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.  

Spielburging it up

We’re pleased to announce that MarketHOLD Productions is currently working on pre-production for a new inspirational teen faith-Based movie. We are working with Nick DiBella, the writer and director of Cherry Crush on his film King’s Faith. I had a chance to read the newest version of the script last weekend and it’s one part season one of The OC and one part To Save A Life. Nick’s written a really beautiful story that we hope will touch the heart of anyone who is, or was, a teen.

Nick is also a wonderful director, so we’re sure that in addition to being meaningful, this film is going to be beautiful to look at. And it’s going to be shot right here in Rochester! Have fun looking out for local landmarks such as High Falls or the Genesee Valley Park.

Part of the fun of this project will also be finding independent faith-based music for the soundtrack. Once production begins, we’ll be holding a competition among independent Christian bands to find the sound for the movie. The winner will have a music video shot, directed, and produced by our team.



Stay tuned,
MP
www.markethold.com

We Never Put Customers On Hold

WARNING: This blog entry will hold you accountable as a marketer, business owner, executive, or even administrative assistant. If your feathers are ruffled, GOOD! Ruffle them below, in the comments section. This entry is designed to make you a more effective marketer, by shining a light on the dark corners of your strategy and holding you accountable for the customer interactions you don’t even realize you’re having.
“We never put our customers on hold.” When you say that to me, it’s all I can do to keep myself from blurting out, “Just how delusional are you? Are you seeing someone for that?”
Call me blunt or rude, but never call me dishonest. Think about what you’re saying here.
Do you mean to tell me that, as soon as the call is initiated, there is someone in your business who immediately picks up the line, with zero seconds of ring tone, every single time, without fail? Are you saying to me, with a straight face, that you force your customers to silently wait for 10-15 seconds of ring tone before dumping them on a soul-less answering machine? Are you comfortable with flushing 10-15 seconds of your precious marketing time down the toilet? What about those between-line calls and transfers? While your sales director is looking for an answer to the caller’s question, the caller is put on hold, so they won’t hear the paper-shuffling and muffled swearing that may or may not come with the pursuit of that answer. This is, perhaps, where a customer might spend the most time on hold. This is time wasted, if it is not time captured.
Now, let me ask you again. What do your customers hear when they call your office? If you do not know, I suggest you stop reading right this instant and call your own company. I am willing to bet that most of you have never done such a thing, and some of you are even blind to the benefit of putting yourself in your customers’ shoes. Sometimes, the most obvious answer is the one we have the most difficulty finding. Sometimes, the simplest inquiry can lead to the most profound benefits. Call yourself, and see if you are or are not bored to tears while you wait for the line to pick up, wait for a connection to be made, or wait to leave a message. What do you hear when you call your office? If it is anything less than “an engaging message that keeps the caller on the line at all costs, because that call is important to our livelihood,” you’re doing it wrong. The truth is harsh, man.
Then, there are those who lack the ability to realize that they cannot do everything perfectly themselves – and that sometimes, just sometimes, professionals are the best at what they do professionally. If you sell paper, I’m sure you do not also have a degree in music production. Yet, so many think that both sound and their callers’ time are so unimportant that they can throw together a shamefully poor production, slap it on a tape in an answering machine, and call it message-on-hold. I cannot count how many times I’ve been told about how a company prefers to “do it [them]selves,” after suffering through an unbearably poorly-recorded on-hold message. I want to laugh, but sometimes you just have to let others make their own mistakes – repeatedly – until they realize that there truly is a better way to do some things.
Let’s say you think you’ll save $100 by recording a message yourself, using your own untrained, regional accent and the recording equipment that comes with your $50 answering machine. Let’s review some factual information. 7 out of every 10 callers will be put on hold, and 35% of those callers put on hold will NEVER call back after hanging up on you. Why should they? You don’t respect them enough to give them any value in their call. 94% of marketing efforts are directed at getting that customer to call (why else are you marketing? For public edification?), yet only 6% is spent on handling that call, once it is received. Are you serious? That’s like holding a grand opening for a restaurant, spending a fortune on ribbons and signs and advertising, then staffing only 6 servers to attend to your guests. You’ve saved $100, but you’ve wasted hundreds (perhaps even thousands) more in wasted marketing efforts, dropped calls, missed opportunities, and even lost customers that you once had. How does this make any sense? This is not a completely rhetorical question; I really want to know, because so many of you seem to think this is a good business practice!
Oh, but we play music for our callers while they wait for us to pick up the line. That should keep them happy. Are you sure you’re not asking for fines and possible jail time in the process of doing this? Never mind that customers stay on the line 25% longer with an on-hold message, compared to an on-hold background song (that cuts in and out most of the time, in my own personal experience). I’m talking about copyrights and licenses. You have no rights to any copyrighted music to which you do not own the copyright, and if you use someone else’s music in your on-hold time, you are breaking the law.
I am truly seeking discussion here. I want to make you angry with these pointed remarks, because at least then you’ll express some passion! Do you disagree with me? By all means, let me know; let the world know. Enlighten us. I have surveyed you, and a shocking 10% of you (approximate) truly believe that you owe nothing to your callers, because either you “never” put them on hold (these are exact words said to me) or there is no value in your customers’ on-hold time. I’d love for your customers to respond to that one. Hey, if you don’t care enough about me to not torture me on hold, I don’t care enough about your business to hand you my money. You’re not the only fish in the sea, baby. I’ll call someone who cares.

