14th Annual AMP General Meeting
February 7, 2012
6:30pm
COLOR
28 W. 25th St., 7th floor
Between Broadway & 6th Ave.
Highlights From The Muse Composers
FGMK: Official AMP Insurance Sponsor
Effective May 1st, Renee McGovern has relocated to FGMK Insurance Agency, 2801 Lakeside Drive, 3rd Fl, Bannockburn, Illinois 60015.
Renee has assured all members of AMP that she has carefully transferred our E&O policies with her. We welcome FGMK as our new official AMP Insurance Sponsor. This new relationship is a good time for each company to review their insurance needs. You can contact Renee at 847 964 5108 or by e-mail at (JavaScript must be enabled to view this email address).
Muse2Music Recap In Shoot
Click here to read the latest SHOOT, and find out all the details from the Muse2Music event.
AMP/West Composer Open Forum Part II
Topics Discussed:
Spec Work
Composers Union
CALM Act
Business Solutions
AMP/West Composer Open Forum II
The Inaugural Muse2Music Event Debuts At Le Poisson Rouge
On Monday, March 21st, the Association of Music Producers (AMP) staged the first-ever Muse 2 Music event at Le Poisson Rouge in New York. The AMP Composer Project was made up of nine AMP composer members who penned original tunes inspired by works from leading agency creative directors, including a book by Tor Myhren of Grey, photography by Jason Koxvold of Strawberry Frog, and lyrics by Alex Lubars (son of BBDO’s David Lubars). Additionally, artists Senadee (UK singer/songwriter) and DEDE (Brooklyn-based dream/pop band) gave live performances.
“The AMP Composer Project featured at Muse 2 Music was a wonderful opportunity to showcase the power of original music,” said Liz Myers, of Trivers/Myers Music, and President of the AMP National Board. “This is our inaugural event, but the success of this evening leads us to want to do this again and again with different muses, as it is a format that establishes AMP as a champion of new and custom musical works.”
Composers who contributed music were: Jeremy Adelman of Motive; Stuart Bidwell, Wilson Brown, Spencer Casey and Sean McGovern of Antfood; Paul Brower and John Terrelle of Hothead; Dana Kaproff; Brian Jones of Bang; Eric Maltz; Naren Rauch; Brian Rose and Matthew Slater of Music-by-Design; and Nicholas R. Wright.
Special thanks to Guitar Center, who offered a Fender Stratocaster guitar for auction, which went to Bernard Drayton of Last Minute Entertainment.
ABOUT AMP
The Association of Music Producers (AMP) was founded in 1998 for the purpose of educating its members, as well as the production, advertising and media communities, on all facets of music and sound production, from creation to final use. With regional chapters around the U.S., AMP is the first organization which represents the music production industry on a broad platform of creative, business and community matters. Production guidelines, legal issues relating to rights, licenses and composer royalties, talent negotiations, industry education, public relations and industry charitable endeavors are among the bullets on AMP’s agenda. Visit us at http://www.ampnow.com
AMP Co-Hosts A Concert at SXSW with Tequila Mockingbird
AMP goes to Austin to celebrate the iconic SXSW Festival, staging a concernt with Tequila Mockingbird.
View Photos
"State of Play" - A Look At AMP Initiatives
Jon Slott of Breed (and a member of AMP’s National Board) interviews Liz Myers of Trivers/Myers Music, and AMP National Board President, in the March issue of Screen about the state of the industry, and AMP initiatives.
March 21st Event Creates Buzz
SourcEcreative previews the Muse 2 Muse event on March 21st. Read now!
Read The Minutes of the 13th Annual AMP General Meeting
Good Business Practices Click To View
http://adage.com/madisonandvine/article?article_id=145744
Where Does AMP Stand On Spec Work? Read AMP/West President PJ Hanke's Letter To Find Out
The AMP Playlist
Read the latest column.
AMP Announces New Officers for 2010 National Board
AMP Announces New Officers for 2010 National Board Organization Marks its 12th Anniversary with Celebration of Expansion
NEW YORK, February 25, 2010—The Association of Music Producers (AMP) today announced new officers to its National Board. Liz Myers of Trivers/Myers Music, Los Angeles will serve a two-year term as President. Ray Foote of Big Foote Music, New York, continues as First VP (adding Secretary/Treasurer to his responsibilities), and Larry Pecorella of Comma Music, Chicago is now 2nd VP.
Also elected to the board: Lyle Greenfield of Bang, New York (Past National President), PJ Hanke of Sovereign, Los Angeles, who is also West Coast Chapter President; Jan Horowitz of David Horowitz Music Associates (DHMA), New York, who additionally serves as Vice President of the East Coast Chapter; Jason Menkes of COPILOT Strategic Music + Sound, New York, and President of the East Coast Chapter; Andy Snavley of Bendy Music, Los Angeles; and Jon Slott of Juniper, Dallas (At-Large Board Member).
Myers pointed to her unanimous vote for Board president as a “validation of the expansion of AMP. Though I’m originally from New York, I’ve lived and worked on the West Coast for over twenty years.”
General Meeting
The 12th Annual AMP General meeting was held on January 26th. During the meeting, several initiatives were discussed: (1) Results of a Member Survey that gathered a range of opinions, interests and priorities; (2) An Educational Initiative (called “Music 101”) which will take the shape of a traveling presentation for ad agencies, to demonstrate the importance of original music and sound in creative branding, with a comprehensive explanation of the process; (3) The AMP Playlist—a new email newsletter that is being sent every 6 weeks to over 8,500 people, including producers and creatives at major advertising agencies around the country; (4) a fundraising event (proceeds to go to a music-related charity) planned for later this year in New York, featuring live music.
