In the world of sound design, there is an often-overlooked element that possesses a unique power: silence. Silence, or negative space, refers to intentional moments of absence or stillness in sound. In this blog, we delve into the importance and impact of silence in trailer sound design. By understanding and mastering negative space, sound designers can create a more nuanced and captivating auditory experience for viewers.
<h2 dir="ltr">Understanding Negative Space in Sound</h2>
To truly appreciate the value of silence in trailer sound design, it is crucial to understand the concept of negative space. Negative space refers to intentional gaps or pauses in sound, creating a contrast against the noise and activity.
Moments of silence can be powerful. They help the audience process information, build anticipation, and heighten emotions. They can be just as effective as sounds.
Examining well-known trailers, we can identify effective use of silence as a storytelling tool. The trailer for "<a href="https://www.youtube.com/watch?v=WR7cc5t7tv8">A Quiet Place</a>" (2018) uses silence to create suspense. It emphasizes the lack of sound in a world controlled by creatures with acute hearing. Our interview with Eric Archer, the editor for that trailer dives into the <a href="https://www.sencit.net/blog/conversations/bts-eric-archer">process</a> of embracing the silence.
<h2 dir="ltr">The Role of Silence in Building Tension and Suspense</h2>
Silence plays a vital role in building tension and suspense in trailer sound design. By strategically introducing moments of silence amidst a chaotic soundtrack, sound designers create a contrast that intensifies the audience's anticipation. The absence of sound can create a vacuum, drawing attention to the impending danger or critical moment about to unfold.
Analyzing the rhythmic implications of silence reveals its profound effect on the viewer's perception. Sound designers can alter the audience's sense of time by manipulating the timing and duration of silence. This heightens suspense and makes the payoff more impactful.
<h2 dir="ltr">Silence as a Tool for Focus and Emphasis</h2>
Silence can also serve as a tool for directing the viewer's attention and emphasizing critical moments or details in a trailer. By momentarily removing sound, the absence becomes conspicuous, drawing the audience's focus to specific visuals, dialogue, or sound effects. These strategic silences create a heightened sense of importance, allowing the viewer to absorb and appreciate essential elements within the trailer. Intentional pauses can also magnify the effect of certain scenes or conversations.
<h2 dir="ltr">The Challenges of Using Silence Effectively</h2>
Effectively incorporating silence into trailer sound design presents its own set of challenges. Maintaining balance between sound and silence is essential.
Too much silence can make the audience feel disconnected. Too little sound can reduce the impact of the message. Abrupt transitions between noise and silence should also be avoided, as they can disrupt the viewer's immersion.
Overcoming these challenges requires careful attention to pacing, timing, and overall sound design. Sound designers should seek advice from industry experts. These experts have mastered the art of silence. Designers can draw inspiration from their techniques and experiences.
<h2 dir="ltr">The Future of Negative Space in Trailer Sound Design</h2>
As the art of trailer sound design evolves, so does the role of silence. The future holds exciting possibilities for the creative use of negative space. We may need to find new ways to mix silence with strange sounds. We could also try interactive sound experiences that draw viewers in more deeply.
Industry professionals can provide insight on their approach to silence in upcoming projects. This can give us a better understanding of the future of trailer sound design. Sound designers can use new technologies to push creative boundaries. This allows them to use the power of silence in more effective ways.
Silence is an important element in trailer sound design. It is often overlooked but can have a great effect on the emotional response and success of a trailer.
Negative space is an important concept for sound designers. It enables them to craft a balanced, powerful soundtrack. This soundtrack grabs the audience's attention and makes the viewing experience more enjoyable.
As viewers, let us appreciate the subtle power of silence and its role in storytelling. Share this blog post. Engage in discussions about the use of silence in trailer sound design. Foster a deeper appreciation for this often-underutilized aspect of sound design.

