The Anatomy of a Jingle

On our blog, we’ve talked about what makes a good jingle before.  Repetition, musical simplicity, and incongruity form the basis of any catchy song.  But if there’s a magic formula for writing an ear worm, does that mean that anyone can sit down and bang one out?  Is it enough to pull a musical phrase from a familiar song and give it a little twist?  What’s the trick to writing something that’s just same enough to sound familiar, but different enough to stand out from the flood of jingles and pop songs filling the airwaves?  Just how do you go about creating a jingle?  

To find out, we asked Steve Bartolatta.  He’s been writing jingles for over 20 years.

And we put together this short guide to the jingle.

1.      Why are jingles so important?   A jingle is an audio logo, a sound that can strengthen and define your brand in a way that your listeners will remember.  You can use a jingle in your commercials, in your email campaigns, on your phone system or in your overhead music system.  Jingles are an older form of advertising (they date from the early part of the 20th century), but because sound is so evocative, they remain a modern and powerful tool for communication. Though it's become popular in recent years to use pop music as a brand background, I think jingles will remain an important part of marketing because a jingle is unmuddied with outside associations.  Your company's jingle is purely your own.

2.       Tell us about your production process.  For instance, how did you create the Erie County Fair jingle?  How did you create a piece that could convey the feeling of the fair – eating cotton candy, or waiting to get on rides on a hot summer night, walking with your family, or your first girlfriend…?  I think all composers work a bit differently, in whatever fashion they are most comfortable.  I believe this because my process varies even from project to project.   For all of my work, my primary concern is of course the needs of the client, but whenever I am working on a piece that has a very atmospheric sound to it, I focus particularly on the instruments in the piece or the sound palette.    In the case of the Erie County Fair, I used mandolin, petal steel guitar, and banjo to give it a country flair and I combined that with a brushed snare drum and flute for a patriotic or Americana feel.  This sound combination resonated with me, and I hope with listeners.  It reminded me of my childhood, innocence, the excitement of the fair and also wanting to pass those feelings on to my children. 

3.       Do you have any advice for individuals looking for someone to compose and produce a jingle?  You want to look for a studio that will give you individualized attention and that can tailor a jingle to your specific needs.  It’s best to go with a specialized sound studio in order to receive the highest quality work:  a piece that was composed with all the care and attention you would want paid to the sound that will come to represent your company.  We especially recommend trying to find someone who has many years of experience composing music specifically for advertising because they will know what works and what doesn’t.   

4.       And what’s the difference between a pop hook and a jingle, anyhow?  Well they are actually much more similar than they are different.  In pop music, for example, you have much more freedom with time and approach.  While you still want to create something memorable, there is no one telling you “yes and it needs to happen in 5 seconds or less because we need room for the copy.” So as formula based or predicable as some pop music may seem it actually has fewer rules than a jingle.  I actually enjoy this challenge.  I like creating something that is fitting and unique but still follows the rules needed in order to be effective for a client.  

Self-Direction: There is no DIY in voiceover acting.

You've got your studio set up. You've got your ISDN line and your method of transmitting voice over readings remotely. You've got a script, a deadline, and specifications. In this DIY-recording studio, do you really think it's a smart idea to do it ALL your way?
How many times have you submitted a remote reading, only to have to revise it and send it back? How many repeat clients do you have - that is, how many production companies return to you for their voice over needs? If the answer is anything less than "every production company I've worked with has asked me for repeat performances," you would be wise to put down the flag of independence and start listening to the beat of the band, so to speak. You do want to march in the parade, don't you? Well, you need to know the steps. You need to understand and practice what producers need to hear in order to make any use of your recording. If you can't follow instructions, you cannot do it yourself. Here are some priceless tips (although you can measure the damage done by not following these tips, in your lost income) from the person who will be either writing your checks or scrambling for another, more professional artist who indeed can practice smart self-direction.

VO ARTIST: What’s the first thing I should think about when I sit down to record a remote voice over?
PRODUCER: You should immediately ask yourself, "How can I provide the producer with the best choices in readings for their project, and what can I add to the performance?"

VO ARTIST: What should I do if I’m unsure of what the client wants?
PRODUCER: It’s always best to communicate to the producer any questions you may have; if it is impossible to do that, provide as many choices in reading styles as you can think of. That way, the client is more likely to find one of your reads that fits the bill.

VO ARTIST: How can I tell which direction to take, just from reading the script?
PRODUCER: Always request delivery instructions from the producer! Take the time to understand how the audio will be used, what type of industry it's for, what genre it's in, and what message is being delivered.

VO ARTIST: Are there any universally-accepted key words or commands for voice over direction?
PRODUCER: Each producer has a little different style. however, words like conversational, instructional, or friendly are often used to describe the style of voice desired. Get familiar with the meaning behind these adjectives.