All of these efforts signify a promotion of the very things that AMP members do best: create brand recognition through outstanding music and sound.
ABOUT AMP
The Association of Music Producers (AMP) was founded in 1998 for the purpose of educating its members, as well as the production, advertising and media communities, on all facets of music and sound production, from creation to final use. With regional chapters around the U.S., AMP is the first organization which represents the music production industry on a broad platform of creative, business and community matters. Production guidelines, legal issues relating to rights, licenses and composer royalties, talent negotiations, industry education, public relations and industry charitable endeavors are among the bullets on AMP’s agenda. Visit us at www.ampnow.com
12th Annual General Meeting Minutes
AMP/West Seminar
Power Branding Through Original Music
How to make the strongest connection possible between product and consumer
Date: November 16, 2009
Location: The Culver Hotel
9400 Culver Blvd
Culver City, CA 90232
(310) 558-9400
Time: 6:30 Networking, Lite Refreshments, Cash Bar
Panel: 7:15 - 9:30
Tickets: $30 for non-members, $20 for AMP and AICP members.
On the panel:
Dain Blair/Groove Addicts (the company behind Mitsubishi Taiko drum campaign)
Liz Myers/TriversMyersMusic (arrangers of the United Airlines campaign)
Paul Horn/Wojahn Bros (creators of the Home Savings campaign)
PJ Hanke/Sovereign-LA (panel moderator, composer of the Acura campaign “TSX/Window-Future of our Love”)
Walter Werzowa/Musikverneugnen (creator of the most performed piece of music in the world: the Intel logo)
for more info, call liz at 310 640 9166
Elizabeth Myers
www.triversmyersmusic.com
550 Continental Blvd. #100
El Segundo, CA 90245
AMP In The News
Short Goes Long Way To Showcase AMP Talent
By Robert Goldrich
October 10, 2008
Read the article
AMP Ramps Up, Seeks Higher Profile For Original Music For Commercials
Organization Plans To Petition For Grammy Recognition Of Spots; Spec Sheet Introduced
By Robert Goldrich
April 18, 2008
Read the article
GRAMMY Hall
Spot.Com.entary
By Robert Goldrich
May 23, 2008
Read the article
Letter To Adage 2009 - A Case For Original Music
AMP Premiere “The Third Millennium: 2000 – Present” At Advertising Week 2008
HAMPSTER - AMP West Chapter Newsletter (volume 2. issue 1.)
AMP National Board Announces New Officers
AMP Rocks The House To Find New Talent, Hosts its First-Ever West Coast Battle of the Ad Bands
Online Voters Will Decide Winner of AMP’s Spotted Excellence Award
Web Event is New Feature of Association’s Annual Awards for Excellence in TV Commercial Mixing.
April 20, 2005 - The Association of Music Producers (AMP) wants you to listen to a television commercial. The organization, which will be honoring post production mixing engineers June 6th at its fourth annual AMP Awards for Excellence in TV Commercial Mixing, says there is no similar award for those responsible for that “rare breed,” a TV commercial that catches your attention because of its superior sound quality. This year AMP has added the Spotted Excellence Award to its roster of honors and is inviting visitors to its website (http://www.ampnow.com) to watch (and listen to) three nominated spots and vote for the one that sounds the best.
“Everyone’s a critic and we all love good TV commercials,” said AMP West Coast Chapter President Liz Myers of Trivers/Myers Music who chairs the event. “The Spotted Excellence Award gives you a chance to vote for a spot you think sounds the best. We musicians know the way we like things to sound. Now we want to hear what the public likes.”
The three commercials nominated for the Spotted Excellence Awards are: BBDO/NY’s “Sled” for Pepsi/Mountain Dew, post-production mix by Tom Jucarone/Sound Lounge-NY; Saatchi & Saatchi/LA’s “Wheel” for Toyota Motor Corporation, post-production mix by Eric Ryan/Ravenswork-LA; and Fallon/Minneapolis’ “Interview” for United Airlines, post-production mix by Jimmy Hite/Margarita Mix-LA.
The online polls will be open until June 3rd. In addition to the agencies, AMP secured permission from SAG, AFTRA and AFM to run the spots on the website.
The winning commercial will be announced at the June event, which will take place in Beverly Hills at the Mosaic Hotel. Tickets go on sale May 1st.
“A lot of expertise goes into making a great television commercial, and the sound mix is the critical last step,” said AMP President Jan Horowitz of DHMA, a music and sound design company. “Pulling all the audio elements—the music, dialogue, voiceover and sound effects—into perfect balance supports both the visual image and the advertiser’s message. That’s what the very best post production mixers do, and we think they deserve recognition.”
In addition to the Spotted Excellence Award, represented online by a picture of a cheetah, AMP will be handing out several other awards at its event. Honors will go to two finalists, an honorable mention, and the best newcomer in the field. Capping the evening will be the presentation of the AMP Decibelle trophy to the Mixer of the Year. Last year’s AMP Awards drew more than 200 advertising professionals, Hollywood celebrities, and music business notables to the famed rock ‘n roll studio The Village to see Bob Gremore of Mike Recording Services in West Los Angeles crowned Mixer of the Year.
A primary sponsor of this year’s event will be SHOOT magazine, with others to be announced. A portion of the proceeds will benefit the Mr. Holland’s Opus Foundation, which provides musical instruments and instruction program to public schools that request assistance. In addition to the awards, the evening will feature a screening of short films on the theme “The Revolution of the Creative Process: How New Technology Affects the Way We Work.”
