Jingle writers and singers feel the impact of AI song technology.

WhatsApp Group Join Now
Telegram Group Join Now
Instagram Group Join Now

In the mid-1990s, Jason Page, then a struggling singer trying to break through with his rock band, can make a steady living by writing Mountain Dew, Taco Bell and Pepto Bismol airworms for jingle houses that have been advertising in music for decades. dominate the industry. But during an interview a few weeks ago, Paige – who eventually became best known as the voice of The Voice. Pokemon Theme song “Gotta Catch 'Em All” – introduces an artificial intelligence program. Within minutes, he emails eight studio-quality, hauntingly catchy punk, hip-hop, EDM and klezmer MP3s that focus on the reporter's name, the word. Billboard and the phrase “the jingle industry and how it has changed so much over the years.”

The point is self-evident. “Yes,” says Paige, of the industry that once sustained him. “It's dark now.”

Today, the jingle business has created an assembly line of composers and artists competing to turn the next “plop plop fizz fizz” into a more multifaceted relationship between artists and companies, including brand relationships. (like Taylor Swift's longtime Target deal); Super Bowl Sinks Worth Millions of Dollars The production house allows music brands to choose from thousands of pre-recorded tracks. and “Sonic Branding,” in which Intel Bong Or Netflix Tudm Marketing is used in a variety of contexts. Artists and songwriters earn substantial income from this type of commercial music, and They are much more open to doing this than they were in the corporation-skeptic 90s. But AI, which allows machines to create all these sounds for brands far more cheaply and quickly than human musicians, remains a threat.

“It definitely has the potential to be disruptive,” says Zeno HarrisA creative and licensing manager for West One Music Group, an LA company that licenses its 85,000-song original music catalog to brands. “If we can use it as a tool instead of a replacement. [musicians], I see it in the headline. But money dictates where the industry goes, so we'll have to wait and see.

This vision of an AI-dominated future in a key revenue-generating business is as unsettling for singers and songwriters as it is for Hollywood screenwriters, radio DJs and voice-over actors. “I just took a deal with a life insurance brand to pay for my record making,” he says. Grace Bowers, 17, a Nashville blues guitarist. “I'm certainly not the only one doing it. Artists are turning to whoever they can. [make] Money, because touring and putting on music isn't the biggest money maker. If Arby came to me and said, 'Can you write me a song?', I'd say, Hell, yes!'

The end of an era

Since the late 1920s, when a barber shop sang “Have You Tried the Wheat?” By the late 90s, for a Minneapolis radio station on the air, jingles dominated the in-music advertising business. Jingle houses like Gem, JSM and Rio competed fiercely to secure contracts with major brands and advertising agencies. In the process, they created lucrative side gigs for decades of rising talent, such as Luther Vandross, Patti Austin and Richard Marks, who, as jingle veteran Michael Bolton wrote in his autobiography, “all made jingle houses.” shook the tree.”

“If you wrote a song that was going to be a national campaign, and you sang on it, you could make $50,000, and you could do three of them in a year,” recalls. John Loefflera singer-songwriter who worked on 2,500 jingle campaigns as head of Rave Music jingle house, before serving as a BMG executive for years.

John Stamos and Dave Collier play jingle writers on ABC. Not having space. In this scene from “Jungle Hell,” Mary-Kate or Ashley Olsen give a high-five to “Uncle Jesse.”

ABC Photo Archives/Disney General Entertainment Content via Getty Images

By the late 1990s, for the most part, when TV split from four must-see broadcast networks to dozens of cable channels, video streaming networks such as Netflix died out. (Steve Kermanthe ad agency doctor who wrote “Across the Country … Is With You,” is what many consider to be the postmortem era of his 2005 book, Who killed the jungle?“I wish young artists these days had the opportunities I have,” Loeffler says. “It's so different.”

Today, artists are more likely to have extensive branding relationships with corporations like Target — Swift and the retailer have sold special versions of her albums for years, and Billie Eilish, Olivia Rodrigo and others have done similar deals. . They have to write catchy scripts for TV and radio. “I personally have never heard the word 'jingle' in my civilian life,” he says. Theo D. Ginsburg, managing partner of Citizen, a five-year-old music house that employs studio artists to create original music for advertisers. “The clients we deal with want to be taken more seriously. The audience is more discerning.”