A quiet place what are these power outages you speak of

The Art of Silence: Mastering Negative Space in Trailer Sound Design

Movie trailers are powerful marketing tools that generate excitement and anticipation for upcoming films. They are carefully crafted to captivate audiences and leave a lasting impression. One crucial element that significantly influences the impact of a trailer is its rhythm.
Music and sound design play an important role in the rhythm of movie trailers. They help to grab our attention and stimulate our imagination. This article will explore how this works.
<h2 dir="ltr">The Role of Rhythm in Trailers</h2>
Rhythm is the backbone of any audio-visual composition, and trailers are no exception. By definition, rhythm refers to the pattern and flow of sounds over time. In trailers, rhythm sets the pace, establishes the mood, and builds anticipation. A<a href="https://www.youtube.com/watch?v=sD1cjA2jYB0"> well-crafted rhythm</a> engages the audience, leaving them eager to discover more.
When analyzing trailers, it becomes evident that rhythm impacts the pacing and overall reception of the trailer. Fast, energetic rhythms create a sense of urgency and excitement, while slow, deliberate rhythms build tension and suspense. By manipulating the rhythm, filmmakers can evoke specific emotions and guide the viewer's experience.
<h2 dir="ltr">Music and its Influence on Trailer Rhythm</h2>
Music is a powerful tool for establishing rhythm in movie trailers. Elements such as tempo, meter, melody, and instrumentation all contribute to the overall rhythm of the trailer. By carefully selecting and composing music, filmmakers can align the auditory experience with the visuals, intensifying the impact on the audience.
Case studies of trailers where music significantly contributes to the rhythm provide compelling examples. The trailer for "<a href="https://www.youtube.com/watch?v=9Jiljv9Yfc4https://www.youtube.com/watch?v=9Jiljv9Yfc4">Inception</a>" (2010) is a great example. It has a pulsating, escalating rhythm which reflects the action happening on-screen and creates an immersive experience for the viewer. Conversely, the trailer for "<a href="https://www.sencit.net/blog/conversations/joel-salsburey-bts">The Social Network</a>" (2010) utilizes a slow, haunting rhythm that captures the film's brooding atmosphere.
Moreover, the genre and style of music play a crucial role in determining the trailer's rhythm. Trailers that are action-packed often incorporate grand orchestral scores or energizing electronic music. Horror trailers, on the other hand, use spooky soundscapes to create a frightening rhythm.
<h2 dir="ltr">Sound Design as a Tool for Rhythm</h2>
Sound design, including sound effects and ambient noise, complements music in shaping the rhythm of a trailer. Sound designers use diegetic and non-diegetic elements to create a rhythm. This helps to intensify the viewer's engagement with the story.
Effective sound design captures the essence of a scene and contributes to the overall rhythm. The trailer for A24’s "<a href="https://www.youtube.com/watch?v=V6wWKNij_1M">Hereditary</a>" (2015) is an expert example. It creates a relentless, pulse-pounding rhythm to keep viewers on the edge of their seats.
<h2 dir="ltr">The Interplay Between Visuals and Sound in Creating Rhythm</h2>
Movie trailers use rhythm to create an impact. This is done through a combination of music, sound design, and synchronizing audio with visuals. All these elements work together to achieve the desired effect.
Analyzing exceptional examples of synchronized trailers reveals how music and sound design complement the visuals to establish rhythm. "<a href="https://www.youtube.com/watch?v=eoOaKN4qCKw">Fast X</a>" (2023) is a prime example of how sound effects and action can be choreographed to the beat of music. This results in a dynamic and rhythmically engaging experience.
<h2 dir="ltr">Challenges and Solutions in Crafting Trailer Rhythm</h2>
Crafting the rhythm of a trailer comes with its own set of challenges. Filmmakers must sync music and sound design with constantly changing visuals while adhering to a tight runtime. However, these challenges can be overcome with effective music composition and sound design techniques.
Composers and sound designers can select music and sound elements to create rhythmic motifs. These motifs will resonate with the audience, regardless of visual fluctuations. Precise editing and timing techniques ensure that the audio-visual elements work harmoniously to establish a compelling rhythm.
Music and sound design significantly contribute to the rhythm of movie trailers, enhancing their impact and effectiveness. By manipulating rhythm, filmmakers can evoke specific emotions, guide the audience's experience, and leave a lasting impression.
One of the reasons we love the world of trailer music is our appreciation for the intricate interplay between <a href="https://www.youtube.com/watch?v=cgyueZ05L1M">many different mediums</a>. This will enhance our viewing experience. The evolving role of music and sound design in trailer creation promises exciting possibilities for the future of cinematic marketing.

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How Music and Sound Design Shape the Rhythm of Movie Trailers