Tickets to the awards party will be $75 for members of AMP and AICP; $85 for non-members and will go on sale May 1st. Reservations may be made by e-mailing (JavaScript must be enabled to view this email address) . The Mosaic Hotel is located 125 S. Spalding Dr., Beverly Hills, CA 90212. The reception begins at 7 p.m., the Awards Screening at 8:30 p.m.
For information, call (310) 546-3505 or visit AMPNOW.com.
The Association of Music Producers (AMP) was founded in early 1998 for the purpose of educating its members, and the production and advertising community as a whole, on all facets of music production, from creation to final use. With its national headquarters in New York, and regional chapters in Los Angeles, Chicago, Florida and Minneapolis, AMP is the first organization to represent the commercial music industry on a broad platform of creative, business and community matters. Production guidelines, legal issues relating to rights, licenses and composer royalties, talent negotiations, industry education, public relations and industry charitable endeavors are some of the bullets on AMP’s agenda. At a time when the impact of music is growing exponentially in every broadcast medium, AMP is serving to give the music community a clear voice—and the benefit of its own experience. AMP is an affiliate of the Association of Independent Commercial Producers (AICP).
Call for Entries Issued for the 2005 AMP Awards
4th Year of the Prestigious Award Honors Skills of the Post-Production Mixing Engineer.
December 6, 2004-The Association of Music Producers (AMP) has announced its Call for Entries for the 2005 AMP Awards for Excellence in TV Commercial Mixing. This is the fourth year of the event and the second as a national competition honoring the skills of the post production audio engineer who “mixes” the final sound on television commercials. The deadline for entries is February 28th. The association, which represents advertising industry music producers and composers, will host an awards evening to announce the winners in April.
“Everyone knows that when a spot sounds good, you want to listen,” said AMP President Jan Horowitz of David Horowitz Music Associates. “A good mixer delivers the advertiser’s message in a way that catches your ear. That’s an art.”
“This is the only award of its kind,” said AMP West Coast Chapter President Liz Myers of Trivers/Myers Music who chairs the event. “Most groups honor their own. Here we have an opportunity to recognize someone outside our own organization who nevertheless helps us showcase what we do best-great music and sound production.”
Entrants are invited to submit a DVD of three television commercials by a single mixer. The commercials must be from three different campaigns, and show high audio production value, mixing skills, and sensitivity to the relationship of voice-over, dialogue, music, and sound design. Myers said the judges are looking for versatility, which is why spots from the same campaign will not be accepted, and why entries are required to have voice-over. Spots with all music or all sound design will be disqualified.
Submissions must be accompanied by an affidavit signed by an official at the post-production facility or agency, attesting that these mixes are the on-air versions of these spots, and providing titles and ISCI codes. The spots must have aired in the U.S. for the first time between January 1, 2004, and December 31, 2004.
There is a fee of $125 per entry. Multiple entries by the same mixer are permitted, but the spots submitted may not be duplicates. Entry forms are available at http://www.ampnow.com; DVDs, affidavits, and fees must arrive at Trivers/Myers Music, 2816 The Strand, Manhattan Beach, CA 90266 by February 28, 2005. The winners will be announced at a special event to be held by AMP in Los Angeles, in April of 2005.
“As a music association, when we first considered honoring the unsung audio engineer, I thought that the best mixer must be the one who mixes the music the loudest,” said AMP President Jan Horowitz of David Horowitz Music Associates. “It turns out there’s a lot more to it than that. The best mixers find that delicate balance where all the elements get equal ear-time, yet you’re not conscious of anything out of sync. Of course, it doesn’t hurt if they make the music loud.”
Last year’s winner of the “Mixer of the Year” was Bob Gremore of Mike Recording in West Los Angeles. Others honored included Finalists, Honorable Mention (for a campaign or spot), and a Judges’ Special Merit Award for a newcomer to the field. The event drew more than 200 advertising professionals, Hollywood celebrities, and music business notables to the famed rock ‘n roll studio The Village.
Full details can be found at www.ampnow.com
For more information, contact Liz Myers at (JavaScript must be enabled to view this email address) or by calling (310) 546-3505.
The Association of Music Producers (AMP) was founded in early 1998 for the purpose of educating its members, and the production and advertising community as a whole, on all facets of music production, from creation to final use. With its national headquarters in New York, and regional chapters in Los Angeles, Chicago, Florida and Minneapolis, AMP is the first organization to represent the commercial music industry on a broad platform of creative, business and community matters. Production guidelines, legal issues relating to rights, licenses and composer royalties, talent negotiations, industry education, public relations and industry charitable endeavors are some of the bullets on AMP’s agenda. At a time when the impact of music is growing exponentially in every broadcast medium, AMP is serving to give the music community a clear voice-and the benefit of its own experience. AMP is an affiliate of the Association of Independent Commercial Producers (AICP).
The AMP Awards Frequently Asked Questions: FAQs
The AMP Awards
Frequently Asked Questions: FAQs
1. Just who are the judges? The panel of judges is largely made up of AMP Members who are elected by the AMP membership on the basis of their expertise in the field of music and sound mixing. Since all of the active members of AMP are music and sound producers, it is relatively easy to find qualified experts. In addition to AMP Member Judges, two Guest Judges are invited to participate. These invitees are drawn from the following:
a) One Judge whose main expertise lies in the field of pop and/or film music mixing and
b) One Judge from the world of advertising and/or marketing production.
