussaint respectively.
Right-Handed Lefties and Left-Handed Righties…My obsession with Hendrix and upside down Stratocasters
November 4, 2015Posted by on
As many of you know, Jimi Hendrix was left-handed, but played a right-handed Fender Stratocaster – turned upside down! I’ve always been fascinated with not only the sound of Hendrix on that right-handed upside-down Strat, but with the way it looked as well. There’s something about the whammy bar on top and the tuners on the bottom. I was really intrigued, so number of years ago I bought a righty Strat, turned it upside-down and restrung it. This was definitely the closest I’d ever come to sounding like Hendrix! I even had a friend “distress” it to make it look like it was 50+ years old, and went so far as to put cigarette burns on the headstock. (see me with my Strat below)
Well, I never actually knew what made his distinctive sound so unique. Then I ran across this article in Popular Mechanics magazine about how flipping and restringing a standard right-handed Fender Stratocaster fundamentally changes the string tension and microphone location. That’s what produced Hendrix’s signature mix of bright highs and delicate lows.
Here are the highlights:
- The rear pickup on the traditional Stratocaster is intentionally slanted – capturing the higher strings near their base – where they have a more piercing tone. On Hendrix’s guitar, it catches the higher strings farther up, so instead of shrieking, they sing.
- Guitar pickups are mini-microphones, with a pole magnet aligned below each string. And the distance between the magnet and the string varies for each string. But by reversing the orientation of the traditional Stratocaster, Hendrix changed which strings were closest to their magnets, and consequently, most prominent in the mix. Pretty crazy stuff.
- Conversely, Hendrix’s low strings were comparatively tighter, which made them sound less booming and twangy.
- On a traditional Strat, the highest strings (E, B) are the longest. When turned upside-down, they become the shortest, so they don’t have to be pulled as tightly to be in tune. For Hendrix, that made them easier to bend, like on “All Along the Watchtower.”
- Fender’s headstock design makes every string a different length, so restringing the guitar upside-down changed which strings were longest. This altered the subtle overtones produced by vibrations on the unplayed part of the string above the top of the neck, near the tuning keys.
What’s really amazing is that I doubt Hendrix ever thought about any of this. He just had a tough time finding a decent left-handed guitar, especially back in the day. So Instead, he snagged a cool Strat , flipped it over, restrung it, and ta-da! The rest is history.
August 24, 2015Posted by on
It’s that time of year, and International Strange Music Day is once again upon us — can you believe it’s already been a year?? Okay, okay … none of us have actually ever heard of this holiday, but when it came across the calendar, I just had to have a little fun with it.
So what actually qualifies as “strange music”? Well that, of course, depends on your definition of “normal”, but I’m going to attempt to share five songs that I think everyone can agree reside firmly in the realm of “unusual”.
5) I’ll start out with something odd, but not too odd. This is a piece of music that, in itself, isn’t all that unusual. What makes it strange, though, is that it’s being played on an accordion … at blistering speed. I honestly didn’t know an accordion could be played like this. His name is Alexander Hrustevich if you’d like to see more.
4) Next we have Genesis. Not the “Invisible Touch hit machine” Genesis fronted by Phil Collins. No, I’m talking the weird, early, costumed Peter Gabriel with a negative mohawk Genesis! In their early years, they recorded some of the oddest music ever to achieve commercial success. One of my favorites is “The Return of the Giant Hogweed” … literally a song about a harmful, invasive species of plant.
3) At number three is a band that, at least from what I’ve heard of their catalog, pretty much defines “frenetic”. These guys are incredibly talented, but for me, anyway, they often teeter on the edge of listenability. Taken in short, controlled bursts, though, they’re actually quite entertaining. I give you The Mars Volta!
2) You know that “edge of listenability” I just mentioned? Yeah, these next guys passed that about five exits back! Even their diehard fans admit The pAper chAse aren’t for everyone. They turn in inspired performances of really well written and thought-out songs, but they’re … well … just weird! Case in point, this is one of their most accessible songs.
1) The Residents. Just … The Residents.
Honorable Mention: Pink Floyd’s “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict”. Released in 1969 on the Ummagumma album, this … song? … is an exceedingly bizarre collection of tape loops recorded by the various band members, played back at high speed, and assembled into five of the strangest minutes ever to grace lacquer. Believe it or not, the title is not only an accurate description of the piece, but it’s not the weirdest aspect of the track.