<h2 dir="ltr">What is Trailerization</h2>
We’ve talked out the art of an overlay, but what is a trailerization? A trailerization of a song is a process of transforming a pre-existing song into a cinematic-sounding composition that can be used in a film trailer or video game trailer. In short, it’s a cinematic remix. However, although trailerization and remixing may seem similar at first glance, they are quite different. In this article, we will discuss the differences between the two.
<h2 dir="ltr">Trailerization</h2>
Trailerization is a production technique used in film trailers and advertising. It involves taking a pre-existing song and reworking it to fit the specific needs of the production. The goal of trailerization is to create a unique and powerful piece of music that enhances the visuals and message of the trailer. To create a more cinematic and dramatic effect, the music is often stripped down to its core elements. New sounds are then added.
Trailerization is different from a traditional remix because it is not focused on creating a new version of a song that can be played on the radio or in clubs. Instead, the focus is on creating a piece of music that enhances the visuals and message of the production. Trailerization is often done by boutique companies like Sencit, which specializes in creating custom music for film trailers and advertising.
<h2 dir="ltr">Remix</h2>
A remix, on the other hand, is a technique used to create a new version of a song that can be played on the radio or in clubs. It involves taking a pre-existing song and reworking it to create a new sound. Remixing can involve adding new elements to the song, such as beats, melodies, and vocals, or removing elements to create a more minimalistic sound.
Remixing is often done by DJs, producers, or other music professionals who specialize in creating new versions of popular songs. Remixes are often created to appeal to a specific audience, such as fans of a particular genre or artist. Remixes can be an effective way to promote a song to a wider audience or breathe new life into an older song.
<h2 dir="ltr">Key Differences</h2>
The key differences between trailerization and remixing are their purpose and approach. Trailerization is focused on creating a unique piece of music that enhances the visuals and message of a production, while a remix is focused on creating a new version of a song that can be played on the radio or in clubs.
Trailerization involves reshaping a song and building a cinematic soundscape that is formatted to fit in the context of a specific trailer- to act as a score. Remixing, on the other hand, is meant to exist without accompanying video and on its own as a standalone recording. 
Another key difference is who typically does the work. Trailerization is often done by specialized companies that create custom music for film trailers and advertising. Remixing, on the other hand, is often done by DJs, producers, or other music professionals who specialize in creating new versions of popular songs.
Trailerizations are typically commissioned by the film or game studio without the pre-clearance of the artist or the rights owners of the original. The reason for doing this is so that the creative ideas can be tried without limitation in order to see what is going to be most effective for a trailer. After the trailer and its accompanying trailerization have been completed, the film or game studio will seek permission from the original artist and record label. 
With a remix, the record label hires a producer/DJ directly, or a DJ creates the remix on their own in order to work it into their live performance or online set.
<h2 dir="ltr">Conclusion</h2>
In summary, while trailerization and remixing may seem similar at first glance, they are quite different in purpose and approach. Trailerization is focused on creating a unique piece of music that enhances the visuals and message of a trailer production, while a remix is focused on creating a new version of a song that can be played on the radio or in clubs. Both techniques have their place in music production and can be effective in different contexts.
If you need a trailerization for your project or have questions on the process, <a href="https://www.sencit.net/contact" target="_blank" rel="noreferrer noopener">contact Sencit</a>, we’ll be happy to assist.

Trailerization vs remix

Trailerization vs Remix: What’s the Difference?

<h2 dir="ltr">What Is Sound Design?</h2>
<a href="https://www.descript.com/blog/article/what-is-sound-design-the-essential-elements-of-sound-design">Sound design</a> is an art form and craft at the heart of film and other media productions. Through sound design, the sonic journey of a film comes alive.
It is more than just adding background noise - it has an extraordinary power to craft emotion and bring life into stories.
The talented sound designer works side by side with filmmakers to ensure that this trajectory resonates with their audience so that every auditory detail complements each scene in its own way.
<h2 dir="ltr">What Is Sound Design Vs. Music Production?</h2>
Sound design involves creating, organizing, and engineering all non-musical sounds, while music production carefully arranges and composes all audio pieces related to a film's score.
Together, their collaboration directs the audience’s emotional responses and enhances their experience with sound.
Sound design may include recreating background noise such as rain or a dog barking, crafting a complex sequence of noises for a spaceship battle scene, or adding emphasis to an important conversation.
On the other hand, music production incorporates elements like dynamic range, melody, tonal aspects like harmonic features or cadences, timbre variations, and polyphony.
<h2 dir="ltr">What Are The Elements Of Sound Design?</h2>
Sound design for film requires mastery of five<a href="https://urbanhouse.bg/en/blog/the-five-main-elements-of-sound-design"> elements</a> to create a powerful experience.
 
<ul><li dir="ltr">Ambiance utilizes environmental sounds to help ground the audience, connecting them to the moment and creating an immersive atmosphere.</li></ul>
<ul><li dir="ltr">Foley sounds are artificially created to match the picture onscreen – from mundane tasks like footsteps and chair movements to more unique soundscapes like thunder and stars twinkling.</li></ul>
<ul><li dir="ltr">Audio effects (SFX) bring life to picture by adding distinct sounds – such as spaceships flying by or lasers blasting through walls.</li></ul>
<ul><li dir="ltr">Voice-over can give a narrative expository presence that furthers the story through storytelling exposition.</li></ul>
<ul><li dir="ltr">Music helps enhance the story with the use of songs and instrumental pieces to match the film's mood.</li></ul>
<h2 dir="ltr">What Are Some Sound Design Examples In Trailers</h2>
"A Quiet Place" sound design is one of the best sound design examples showcasing its creative use in film.
It does so by demonstrating the danger of making any noise at all.
As characters make small movements or sounds, it’s accentuated by loud, discordant crashes or screams, creating a massive contrast between attention to detail and heightened tension.
<a href="https://www.nfi.edu/sound-design/">Sound design</a> expresses both subtlety and horror for effect in this intense trailer. It goes to show how powerful sound can be when used correctly.
Other great sound design examples include Gravity and Mad Max: Fury Road.
Sandra Bullock's award-winning performance in Gravity captures the feeling of being completely alone. The movie trailer uses carefully crafted sound design to add an eerie atmosphere, amplifying her character’s intense journey against unforgiving forces deep within the vastness of space.
Mad Max: Fury Road is a thrilling post-apocalyptic journey that amplifies its intense action sequences with sound design elements for an electrifying cinematic experience. Music, foley effects, and dialogue are skillfully employed to create an unforgettable audio landscape.
<h2 dir="ltr">Sound Design In Film: Wrap Up</h2>
Sound design is the unseen conductor of film, binding together all its parts to form a seamless symphony.
From heart-pounding tension and gales of laughter to grandiose melodies – sound brings cinematic scenes alive with an unmatched level of emotion that no other medium can equal.
To keep exploring this fascinating art form,<a href="https://www.sencit.net/"> click here</a> to check out industry leader Sencit's sound design platform and how they help transport us into fantastical worlds through music and sound design for trailers.