2. How and when does the judging take place? The judging is by secret ballot with a numerical rating system of 5 points, 5 being best. The highest score wins. In the case of a tie, the entries are re-presented to the judges in a run-off. The DVD entries are played exactly as entered without being dubbed to any other format. They are randomly presented over a state-of-the-art stereo system in a professional recording studio. For this reason 5.1 Surround Sound mixes are discouraged. Each entry is played in exactly the same environment at the same level of volume. All entries are heard by the judges in the weeks just prior to the awards show, tentatively scheduled for April 26, 2005. Winners are kept secret until they are announced at the show.
3. Could you tell me more about what the judges are looking for? The judges are looking for C-I-A which stands for
a) Clarity “the clean-ness” of the sound, if there is dialogue & VO, does this enhance the “verbal message”
b) Impact not just “loudness” but overall audio level impression
c) And Most importantly—Artfulness attractiveness of sound, the listenability (the “anti-clicker”)
4. Can I enter my long-form film that was created for theatrical and internet release? Yes, the intent of the judges is to reward excellence in the field post-production sound mixing. As long as the work was created for advertising and/or marketing and promotes a particular product, it can be entered in these awards, regardless of length. The work must have premiered in the U.S. on a mass-market broadcast venue during the calendar year 2004. Mass-market broadcast venues are defined as television, theater, internet and any other public dissemination.
5. What if I miss the deadline? After the February 28th deadline, late entries are allowed up until April 4th, 2005. A late fee of $50 is charged for each entry received after March 7th, bringing the total cost for each late entry to $175.
6. Can I change my mind and withdraw my entry? No. All entries are final and cannot be returned.
7. How do I know if I qualify for the Newcomer Award? A Newcomer is defined by the AMP Awards Committee as anyone who has been mixing sound for TV and/or film professionally for less than three years. If you feel you qualify for this category, please note the date when you began working in the field of post-production mixing for advertising on your entry form.
8. How do the nominations work? Mixers can be nominated by anyone whose background is in sound production by forwarding your nomination to (JavaScript must be enabled to view this email address). Nominations are solicited from AMP Members and Advertising Agency Music Producers. Those nominated will be notified and will be asked to enter their body of work as exemplified by the judging criteria found at the http://www.ampnow.com website.
9. You keep talking about a body of work, but now this year there is also a Spotted Excellence Award for the “Best Sounding Spot of the Year”. How does this impact the awards? Again, the judges’ intent is to bring attention to excellence in this field. This is the ONLY AWARD OF ITS KIND for advertising post-production mixing. In order to bring a wider scope of awareness to the AMP Awards and its Winners, we have added this new category. The “Best Sounding Spot of the Year” will be nominated by AMP Members and Advertising Agency Music Producers. The top three spots that receive the most nominations will be placed on our website. Voting will take place by the public at our website http://www.ampnow.com. AMP understands that hearing these spots on laptops and other computer sound systems is not the highest quality sound reproduction, but AMP accepts this condition in exchange for immediate wide range distribution of the media. Also, AMP realizes that when the public votes on a spot, it is often with different criteria than that established by the AMP Awards Committee. Regardless, AMP feels that having a Spotted Excellence Award will help focus attention on the huge impact that sound has on the quality of advertising and its ability to reach its market. The Advertising Agency who produced the winning spot will accept the award for this category at the awards show, along with the person(s) who mixed the spot.
AMP Announces Officers for 2004
Jan Horowitz of DHMA is new president of six-year-old trade association.
The Association of Music Producers (AMP) has announced new officers for the current year. Jan Horowitz, vice president and business manager of David Horowitz Music Associates (DHMA), steps into the role of 2004 national president of the trade organization that represents companies that compose music and design sound for television commercials. Ms. Horowitz, who will serve a one-year term, succeeds Jeff Rosner, partner and executive producer at Sacred Noise. Elected to a one-year term to serve with Ms. Horowitz were: Nick DiMinno, president and administrative partner in Three Tree Productions, for a second term as vice president; Ben Davis, managing partner and producer in Music for Picture, as secretary; and Tiffany Warin, president and executive producer of tonefarmer, as treasurer.
Jan Horowitz: A trumpet and piano player, Ms. Horowitz credits a summer job as a studio assistant for her career in music. She became a recording engineer for rock, pop and jazz records and concerts, both freelance and as an employee of Blue Rock Studio in New York. She worked with such artists as Bette Midler, Bob Dylan and Bob Marley, and recorded albums in Stockholm, Madrid and New York, before teaming up with her husband, David Horowitz, in 1987 to manage DHMA, overseeing the expansion of the four-person operation and the construction of new studio facilities to house the growing company. A founding member of AMP, she served as secretary, working alongside the organization’s first president, Lyle Greenfield, president and creative director of Bang Music and Sound Design, and later with Mr. Rosner.
Nick DiMinno: Mr. DiMinno started his career as a musician in the early ‘60s, touring the country with various bands. His experience led him to the Richmond Organization, a music publisher, and from there to A&R Recording, where he rose to studio manager and worked closely with the celebrated record producer Phil Ramone. For ten years, he produced music for advertisers at HEA Productions, leaving there to establish a partnership with David Lucas at David Lucas Associates, later with the addition of two more partners 4/4 Productions. Also one of the founders of AMP (as was 3 Tree partner Jake Holmes), he served his first term as vice president in 2003.