VO ARTIST: Should I send several versions of the voice over reading, just to be sure?
PRODUCER: Definitely, and always group them together in the same package, as it makes editing for the best choice much easier than having to go hunt for variations. Producers and clients alike appreciate this. Remember, you’re saving the time and expense of having to physically go to the producer's studio to record and, in most cases, getting the same compensation. Take the time to ensure that what you’re sending reflects positively on you as an artist and that you are showing an interest in achieving what the client is seeking.

VO ARTIST: What tactics have you heard of voice over actors using to get “in scene”?
PRODUCER: Often, voice actors will be extremely animated when reading. I encourage actors to look themselves or someone in the eye as they speak; this will usually result in a more genuine and believable read. Above all, don’t lose your smile (case dependent, obviously - you wouldn't want a PSA about cancer to be cheery). I would encourage each artist to record themselves without a smile, and then again with a big cheeky grin. Just listen to the difference it makes in the sound of the delivery. It is quite remarkable.

VO ARTIST: Is self-direction something that can be quickly taught, or is it just gradually learned?
PRODUCER: I think it depends on the individual, but I can usually tell if the actor rushed through a read or took their time, based on what I receive. The job at hand is what a producer judges the next job on!

VO ARTIST: How can you tell a less-experienced person’s voice over reading apart from a seasoned voice over actor’s? Is there really a difference, when it comes to self-directed voice over readings?
PRODUCER: Yes there is a difference between an experienced and inexperienced person's voice, and the word "reading" is key. No one wants the recording to sound like you’re reading.

VO ARTIST: Let’s say my voice over is neck-and-neck with another person’s. What is that tiny little difference that will get me the gig, instead of the other person?
PRODUCER: Personality and accuracy in pronunciation are key. Remember, the client knows this stuff cold, and they want to feel like you do too. Also, making sure the read is delivered within the time slot needed is important. Of course making deadlines is imperative, but a producer hates to receive a read for a 60 second spot that comes in from the voice over artist at 63 seconds. It shows a lack of caring and attention to detail.

VO ARTIST: Can you give me some general guidelines for various reading styles (narration, character, announcer, etc.)?
PRODUCER: When reading for narration, consider yourself a storyteller. In the world of grammar, the informative sentence rules. You are stating facts in a pleasant manner. When reading for announcement, consider yourself a broadcaster. Your tone should be loud, and I'm not talking about volume. A "loud" voice is confident without having to yell; far-reaching without screeching. When reading for a character, you probably already have your go-to characters lined up and have been asked to perform that character. If the character belongs to the producer or client, learn about that character or create a personality around that character. This small exercise is important for determining how the character would sound if it were a living, breathing creature. For message on hold, your voice should match the industry. For a dentistry practice, a caller wants to hear reassuring, friendly, and professional voices, for instance. A legal firm would desire a more hard-hitting, direct tone of voice.

VO ARTIST: Where can I send my demo?
PRODUCER: Send an email with your .mp3 demos to sarah@markethold.com; if you have a one-sentence description that has served you well, feel free to include that. We have in our ranks some of the most talented writers in the Rochester area, so we can certainly give you a professional, compelling description to accompany your demo. These descriptions help our clients to "preview" your voice before listening to it, which allows them to audition more talents in less time. Lastly, don't hesitate to send a head shot. These things help us to promote you. We consider the audio production industry to be co-operative; besides, your voice could represent us as a production company. We want you to sound your best, even in the promotional period that comes way before you ever step up to the mic.
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Selecting Music for Your Production

When producing a presentation, DVD, Radio or Television spot, or other multi-media production, the proper use of music can make or break your final product.  When possible, it is always most desirable to have a custom post score done by a professional and commercial composer.  Sadly, the harsh reality of most budgets exclude this option and often times, music becomes a mere afterthought.

Bummer!

Well, afterthought or not, your music choice is critical.  As an audio producer with nearly 30 years of experience, I’ve found that in most cases simpler is better.  I often listen to over-produced production music and try to imagine how anyone could effectively use the track - a slight disconnect between composer and producer I would say.  

Tight and simple statements are usually best to convey a feeling, whether it be excitement, importance, sincerity or attention.  We apply this same philosophy when writing a piece as well.  It is important to consider tempo first.  The tempo of the voice over will often times determine an appropriate tempo for the music to be added.  If you take the time to listen to the dry voice over first, you can audition different tempos by simply clapping your hands to the read and listening for what sounds most natural.  In some cases, the voice over is too fast or feels nervous and can be quelled with a slightly more relaxed musical piece.  More often a read is too flat, as in the case of a testimonial or a read by someone who normally doesn’t do voice over professionally.  In this case a more exciting music bed can help the read along.

Some other tips when mixing music are to not settle for the equalization that is on the piece that you introduced into your project.  I will often thin out music that is too rich in the mid range section, for example, in order to make room for the voice over.  This enables you to keep the music level up so that it is audible and exciting, without it competing with the voice over too much.  Another technique I use is to make an exact copy of the music on a lower track.  I will then hard pan the top track to one side and the bottom track to the other.  This provides more room for the voice as well! 

Music in production is an essential asset and can truly elevate any production to a higher level!

Steve  Bartolotta
Markethold Productions, Inc.

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