Sound perspective

Sound Perspective In Film: Understanding The Elements Of Sound Design

You’ve heard it before: “good work rises to the top.” While that’s sometimes true, a more accurate slogan for the world of trailer audio might be: Good work rises to the top… when it’s not buried in your client’s email.

When it comes to sharing new compositions with clients, New Release Playlists are the industry standard. But they’re also limiting. Editors, producers, and music supervisors often choose a cue under extreme duress; and while that playlist you shared six months ago might be a perfect fit, it’s likely buried in an unorganized desktop folder or email inbox with hundreds of playlists from hundreds of vendors like yourself. In other words, when the rubber meets the road, clients often don’t have time to go through the endless ocean of accumulated audio to find your shiny pearl.

So then, how can we make an impression and remain top of mind when the next fire drill hits? How can we share our sounds in a more efficient and effective way, so that our best work never gets lost in the shuffle?

About a year ago, Sencit Music began moving away from traditional New Release Playlists and toward a concept we call “packets.” Packets are carefully curated collections of songs and sound design to help clients find their signature sound for a trailer or campaign. Every polished cue comes with a “toolkit” of complimentary audio (sound design, trailerization layers, transitional hits, etc… ) that can be customized across a variety of formats and genres. In effect, we are creating client-friendly rabbit holes for trailer creatives to explore in a timely fashion. If a client knows exactly what they’re looking for, the packet presents a more direct path to finding it. If the client is still searching for a vibe or direction, the packet functions like a music supervisor, helping clients create a palette and hone-in on a vision that feels right for the project at hand.

There are a number of added benefits to presenting audio this way. First, it allows editors to play around with the modular pieces of audio to create a singular sonic identity for their trailer or spot. Second, it gives clients and potential clients a window into Sencit’s creative process; how we work with and think about trailer audio within a specific piece of marketing and across an entire campaign. But most importantly, the packet forms a collaborative relationship between Sencit and the client from jump. No project orders or creative kickoff meetings necessary -- from the moment an editor clicks on a packet he’s immersed in a world of possibilities curated to complete his vision.

Packets have been a real game changer for us and our clients. To see if sharing music this way could work for you and your business, check out sencit.net where you’ll find plenty of packets to sample and explore. Let us know what you think!

Packets

Packets - Thinking Outside the Playlist

If you recently saw a horror movie, either in the theatre or on your iPad, chances are, other than the jump scares and overall unpredictability of the atmosphere, you were also scared by its score. 
Good music, whether in an opera house or on the screen crescendoing a nail-biting scene, has the power to move your emotions and make you feel a certain type of way. 
What a good horror movie needs then, aside from an obviously bone-chilling story and an uneasy premise, is a darned good score that helps the audience connect to the predicament of the characters. 
Naturally, music composition is a great tool to create a sense of horror as it pumps up your viewers' adrenaline throughout the suspense-filled tones, giving them a spine-chilling experience.
But just like how everyone can’t emulate the Ramsay brothers when it comes to churning out an exceptional horror movie that becomes a cultural talking point for ages to come, every single music producer can also not be expected to create the perfect horror movie score. 
So, what goes into composing the perfect horror score that definitively tells your audience that this is the movie that’ll give them nightmares? We let you in on the secrets below!
 
<h2>What are the Top 5 Essential Sound Effects for the Horror Genre?</h2>
While there are no cut-and-dried rules regarding the musical instruments that should be used when scoring horror movies, there are a few sounds that blend in naturally with the genre. 
Here’s a range of scary sound effects that can give a gruesome experience to your audience. 
<h3>Breathing</h3>
From nervous breathing to a nightmarish sinister breath, breathing sounds, when properly used, are one of the most powerful tools in the arsenal of horror composers. We all remember watching the Slenderman as kids and being glued to the screens in nervous awe every time the characters would run frantically or try to hide in an excessively eerie, dense forest, breathing heavily. Similarly, when your film's character is taking their last breaths, the actor or the sound designer can enhance their breathing sound effects to create a heart-wrenching impact. 
<h3>Monster Vocalizations</h3>
Breathing sound effects can be your belle-of-the-ball if you plan to create a monster-themed horror film. However, you should also consider using other non-verbal vocalizations such as hisses, roars, or bawling/crying-out sounds to imitate monsters. One remembers The Shining, where Stanley Kubrick experimented with children’s cries and an eerie silence to knock a sense of looming danger into the audiences’ minds. 
<h3>Footsteps</h3>
Nothing beats the sense of tension created by the sound of footsteps, regardless of the context of the scene. It is hard not to close your eyes in sheer horror or resigned anticipation when the MC is being chased down the hall by a serial killer, and all you can hear is their footsteps. Make this sound effect your best friend to add volume and character to footsteps. You can add delay, reverb, and other variations to the audio mix to elevate the tension of the chase sequence and create a sense of sonic complexity. <h3>Ghost Sound Effects</h3>
There are different ghost sound effects, including indistinct vocalizations, whooshing sounds, and a strange ambiance abstract. Think a distorted sound every time the leading characters in a horror movie experience a “ghostly” presence, or the quiet sounds of wind flowing, when the filmmaker wants to convey a certain sense of ominous foreboding before a critical revelation. An experienced horror sound designer will have the technical know-how to create an other-wordly vibe when it comes to ghost sound effects for your film. <h3>Slashing, Stabbing, and Other Flesh Wound Sounds</h3>