Ben Davis: Mr. Davis grew up straddling the worlds of music and film, from high school bands to college radio, student films to a projectionist job, documentary film production, and eventually a recording career with his band Wagon for the Hightone and Glitterhouse Record labels. He moved to New York and worked as a music producer at Saatchi & Saatchi from 1997 - 2000, then enjoyed a brief stint as a producer with tomandandy. In 2001, Mr. Davis said, he gave in to his most primal need, to organize, and founded Music for Picture with composer-partners Jeremy Adelman and Peter DuCharme.
Tiffany Warin: Ms. Warin spent 13 years in advertising, working as an account executive for Goodby Silverstein & Partners, Wieden + Kennedy (Portland) and Deutsch Advertising in Los Angeles, before becoming director of creative resources for Deutsch New York where she was instrumental in hiring creatives and established a lecture series to bring in guest speakers, including David Sedaris and John Waters, to discuss the creative process. Leaving the agency world, she joined Raymond Loewy as a partner in the then year-old tonefarmer, after a stint as a clarinetist in her home town symphony in Modesto, CA. She also works as a voice-over artist and singer.
The new president said her organization will focus on business issues in the coming year, among them E&O group insurance rates for members; meetings with agency music producers; cooperative efforts with the Production Music Association; and gatherings of business managers to discuss industry issues. In addition, she hopes to launch a series of AMP composer concerts.
“My personal commitment to AMP was born out of watching how business realities intersected with the creative process. Musicians don’t see themselves as joiners, and it took a lot of convincing, but forming AMP made business sense and creative sense,” said Ms. Horowitz. “Advertising is the larger context of this industry, but we are first and foremost about the music. I’m very proud of what AMP has already accomplished, and we have great plans to do more. ”
Founded in 1998 for the purpose of gathering and sharing information on all aspects of music production and the music business, the Association of Music Producers (AMP) is a national organization with chapters in New York, Los Angeles, Chicago, Miami and Minneapolis.The presidents of AMP’s chapters serve on the national board of directors. Current chapter presidents are: New York-Jan Horowitz; West Coast-Howard Dubin, general manager and chief financial officer, of Chris Bell & Company; Midwest-Steve Ford, president of Steve Ford Music; Florida-Steve Roitstein, president of Riot Music; and Minneapolis-Bob Hest, a partner in Hest & Kramer Music.
AMP is the first organization to represent the commercial music industry on a broad platform of creative, business and community matters. Production guidelines, legal issues relating to rights, licenses and composer royalties, talent negotiations, industry education, public relations and industry charitable endeavors are some of the bullets on AMP’s agenda. At a time when the impact of music is growing exponentially in every broadcast medium, AMP is serving to give the music community a clear voice and the benefit of its own experience. AMP is an affiliate of the Association of Independent Commercial Producers (AICP).
Pictures from the AMP Mixers Awards Event
AMP announces its Mixer Awards winners
TV Commercial Post Production Mixers are honored; Mr. Holland’s Opus Foundation also feted
April 29, 2004: West Los Angeles, CA—The Association of Music Producers (AMP) announced today the winners of the 3rd Annual AMP Mixer Awards. AMP is made up of television commercial music producers who celebrated the work of their post production colleagues at a spirited presentation here on Saturday, April 24, 2004. The awards are given for a body of work which shows outstanding ability in mixing music, voice-over and sound effects in TV spots. This year’s top honor was presented to “Mixer of the Year” Bob Gremore of Mike Recording Services in West Los Angeles.
The awards event was created by the Association of Music Producers, and this year took place in the ballroom at the famous recording studio, The Village, renowned in the recording industry as the site where Fleetwood Mac’s “Tusk”, the Rolling Stones’ “Angie”, and Smashing Pumpkins’ “Meloncollie” (and hundreds other top-ten albums) were recorded. In addition, the musical event raised money for the Mr. Holland‚s Opus Foundation, which encourages public school music education and provides musical instruments to needy students across America.
Mr. Gremore took top honors for three 30-second commercials, Ford “Submarine”; Discovery Channel “Nerfertiti”; and Altoids “Guinea Pig.” Two other finalists whose work was cited were Jimmy Hite of Margarita Mix de Santa Monica, who mixed spots for advertisers Kill Switch, Infinity and Chandon; and Peter Rincon from P.O.P. Sound, whose mixing skills were demonstrated on commercials for Chevy, the U.S. Army, and Ameriquest.
Bob Gremore, the Mixer of the Year winner, when asked afterwards about the honor said, “As far as I know this is the only award of its kind for the work we do. After hours spent in the studio, it’s nice to have someone notice the well-mixed TV commercial.”
The judges also presented a Special Merit Award for newcomer Craig Helmholz of Crescendo! Studios/San Francisco. An Honorable Mention for a particular spot or campaign was also awarded to Robert C. Marshall of Another Country for his work on Budweiser’s “Baseball/Moat.”
The event at The Village was attended by 200 of the advertising and entertainment world’s “glitterati”. The emcee for the awards show was Roger Lodge, the irreverent host of “Blind Date.” Celebrity presenters included Olivia d’Abo of “Law and Order,” Victor Williams of “King of Queens,” Kelly Rutherford of “Melrose Place,” Geoff & George Stults of WB-TV’s “Seventh Heaven,” actress/musician Persia White, musician/actor Leon, and Grammy award winning Latin artist, Eduardo Xol.
Liz Myers, event chairman from AMP, was asked about the event stated, “We were extremely lucky to have such a talented group of musicians and actors who banded together to bring attention to good TV commercial work and to support a charity that is essential to our children’s education.”