This conversation is not over!

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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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Creating the Itch: The Lasting Power of the Jingle

They’ve been around for as long as radio and advertising have existed. They are messages put to music; a clever way to tuck a targeted message inside a pleasurable tune. They’re jingles, or “rhymes or sounds in a catchy, repetitive format,” according to Mirriam-Webster’s Dictionary. Yeah, catchy and repetitive like a worm in your brain. It’s an ear worm, and if you’ve ever tried to dislodge one, you know how persistent they can be. Ever hear of a little ditty called “filet-o-fish,” courtesy of the McDonalds Corporation? You can thank me at 2:30am, when you’re desperate to fall asleep against an onslaught of singing large-mouth bass and the smell of fryer oil. You’re welcome.

The jingle’s power is in the slippery nature of the ear worm, and the chemistry between beat and brain is why the jingle has maintained its strong presence in advertising since the 1920s. Not every song has the power to be a worm – there are 3 qualities to a piece of music that increase its chance of gnawing away inside your mind for hours and days: Repetition, Musical Simplicity, and Incongruity. If the melody is one that repeats itself several times within the song’s length, your brain catches on to it like a child learns the alphabet – or a dog learns a trick. Repetition is biology’s education, which brings us to the quality of Musical Simplicity. Complicated compositions are, well, complicated and therefore our brain must work harder to memorize them. Simple rhymes and lyrics, however, are the key to idea-planting. Repeat the same simple sound 4 times in a row. Then, read a sentence aloud 4 times in a row. Observe which material is still in your memory bank later today, or even tomorrow. Here’s a hint, or shortcut for those who choose not to participate in the group activity with the rest of the class: It will be the simple repetition that wins over the sentence.

Finally, a musical piece with Incongruity is more likely to get “stuck” in your head than one that fits neatly into an automatic musical package. The brain abhors a puzzle – that is, a puzzle that has not been solved. Your mental biology will automatically try to fill in the intellectual vacuum. This is why, when your most annoying friend sings the first line of “It’s a Small World,” your mind starts a race to the finish of the song and you can’t do much about it. This is when you make a mental note to hum the melody of the Gilligan’s Island title song in your most annoying friend’s ear, as soon as possible. Incongruity also applies to a song that doesn’t stick to a predictable framework. Lyrics that emphasize one word, unpredictable melodies, and irregular musical timing all contribute to the likelihood that a song will burrow into your brain. Again: your brain hates an unsolved puzzle and will deliberately try to mimic the music and its exact irregularity. Your brain wants to work to hit those incongruities and to make sense of it all. It’s like a game of catch for your mind. This is part of why foreign languages are most easily learned, besides immersion, by listening to music in that language. Your brain wants to understand the lyrics and make sense of the song; the repetition of the music helps you remember the lyrics, so your brain can practice them over and over.