The Texas Chainsaw Massacre wouldn’t be the movie it is today without the sounds of impaling, slashing, stabbing, or other mortal flesh wounds. Words of wisdom — you know the sound of gore. Another thing, it is actually easier to create ‘true gore’ sound effects as they rely on raw vocalizations and heavy sound, as compared to other horror sound effects!
<h2>What are the Sound Design Techniques for the Horror Genre?</h2>
Read on to find out some critical sound techniques and strategies that’ll come in handy if you are planning to create a horror score.<h3>Negative Space</h3>

Negative sound relates to the art of creating space between sounds. Most top-notch filmmakers appreciate the importance of negative space to create terror and tension amongst their audience. 
You can also hire a professional horror sound designer to create negative space during the scenes where a character is hiding or creeping. <h3>Experiment with Sonic Textures</h3>

Why limit yourself to traditional sound effects and instruments when you can easily go beyond? Experiment with a totally new sound, or warp the existing sounds to generate strange, sonic textures in your horror score. This is an excellent way to ensure uniqueness in your sound strategies.<h3>Sampling and Synthesis</h3>

Another great way to leverage the potential of sonic textures is by using sampling and synthesizers. You can ask your sound designer to experiment with various electronic instruments to produce varied horror sounds that each have their own merit in unsettling your audiences. <h3>Foley Sound</h3>

If you are new to the sound industry or contemplating how to create foley sound for your horror film, it is recommended to hire an expert. Foley artists have the required experience and technical know-how to use different tools and materials to create unique scores for various genres of movies, horror included. 
<h2>How Does Horror Sound Scare Us?</h2>
Watching horror scenes might not scare your audience quickly, but with apt scary sounds timed just right, your work is already half done! You have our biology to thank for that. Horror films are mainly created with loads of non-linear sounds that aim to leave a lasting impact on their audience. These non-linear sounds, like an animal cry or a human scream, create a sense of tension because these go beyond the natural capacity of vocal cords. The human brain is capable of understanding the abnormalities of these sounds. Hence, horror sounds are your best bet to create a gory, suspenseful mood and give your audience a bone-chilling, anxious experience while watching your horror movie. 
<h2>About us</h2>
At Sencit, we live and breathe music. We hold significant experience in sound design for theatrical advertising and take pride in complying with our clients' expectations. From composition to supervision, our years of experience and understanding of our craft allow us to deliver full-scope music and sound solutions of the highest quality. 
Reach out to us at +1.310.774.0123 or write to us at <a href="mailto:info@sencit.net">info@sencit.net</a>. You can also connect with us by forwarding your queries on our <a href="https://www.sencit.net/contact" target="_blank" rel="noreferrer noopener">contact form</a>. 
We are always looking for new artists, composers, and catalogs to join us. So, make no delays in sending us an email with streaming links and other relevant information at submissions@sencit.net (remember- we cannot open emails with attachments).

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Bending the Ear: Composing for the Horror Genre

Composing music is an art form designed to capture audiences' attention. A great soundtrack elicits reactions that visuals cannot accomplish on their own. Whether it was Mozart composing chamber music for the elite or John Williams creating a score for a classic Spielberg movie, the formulation of music always focuses on engaging people.
 
The same is true when composing music and creating overlays for theatrical advertising. It should tell an engaging story to appeal to the audience (often with a wide demographic). However, the extensive vocabulary and jargon in the world of music and audio can create some confusion.
 