The Association of Music Producers (AMP) was founded in early 1998 for the purpose of educating its members, and the production and advertising community as a whole, on all facets of music production, from creation to final use. With its national headquarters in New York, and regional chapters in Los Angeles, Chicago, Miami and Minneapolis, AMP is the first organization to represent the commercial music industry on a broad platform of creative, business and community matters. Production guidelines, legal issues relating to rights, licenses and composer royalties, talent negotiations, industry education, public relations and industry charitable endeavors are some of the bullets on AMP’s agenda. At a time when the impact of music is growing exponentially in every broadcast medium, AMP is serving to give the music community a clear voice and the benefit of its own experience. AMP is an affiliate of the Association of Independent Commercial Producers (AICP).
Note: Photographs of the event are available. Please email (JavaScript must be enabled to view this email address)
AMP Mixer of the Year Awards
AMP Announces Call for Entries for 2003 National Mixer of the Year Award
3rd Year of Prestigious Award Moves onto National Scene Honors Skills of the TV Commercial Mixing Engineer
December 3, 2003 - The Association of Music Producers (AMP) has announced that its Mixer of the Year Award will be going national this year, and has put out a Call for Entries for the competition, which honors the talents and proficiency of the post production audio mixer and recognizes the important role the mixer plays in the success of a television commercial. This is the third year of the award, but its first on a national level. Previously the Mixer of Year Award was open only to West Coast professionals.
“The tough part about creating music for advertising is knowing someone else is mixing the final elements for air,” said AMP President Jeff Rosner of Sacred Noise. “Having faith in a sound mixer’s ability to enhance the overall aural experience while maintaining the integrity of the music is what this award is about honoring the guys who do it best.”
Work eligible for the National Mixer of the Year Award must have aired in the U.S. between January 1, 2003 and December 1, 2003. Each entry submitted for the judges should consist of three commercials from different campaigns dubbed onto a DVD. There is a fee of $150 per entry.
Entrants are invited to submit three TV commercials which fulfill the following criteria:
- a body of work which exemplifies high audio production value and mixing skills;
- a sensitivity to the relationship of voice-over, dialogue, music and/or sound design; therefore spots featuring all music and sound design without voice-over will not be considered.
Because the judges are looking for versatility, spots from the same campaign will not be accepted. Multiple entries are permitted but duplications of spots are not. Titles and ISCI codes as well as an affidavit from the production company attesting that the mix is the on-air version are required for each spot entered.
Last year’s award was given to Mitch Dorf of POP Sound in Santa Monica. Jimmy Hite of Margarita Mix was honored the previous year.
The only award of its kind, the National Mixer of the Year will be announced next March at a special event to be hosted by AMP in Los Angeles. A Runner Up and Honorable Mentions will also be named. Submissions may be sent to Trivers/Myers Music, 2816 The Strand, Manhattan Beach, CA 90266. The deadline for entries is January 31, 2004.
The Association of Music Producers is an affiliate of the AICP and is made up of advertising industry music producers and composers. More information can be found at AMP’s website: http://www.ampnow.com. or http://www.aicp.com.
National Mixer of the Year "Call for Entries"
Report from Steve Ford, President of the Midwest Chapter, October 2003
On Tuesday October 7th, Steve Ford Music hosted an AMP seminar for AMP members only, addressing issues of intellectual property. Speakers presenting were Steve Shebar, a lawyer who works in the area of intellectual property at Katten Muchin Zavis Rosenman here in Chicago, and Sandy Wilbur, musicologist from New York. Steve presented the issues from a legal perspective and Sandy added insights, both legal and practical, from her many years in the music industry as a music producer, agency producer and active musicologist. It was an extremely informative seminar even for those who are currently taking necessary precaution.
I think anyone who attended this meeting will be more pro-active in making sure they have all the necessary information before creating original music with reference to an existing song or in executing an arrangement of a popular song. One goal we are attempting to achieve is to come up with some sort of language we can send in which would, in effect, void the indemnification we are signing if indeed publishers or artists have been contacted by the agency without our knowledge. In addition, we might try to have language stating that we are not responsible for consequences arising from the event of edits or changes to tracks made by anyone other than we producers after the track leaves our hands. We will keep you all up on the progress in this area.
State of the AMP
AMP Update 2003
Report on 2002
It may have been another year of stormy weather for the advertising industry, but the
Association of Music Producers had plenty of business under its umbrella in 2002.
Here’s a quick review of what took place, progress made and where we’re headed in
the year that’s just begun.
* Meeting with 18 NY Agency Music Producers - in June, at AICP/AMP. The topic the producers from eight New York agencies chose to discuss was “temp tracks” and the legal risks and consequences. At the producers urging during the meeting, Jeff Rosner agreed to get expert opinion and present the facts to the agencies at a later date (see below).
Results: We found that the producers are eager to work with us on solutions to industry problems, and we plan to meet with them on a yearly basis (at least) going forward.
* Temp Tracks / Risk Management Seminar - in October, at the Ney Convention Center, Y&R NY. Following an AMP poll of musicologists nationwide and a multi-platform press campaign launched to publicize the issues, AMP hosted a standing room only seminar, attended by over 120 agency heads of production, legal and business affairs people, agency film and music producers. The follow-up press was gratifying, in SHOOT and Boards particularly.