Let’s put these three qualities together, to illustrate why music works so well in advertising – and why the radio jingle will never die. If a song is repetitive, simple, and a part of it catches you off guard, you (the lucky listener) are doomed to repeat it to yourself. The filet-o-fish song is still in your head from when I mentioned it earlier, isn’t it? If not, don’t worry – I’ll put it back. “Give me that filet-o-fish, give me that fish…” uses a melody and lyrics that are almost painfully simple. Then, the song takes a strange and musically-uncomfortable turn. The catchy tune switches to what can only be described as a ridiculous time signature and lyrics that are so awkwardly-written that they sound like intentional kitsch. “What if it were you hanging up on this wall? If it were you in this sandwich you wouldn’t be laughing at all!” It’s annoying. It hurts my brain, but I can’t get it out. It makes me want a filet-o-fish, plain, with just ketchup.

Sources & Helpful Articles:
http://onlinewritingplaces.blogspot.com/2010/03/freelance-writing-101-why-you-should.html
http://www.uc.edu/news/kellaris.htm
http://www.merriam-webster.com/dictionary/jingle
http://www.markethold.com

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So You Wanna Answer a Voice Over Ad.

As with any professional position, a call for voice over talent is a request for responsible talent.  A call for voice over talent is not a come-on-down-for-fun-times request.  Voice over artistry is not something that anyone can do.  It is, however, something that many people think they can do.  Anyone can cover a wall with paint – not everyone is a paint artist.

Here are some points to consider when responding to a classified ad for voice talent.  These points are from the point of view of the person who receives your response to the ad.  In other words, this person has the power to flag you in for a reading and a paying gig – or laugh your application right into the trash.  These pointers are from a purely human-resources and talent-management point of view.  For in-depth technical and vocal training advice, you’ll consult with a skilled sound producer such as Steve Bartolotta.  For self-promotion techniques, you’ll read through this blog entry.

Yes, everyone has to start somewhere, and you may be one of those people who is truly talented but has not recorded a demo yet.  How am I to distinguish you from the video game potato who thinks it would be “fun to try”?  Hey, performing surgery would be fun to try, but when I take an honest look at myself, I discover that I am slightly under-qualified.  Please refrain from responding to our ad with “I got a good singing voice,” misspelled and lacking any identifying information, such as your name.  This angers the email gods in a mighty way.

You might list your character impersonations, foreign languages, and accents in your email response, but once you are in the booth, what amuses your friends and family might turn out to be something that makes our ears bleed.  The simplest, most straightforward way around this problem is to give the studio a call on the phone.  It’s a mini-screening, and it helps the recruiter get a better idea of your vocal range.  This saves us a lot of time, and gives an inexperienced voice talent a chance to prove him or herself.  

On the other side of the coin, there are some beneficial rules of practice that apply to experienced voice over artists seeking a gig.  First of all, send your demo with your response to the request for talent.  Just do it.  Don’t send me to your website and insist that they can all be downloaded, because we will be sending four emails back and forth to each other: I tell you they can’t be downloaded; you tell me they can; I explain in greater detail that they can’t be downloaded; you finally send me a demo.  Just send the demo.

If the request for talent specifies a language or accent, send a demo showcasing your talents in that exact language or accent.  Here’s the key to success, however: Split your demos.  Do not send an entire reel of you going through your repertoire, from narration to character to accent to announcement and everything in between.  This is because your particular submission will be much stronger if it is not diluted with extraneous examples of your voice.  For instance, let’s say a client is seeking a voice to speak English in a German accent, and they insist on an authentic accent.  If you submit a demo that contains your German accent, a shaky British accent, and your impression of Spongebob, you’re not getting the job.  It becomes glaringly obvious that you are imitating the accent, and the client loses their ear for you, so to speak.  They are distracted by your lack of qualifying factors and will not be able to imagine your voice reading their script.  The client's ideal in this case is a native speaker of the language, reading an English script.  Your challenge is to convince the client, with your voice talent, that you are a native speaker.  That is the essence of (voice) acting.  If your German accent is indeed precise, practiced, and authentic-sounding, that will come through in your individual demo.  Your voice will literally speak for itself.  Bundled together with other accents – especially if those accents are not exactly crisp – that German accent you’ve worked so hard to perfect sounds like a cheap knockoff, even if it is pronounced with perfection.

To be a successful voice over artist, you need talent, skill, and the proper equipment.  To be a successful job candidate, you need some marketing savvy, business knowledge, and people skills.  If you are just breaking into this business, you will eventually have all of these qualifications – but you will never gain experience until you get your foot in the door – or your lips near our 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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