We have put together a collection of a few musical terms that editors and music supervisors should know and how these can garner better results for composers. 
<h2>1. Mixing</h2>
Mixing typically happens after composing and recording, where the individual tracks (instruments) are blended together. The mixing engineer's job is to make all the efforts to carve and create a perfect, cohesive score. Mixes for every medium are different, and it is best to work with an experienced music production company that understands the details of the specific needs of mixing in your medium. For instance, a song mixed for radio play will differ from a song mixed for use on a television show, which will further differ from a song/cue mixed for use in a film or video game trailer. Because of tight turnarounds, composers for theatrical advertising often mix their own music. 
<h2>2. Mastering</h2>
Mastering is the final stage of audio production and is a process that involves preparing the mixed track (stereo, 5.1, 7.1, or other formats) to prepare for distribution; it's the icing and decorations on the cake. It means adding finishing touches to the track to ensure consistency for qualifying it to go on air or be released to the public. The mastering engineer is usually a different person than the mix engineer and the last line of defense before the piece goes to the movie studio or record label. For fast turnaround custom projects, the composer often performs mastering as well. 
<h2>3. Compression</h2>
In simple words, the compression narrows the difference between the softest and the loudest parts of a track to achieve a consistent level. Thus, it is a significant audio effect as it regularly touches every aspect of digital music creation, ranging from sound design to mixing and mastering. 
<h2>4. EQ</h2>
In music production, EQ represents equalization. It is a plug-in or piece of hardware used to manipulate the frequency content of your music and sound design recordings, enabling all the elements of your track to work together sonically. Every note played by an instrument has a fundamental frequency and overtones above it that offers a specific timbre to make it recognizable. EQ is used to carve out space for each instrument or sound to resonate to its fullest form among all of the other tracks. 
<h2>5. Distortion</h2>
The music production software is known to limit how loud an audio signal can be. Thus, distortion happens when an audio signal exceeds the set limit and produces a raspy, loud sound. While an unwanted distortion can negatively impact the mix quality, a deliberate distortion can help you brighten and add character to elements like synths and brass stabs. 
<h2>6. Reverb</h2>
Reverb is generally produced when a sound occurs in a space, sending its waves out in all directions. Then, these waves reflect off the surface, decaying the amplitude until the reflections fade. This is often referred to as echo, which should not be confused with delay, which is the effect that makes a sound repeat. There are several ways to create a reverb in music production that can enable you to add flexibility and control to your music. In a digital workstation environment, which is what 99.99% of music is created in today, there are two popular reverb types. The first is convolution reverb, where a real-world space such as a church or music hall is sampled and emulated by software. Convolution reverb samples are referred to as impulse responses or IR. The second reverb type is algorithmic reverb, which is created by coded software plugins. 
Though it's not critical for you to know the technologies of creating a reverb, you may impress your composer if you want to emulate a real-world sound, such as The Disney Music Hall. You can then ask them to confirm if they have a good convolution plugin to achieve what you're going for. 
<h2>7. Tempo/ bpm</h2>
In musical terms, the tempo is the speed at which a piece of music is played. It is typically communicated to the players in three primary ways: modern language, Italian terminology, and Beats Per Minute (BPM). BPM assigns a numerical value to the tempo. Thus, it quite literally represents the number of beats played per minute of music. It is the most accurate way of indicating a fast rhythm or slow tempo. Though, sometimes if you want something to feel faster without changing the character of the music, you may opt to ask the composer to try using Double Time in their rhythmic elements. When an instrument plays double time, it is playing twice as fast as the rest of the cue, which is a great way to create a sense of urgency or increase the overall energy. 
<h2>8. Instrumentation</h2>
Instrumentation is the art of integrating different instruments based on their potential to produce several timbres or colors in any musical composition. This can include diverse elements such as the countless combinations used in jazz bands, chamber groups, and symphony orchestras. 
<h2>9. Timbre/Tone</h2>
Timbre is the quality of the musical note that distinguishes the tone color of a sound or a combination of sounds. Timbre can be interchanged with Tone when describing a single instrument. But when describing the overall sound of a mix or master, Tone is the better word to use. 
Round, bright, bity, woofy, honky, smooth, muted and aggressive are a few words that can better describe the timbre of a single sound or instrument. For instance, if you had a mellow brass part, it could be described as muted, dark, round, or soft. Whereas heavy or strong brass parts could be described as bright, bity or aggressive. It is helpful to the composer if you can point to a specific instrument or sound when referring to the timbre. If you cannot decipher what the instrument is, you can use these terms in a broad sense while pointing out that it is in fact a particular sound, and not the overall mix, that is causing you issue. 
<h2>10. Needle Drop vs. Unlimited Use License </h2>
Needle drop is a term derived from a time when playing a song required placing a needle onto a record. In the context of <a href="https://www.sencit.net/">music sync</a>, it refers to each time a song or cue is used in video production. A needle drop music license requires a producer to pay a fee each time they synchronize a tune with a film, TV show, or commercial. This means each time a song starts and stops, the video producer pays a new sync fee. 
However in theatrical advertising, the license is often an Unlimited Use license, with which the film or game studio pays one fee that covers the use of a song for an entire campaign or unlimited uses in a single trailer. Film trailers tend to license for the campaign, and video game trailers opt to license per spot. If you are required to clear music for your projects, hiring a <a href="https://www.sencit.net/blog/informational-resources/types-of-music-licenses" target="_blank" rel="noreferrer noopener">music licensing company</a> is recommended to navigate the ins and outs of obtaining the correct license for your project.
<h2>About us</h2>
At Sencit, we live and breathe music and are experienced in sound design for theatrical advertising. We take pride in complying with our clients' expectations, regardless of the size of the project or campaign. From composition to supervision, our years of experience and understanding of our craft allow us to deliver full-scope music and sound solutions of the highest quality. 
Reach out to us at <a href="tel:3107740123">310-774-0123</a> or fill out the <a href="https://www.sencit.net/contact" target="_blank" rel="noreferrer noopener">contact form</a> for more information.