Results: The event raised AMP’s visibility in the agency community, and reaffirmed the organization as the official representative of the music for advertising industry. Information on the issue is now a matter of public record, and there are signs that the temp track pattern is giving way to better business practices in some key agencies. Our industry stands to gain in other more subtle ways, beginning with a release from the creative boundaries implicit in the temp track. If the only choices are to license recordings or “rip them off,” our companies are faced with shrinking volume and great risk. As a trade association, AMP seeks to raise the overall perception and image of the music for advertising industry and our Member Companies.
* Affordable E&O Insurance - Awareness of the growing number of agencies that require E&O insurance led to a poll of AMP Companies about their current coverage.
Results: The poll turned up valuable new contacts: agents who understand our business and can put us with underwriters with affordable policies. The information should also be useful in the ongoing research to develop a group policy for AMP.
* New thinking on Music Rights Agreements - Most agencies use contracts written decades ago, which do not address current business realities and options. Two new AMP documents-a Music Rights Agreement and a Master Recording License Agreement-which reflect a more balanced sharing of responsibility for indemnification, were developed by Lyle Greenfield (Bang Music) and Roger Wojahn (Wojahn Bros) with the assistance of legal counsel specializing in intellectual property law. The documents were published in the 2003 AICP/AMP Directory. Through our affiliation with AICP, the new language will be advanced to the AAAA in 2003.
Results: The concepts introduced will have wide distribution and a broad effect over time. Publication as an official AMP document opens the potential for dialogue on some of the more egregious terms music companies have been forced to accept in the past.
* ASCAP - AMP has applied consistent pressure on the ASCAP Board to identify and compensate music that appears on TV. ASCAP Board Member Doug Wood has advanced an initiative to tie ASCAP commercial performance to the ISCI codes. AMP has been a major source of support for Doug and other members of our industry who seek a seat on the ASCAP board.
Results: Our ongoing relationship with Doug Wood, the only member of the ASCAP Board of Directors from the commercial music sector, remains a vital link to information and contact with the Board.
* Smile Train Benefit - AMP companies supplied an array of songs for this worthy charity that provides corrective surgeries for poor children worldwide. In previous years AMP has held benefits for Kosovo refugees (1999) and relief agencies in the aftermath of 9/11.
Results: As an association, we hope to continue this tradition: When “The Music People” sponsor an event, there will be a great time as well as a greater purpose.
Chapter Reports
In addition to supporting all of the above efforts:
Mid West - Chicago music companies took the initiative on creating a template for a standardized bid form for music. The project is still in development, according to Steve Ford and Terri Golden (Spank), who worked with Dave Dakich (Steve Ford Music) and Fanny Flores (Comma) on the first draft, with input from other area companies. The completed bid form will appear in the next AICP/AMP Directory.
Miami - Rene Barg, Chapter President, says that opening dialogue among AMP Members has been the interesting part of getting the new local Chapter rolling. “It’s a smaller production community here and we work closely with AICP as well. We’ve met every other month in 2002 and expect good things in 2003.”
West Coast -The LA Chapter announced the winner of the West Coast Mixer of the Year Awards, the second year the chapter has mounted this successful event. Over 150 ad professionals turned out to fete the talents of the post-production mixer voted superior in skill at creating ideal audio environments - “the quiet guys who make us sound so good and loud on the air.” The ceremony was emceed by West Coast AMP VP Liz Myers (Trivers/ Myers Music) and held at the new Groove Addicts recording facility.
The 12th Annual AICP Show - The Art & Technique of the American Television Commercial - The show premieres June 9, 2003, at the Metropolitan Museum of Art. Currently there are two categories for AMP Member Company entries, Original Music, and Sound Design. Judged by a combination of music company personnel and agency producers, these awards have become preeminent honors for excellence in production.
General Membership Meeting in New York - Tuesday, March 18th , 6:30 PM.
The venue for this year’s General Meeting is still being worked out - in the past we have met at the big recording studios - notice will follow soon. Please hold the date and plan to be on hand to ratify the new National Board of Directors, hear more about the 2003 agenda, and put your questions up for discussion. Bring your composers and business staff. There will be food and drink and a good time, wherever it takes place! Note that the meeting is open to prospective members too.
Winners Announced at the AMP “MIXER/MIXER”
2nd Year of Prestigious Award Honors Skills of the Post Production Audio Mixer
Los Angeles, Calif., November 5, 2002- The West Coast Branch of The Association of Music Producers (AMP) today announced the winners of the 2nd Annual West Coast Mixer of the Year Awards. The event was held on November 1st at Groove Addicts’ new recording facility in Los Angeles and was attended by over 150 members of the advertising community. AMP hosted this special dinner and awards ceremony to specifically recognize the talents of the post-production audio mixers for television commercials and to highlight their important role in the success of TV commercials.
West Coast Mixer of the Year Awards:
Winner:
Mitch Dorf/POP Sound
Santa Monica, CA
Representative spot shown: Gatorade Ice “Defining Mia”
Finalists:
Tor Kingdon/Mike Recording Services
Los Angeles, California
Representative spot shown: Speed Channel “Launch”
Jay Shilliday/Crescendo! Studios
San Francisco, California
Representative spot shown: Musco Olives “Orphanage”
Honorable Mention:
Lance Limbocker/Downstream Digital
Portland, Oregon
Representative spot shown: Adidas “White Shoe/Dunk”
Each winner was on hand to receive their award and spoke briefly about their experiences as a post production mixer. Mitch Dorf, the winner from POP Sound in Santa Monica, credited his versatile background in audio engineering as preparing him for the often-demanding field of TV post-production. He also thanked his wife, Lynda, for never complaining when he called at 7:30 pm to say, “Honey, I won’t be home for dinner.”