Citizen employs 10 full-time staff members, including five composers, to create original music for advertising campaigns, and like West One and many other music houses, maintains a library of licensed tracks. . The company's commercial work includes Adidas' “Runner 321,” which pairs Michael Jordan and Babe Ruth with clips of athletes with Down syndrome, set to percussion tracks of its own sports. Major music publishers also maintain in-house services for this type of production music. Warner Chapel Music's extensive online library includes a hip-hop-style track called “Ready to Fight”, described as “driving trap drums, electric guitars, bold brass, cerebral synths and go-getter male vocals”. Is. WCM “represents certain songwriters who like to write in short form” and “are also very good at writing pop hits,” says WCM. Dan GrossThe publisher's creative sync director, previously music supervisor at top advertising agency McCann.

Ba da ba ba ba

A popular catchphrase for music in advertising today is “sonic branding” – designing a short musical calling card, like the Intel Bong, that captures the feel of a product and uses it in ads, promotions, app tones, Tik Tok and more. Can be used in Instagram videos. Even virtual reality games. “The message of resilience is a really important thing,” he says. Simon Kringle, sonic director for Unmute, a Copenhagen agency that has worked with brands like magazine publisher Aller Media to create catchy musical snippets it calls “watermarks.” “The only chance we have is to make sure that the brand has something to remember every time we interact with our audience.”

Kringle avoids using the term “jingle” — “the whole point of it kind of went away,” he says — but the most memorable old-school jingles have taken on a classic rock quality in recent years. McDonald's 20-year-old “ba da ba ba ba ba”, “Nationwide … is on your side” and many others are constantly repeated in TV streaming commercial breaks. State Farm's “Like a Good Neighbor …” remains the king of earworms, and the company deploys the Barry Manilow-penned jingle in strategic ways. Around 2020, says State Farm's marketing chief. Alison Griffin, the insurance company conducted a study of its marketing assets. “They found that 80% of people recognized the notes, 95% recognized the slogan – and when they put the two together, there was almost 100% recognition,” she says. “We recently tripled down on Gingal.”

Likewise, Chili's recently went retro, hiring Boyz II Men to update their '90s “baby back ribs” jingle with a new ad. “Jingles don't feel as modern as maybe brands want them to be,” he says. George Felix, Chief Marketing Officer for Chili's Grill and Bar. “But if you fix it, there's definitely still runway for the shrimp.”

For now, brands are still spending heavily on ad music of all kinds—and every once in a while, a real banger emerges. Temu, a new e-commerce company owned by a Chinese retail giant, will reportedly spend $3 billion on advertising this year, including the catchy “Oh, Oh, Temu” jingle that aired during the Super Bowl. will be emphasized.

Keeping an eye on AI

Yet some in the commercial-music industry are concerned about what Paige's punk-EDM-hip-hop-klezmer AI-jingle workout has to offer. “Do I think so? [AI] Fear has taken over? No. Am I concerned? Yes,” he adds Sally House, CEO of The Hit House, a 19-year-old Los Angeles company that hires composers, engineers, sound designers and artists for music in Progressive, Marvel, HBO and Amazon Prime Video spots. “We're all waiting for copyright to make us and the government do something about it.”

But Warner Chappell's Shaw says his team receives requests for “custom compositions” because brands want to work with the publisher's A-list songwriters. “AI is not really important to us in this case,” he says.

At Mastercard, which went through a two-year process in 2019 to unveil a melodic, new-age musical instrument as part of its Sonic brand, AI could be useful for future ad campaigns. But not for creation Music Mastercard employed composers, musicologists, sound engineers and even neuroscientists in addition to its creative people to work on its distinctive tone. “If I tell the AI ​​engine who the audience is, what I'm trying to create, what the context is, and tell it to compose something based on a Mastercard melody, it will do a great job,” he says. say Raja RajamanarA classically trained musician who is the company's Chief Marketing and Communications Officer. “But if I were to create a Mastercard sonic architecture, I can't give it to an AI. The actual creation, at this stage, clearly has to come from humans.”

Paige agrees. Even if AI eventually takes the cut out of the space — and certainly out of potential profit for writers — it won't completely eliminate the need for real musicians creating ad music. Classic jingles endure, he says, because they have humanity and soul — and because people “know there's a human being behind the Folger's theme song.”

WhatsApp Group Join Now
Telegram Group Join Now
Instagram Group Join Now

Leave a Comment