Mixing and mastering

Musical Terms Editors and Music Supervisors Should Know that will garner better results for composers (Mixing, Mastering, Needle Drop, more)

The process of mastering audio has really evolved since its start as part of vinyl record production. Not to mention on-demand digital streaming services like Youtube, Netflix, and Hulu, have blurred the lines considerably on what defines “professional” mastered audio for sync. 
But what is mastering, anyway? How does a modern-day master differ from a final mix, and in the age of streaming and digital delivery, does it even matter?
The short answer is yes — we’ll explain why.
What is Mastering?
In short, mastering is the process of taking a finished audio mix and making it ready for release, and/or duplication. This involves:
<ul><li>Using audio software and/or hardware to adjust a variety of sonic qualities on a project’s final mix.</li></ul>
<ul><li>Ensuring it sounds the best it possibly can, regardless of where it’s played (on earbuds, smartphone speakers, home stereos, you get it.)</li></ul>
Think of the last time you were watching a YouTube video and nearly jumped out of your skin from a blaring advertisement. Or maybe you maxed out the volume on a movie, trying to hear seemingly muted character dialog, only to get slammed with bass effects a moment later. 
Mastering could’ve helped smooth out the ride. 
Proper mastering gives you the ability to address these problems without
having to return to the mixing stage. Better yet, it adds a level of polish that makes professional audio sound finished. While the tradition of audio mastering comes primarily from the world of music recording, the principles discussed here apply just as well to the mastering of: 
<ul><li>Dialog</li></ul>
<ul><li>SFX</li></ul>
<ul><li>Musical score elements applied to trailers, movies, video games, and TV shows</li></ul>
Mastering vs. Mixing
Mastering does come with some limitations when compared to mixing. Notably, mastering engineers typically only work with a single stereo or surround sound audio file per project, as opposed to the stems, dialog or instrumental multitrack usually delivered to mixers. 
The Drawbacks
As a result, mastering engineers have far less control than mixers over the balance of individual instruments or dialog elements in a track. It wouldn’t make sense, for example, to ask a mastering engineer to mute or remove an element in a mix, or to turn up the volume of an instrument in relation to another. These adjustments must be made in the mix, where the mixer can access the tones and decibel volumes for each sound individually.
The Benefits
The silver lining to this limitation: mastering engineers can focus on big-picture problems that weren’t caught in the mixing stage. This may cover:
<ul><li>Broad-level adjustments to particular frequency bands (think low bass rumbles or the sparkle of the high end frequencies)</li></ul>
<ul><li>Adjustments to overall loudness or dynamic range of the audio (as in the case of our YouTube example)</li></ul>
The perceived loudness of individual instruments or elements may change slightly over the course of these adjustments. In cases where returning to the mixing phase is not an option, you may need to address balance issues in the master. In general it’s best to use mastering as the final polish on a finished mix, as opposed to expecting it to change the basic construction of the audio.
Making Audio Competitive
A finished master should sound bigger, brighter, more natural, and more professional than before. You’ve prepared the audio to compete well against other media in playback.
With <a href="https://www.sencit.net/" target="_blank" rel="noreferrer noopener">music sync</a>, a good master won’t unnecessarily hog key audio frequencies. This means it can integrate with dialog or SFX elements with relative ease while maintaining high sound quality. Many mastering houses will intentionally master their production music loud with the understanding that it will eventually get turned down in the final dub and must still be audible. If you find that instrumental elements are disappearing while turning down the volume of a music cue, it may be a sign that a track has been mastered too low or with too great a dynamic range.
While many attribute mastering solely to loudness, the process of mastering encompasses everything that can be produced on a final mix to help it perform competitively against the works of contemporaries. It’s not uncommon for mastering houses to accept Reference Tracks from clients that serve as targets for loudness, compression, and overall desired aesthetic quality. 
This constant attentiveness to the end product, including the technical limitations that will affect the audibility of a composition as a whole, is what makes mastering an essential final step in audio production. Ultimately, it should help yield a finished product worth bringing into the world.