The event was emceed by Liz Myers, Vice-President of AMP West Coast, who introduced the winners by stating that, “We musicians and sound designers are here to thank these ‘quiet guys’ who make us sound so good and loud on the air.”
Entrants were invited to present a 3/4-inch video reel of 3-6 currently airing TV commercials fulfilling the following criteria:
* A body of work which exemplifies high audio production value and mixing skills;
* A sensitivity to the relationship of voice-over, dialogue, music and/or sound design.
Post-production companies from the West Coast were encouraged to use this opportunity to bring attention to their mixers. Last year’s award was given to Jimmy Hite of Margarita Mix for his outstanding work.
About the Association of Music Producers
The Association of Music Producers is an affiliate of the AICP and is made up of advertising industry music producers and composers. AMP was formed to address the common goals and concerns of those who make the music. A national organization with Chapters in New York, Los Angeles, Chicago and Miami, AMP has already made itself heard. From business matters such as production guidelines, composer royalties and Rights Agreements to consciousness and fund-raising events, AMP has turned up the volume on things that count most. For more information, check out http://www.ampnow.com.
West Coast Branch of AMP - Contact Roger Wojahn, President, (310) 829-6200.
AMP West Coast Mixer of the Year Awards
Wave of Music Infringement Claims in Commercials Causing Legal Nightmares
WAVE OF MUSIC INFRINGEMENT CLAIMS IN COMMERCIALS CAUSING LEGAL NIGHTMARES AND POSSIBLY COSTING ADVERTISING INDUSTRY MILLIONS
Forensic Musicologists indicate “temp tracks” source of trouble
New York, NY Responding to rising alarm in the advertising industry over the increase in infringement claims by record labels and publishers against music in commercials, the Association of Music Producers (AMP) has conducted a qualitative poll of musicologists around the country in an effort to pinpoint the cause. (While it is impossible to quantify due to the “confidential nature” of the matter, many ad agency music producers assert that the number of claims has increased by a double-digit percentage in just the past three years.)
From a cost standpoint, the problem is exacerbated by the fact that many claims are settled with the plaintiffs before ever reaching a courtroom. Dr. Earl Spielman, one of the country’s leading forensic musicologists, asserts that the tendency now is for the complaint to be “settled out of court almost immediately” to avoid embarrassment for both the advertising agency and advertiser.
Tempting fate with the “temp track”
Dr. Spielman also notes that “Of the 50 most recent complaints I have worked on in the ad world, virtually all have involved a temp track circulated between editors, ad agencies and their clients.” (By “temp track”, Dr. Spielman is referring to a copyrighted composition or song that has been used ostensibly without permission from the publisher for the purpose of editing and “presenting” a commercial to the client. This track, if it is not actually licensed for use in the commercial, frequently becomes the “guide” for the musical direction given to the composer.) Musicologist Matthew Harris reports that a majority of tracks he has cleared had a reference track. “Of those, about 1 out of 3 were never approved for broadcast, even if revisions were made.” And when he entered into a situation in which a claim had been made against a composition, “…many had used the plaintiff’s song as the reference track.”
Musicologist Anthony Ricigliano confirms this view, adding that “The biggest problem occurs as soon as an overture has been made to the publisher” with regard to licensing the temp music. In those instances, both publisher and record label are “on the lookout for anything even remotely resembling their music in the final commercial.”
The experience of New York-based musicologist, Sandy Wilbur, corroborates each of these observations. Wilbur notes also that an environment of increased “confusion of ownership rights and where they overlap has contributed to the aggressiveness of lawyers and copyright holders wishing to protect their assets.” This means that, in addition to the copyright of the song itself, “Other elements which could lead to a claim include the copying of a copyrighted arrangement, or the use of sound-alikes.”
Insurance against the uninsurable
Industry insurers have become increasingly wary of offering “protection” in the area of music copyright (otherwise known as errors & omissions insurance) given the dramatic increase in claims. At a time when record labels and music publishers are seeing six and seven-figure deals being offered by advertisers for the use of songs and tracks in commercials, “crossing the line” with sound-alike tracks, and the use of temp tracks,
can literally be an invitation for a claim. Scott Taylor, of Taylor & Taylor, a leading production industry insurance agency, has cautioned that “the risk and the liabilities could spread beyond the music house-agency-advertiser chain”-that plaintiffs may seek settlement from whomever is connected to the process. Notes attorney Robert Sacks of Kane Kessler, law firm of the Association of Independent Commercial Producers (AICP) and AMP, “It’s premature for the Music Producer to agree to indemnification until it and its client resolve which parties in the creative and production process should be responsible for potential claims.”
Addressing the problem: Seminar Planned
The Association of Music Producers is planning a series of seminars—the first to be held in New York City on October 29, 2002—to help address these matters in panel discussions headed by several professional musicologists. Speakers will include musicologists Earl Spielman, Tony Ricigliano, Sandi Wilbur and Matthew Harris; attorneys & intellectual property specialists Robert Sacks and Adam Cohen of Kane Kessler, P.C.; and Insurance expert Scott Taylor of Taylor & Taylor Insurance. The NYC program will begin at 9 a.m. at the Ney Center at Young & Rubicam, 285 Madison Ave., btw. 40th & 41st. Reservations are required. Call Chris Allen at AICP/AMP headquarters: 212-924-4100.
Contact:
Eric Eddy
double E communications
212-941-7590
email: (JavaScript must be enabled to view this email address)
or Renee Paley
AICP/AMP
212-929-3000
email: (JavaScript must be enabled to view this email address)
