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June 8, 2005 |
A PRIMEDIA Property |
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 JRT: Production Music With a French
Connection
Soundminer Helps Businesses and
Editors Organize and Track Their SFX
Search Millimeter's Music
Library
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What's New
I don't know about you, but I've got a serious case of
Spring Fever! Work: Bad. Play: Good. If only life were that simple.
Anyway, hopefully we have some interesting reading for you below, as
you
kick back and enjoy a beer after your office spring cleaning. (OK, you
have our permission to get to that cleaning later.) In the JRT story,
we
learn about how old TV series are being reworked to include more
production music. And in our second feature we chat with Soundminer
president Steve Pecile about his innovative asset management software.
As always, comments, questions, and bountiful compliments can be sent
to
your semi-trusty editor at blair@blairjackson.com.
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Inside Info
JRT: Production Music With a
French Connection
Although JRT Music has established itself as a formidable
competitor in the U.S. production music library market, it is actually
a
French company. The initials belong to the father-son team of Jerome
and
Roger Tokarz, who got their start in 1967 when they formed the Parisian
publishing company Editions Musicales Sforzato, which later morphed
into
the hugely successful European production music enterprise Tele Music.
They started their American subsidiary, JRT, in 1997 with about 70 Tele
Music titles, but now that operation has developed a personality of its
own as it has begun to generate new discs recorded in the United
States.
"We've had a couple of productions done here," says general manager
Catherine Bogin from the company's New York office. "Our first foray
was
one called Sports News Drama, and we've recently finished
another
one called Street Beats, which is a hip-hop thing, and that's
being released as we speak. It's interesting: The guy who did that one
is French, but he lives in the U.S. and he had a real sensibility about
the international sound of hip-hop, but I think it's still distinctly
American. It's very strong. We used a studio called Back Pocket for
Sports News Drama, and Street Beats was made in the small
studio of the guy who produced it." To read the rest of this
article,
click here.
Product Spotlight
Soundminer Helps Businesses
and
Editors Organize and Track Their SFX
Over the course of putting together this newsletter
every couple of weeks for the past half-year, I keep encountering
people
who are using the Soundminer asset management software system to
organize and track their SFX. Last fall, for example, when I
interviewed
sound designer Eugene Gearty about his work recording vintage planes
for
The Aviator, he raved about how Soundminer had made his job
easier.
"My assistant, Larry Weinland, and I set up this database [in
Digidesign
Pro Tools] so every entry in Soundminer has at least three components
representing the three [different] mic setups [for each recorded
event]," he says. "We'd get these multiple pass-bys of liftoffs, and
when you'd line them up later to a sync point, it was pretty cool. I
could rifle through my library and get different perspectives of the
same action." And just a couple of weeks ago, a radio station engineer
in Atlanta told me that Soundminer had infinitely simplified the
process
of calling up, cataloging, and accessing effects, giving him a
searchable database for the first time and saving hours of labor in the
process.
Well, you know me—I'm kind of the curious type, so I called up
Soundminer's president, Steve Pecile, to find out a bit about the
company's origins, its approach to software design, and also a bit
about what's coming next from this dynamic and important company. We
chatted by phone from his Toronto office. To read the rest of this
article, click here.
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Music Library
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