Mastering Blog Alt 2

Defining Mastering

After weeks of rummaging through audio libraries, playlists, and music collections, you’ve finally found it: the perfect music and <a href="https://www.sencit.net/">sound design</a>. The song gives your trailer soul and the FX hits just right. Now, you have to make it yours — legally yours —with usage licenses. For a lot of creatives, the process can feel laborious and overwhelming. Here at Sencit, we navigate this daily and can help minimize the frustration while locking in the cue of your dreams in no time.
Depending on the song or cue you want to use, your first step is to find out who owns the rights and if they are available. There are two sets of rights you need to be concerned with: master recording and publishing rights. 
Want to know the difference between a cue and a song? Read our article here. Need a different type of music license? Check out our <a href="https://www.sencit.net/blog/informational-resources/music-licensing-fees-budgeting-for-the-perfect-track">article</a> detailing the different license types.
Researching Master Use and Synchronization Licenses
There are a number of ways to determine who owns the master recording and publishing rights. Keep in mind the owner of the master recording may be a different party altogether than the owners of the underlying publishing rights. If the music or sound design piece is represented for licensing by a <a href="https://www.sencit.net/blog/informational-resources/types-of-music-licenses" target="_blank" rel="noreferrer noopener">music licensing</a> company, such as <a href="https://www.sencit.net/licensing">Sencit</a>, the process will be relatively straightforward. 
MASTER RECORDING: Typically, the master recording is owned by a record label. If the song or the artist is well known, you should be able to locate the rights owner with a quick Google search. Streaming platforms like Spotify and Apple Music can also be great resources to determine master recording ownership. For lesser-known recordings, the artist may own the rights, which means you will have to contact them directly.
PUBLISHING: Publishing rights reside with the writer(s) who composed the music (remember the songwriter is not always the same as the artist who performs the song). In the United States, the best resources to find the publisher(s) of a song are Performance Rights Societies who administer and control performance licenses on behalf of publishers, such as ASCAP, BMI, and SESAC. While a performance license is different from a <a href="https://www.sencit.net/">synchronization license</a>, these societies are the best databases for researching publisher information. Many songs have more than one writer or composer, and thus you may need to go through multiple publishing companies.or example one publisher could be represented by ASCAP and the other by BMI. ASCAP and BMI have streamlined this process by combining their searchable databases, while SESAC publishers can only be located through their respective databases.
If your song contains a sample of another song (common in hip-hop or electronic music) you will have to get master use and synchronization licenses for the song itself, as well as the song from which the sample was taken. Your song’s record <a href="https://www.sencit.net/services/artist-and-label-services">label</a> should have this information, as they will have obtained the necessary licenses upon releasing the material. If you find your song on a mixtape or Soundcloud account, you will need to reach out to the party that released the mixtape or the owner of the Soundcloud account to determine who controls rights to the sample and if proper authorization has been given. If these steps prove too difficult or time consuming you may want to consider simply finding a new piece of music that’s easier to clear.
Steps to License Music or Sound Design
After you've located the copyright owners and their contact info, it’s time to get your deal-points together. You’ll want to do this before reaching out to the copyright owners. The main pieces of information you need are:
1. The name and description of your project, as well as your company information, or the name of the company who will be licensing the music.
2. The category of media that is being created <a href="https://www.sencit.net/licensing">film trailer</a>, commercial, video game, television show).
3. The name of the song(s) or cue(s).
4. The name of the artist and/or composer(s) - make sure to specify whether you intend to use the instrumental or full version with vocals.
5. Nature of use - is the music playing in the background behind dialogue or featured on its own?
6. Media rights - where will your project air or broadcast? Some common options include television, theaters, online, and social media. It’s a good idea to familiarize yourself with all the possible outlets. You may even want to cover all bases and request all media rights so that you don’t run afoul of the fine print; (note that all media rights licenses are typically less expensive than adding media rights after your initial license). 
7. Length of use - what is the duration of the clip you intend to use and how often will it appear within your project? The number of times a song starts/stops in a production is known as the “needle drop,” a reference to when playback was triggered by the record player’s needle making contact with the vinyl. Needle drops are common in television programs, but less so in film trailers, video game trailers, or music for commercial use where the licensing fee is adjusted to cumulative length of play.
8. Budget - how much cash can you spend on the cue? This may be the most important piece of information for licensors. However, it’s not necessary to include it in your initial correspondence, as you may be exploring costs to determine budget.
Negotiating a Music License
Now that you have your deal points organized, it’s time to contact the rights owner(s) for approval to use the song or cue. Note that every party with a share of ownership will need to grant license for use. However, the party with the largest percentage of interest is often authorized to negotiate and license out material on behalf of the other owners.
Once approval is granted, it’s time to discuss the budget. Though some fees may be fixed (typical for well-known songs), others may have flexibility in their pricing. It’s important to have a firm grasp of your budget, and to approach negotiations with honesty and gratitude. While most rights owners will work with you, they may be quickly turned off if they feel you are undervaluing the material. It’s also important to make sure everybody is on the same page surrounding the payment schedule, or you can risk losing the rights to use the material you worked so hard to secure. If this is a concern, rights owners may be willing to grant you some flexibility on payment schedule, if both sides have a pre-existing relationship.
Sealing the Deal on a Music License
Now that you’ve agreed on terms, it’s time to execute the license. You or your company may be asked to draw up the paperwork. If you are independent and do not have a preferred license form, the master rights and publishers will provide one (and in many instances will prefer to work off their own form agreement).
After that, pay the license fees. Master use and synchronization licenses are not valid until they are paid. Once you pay, congratulations! The dirty work of clearing rights and locking-in licenses has been done. Now drop that licensed music and sound design into your project and let it rip.
If this process feels overwhelming, or you prefer to have some assistance, the <a href="https://www.sencit.net/services/music-rights-clearance">Sencit clearance team</a> can take care of it for you. So you can focus on what matters most: cutting a great project. Drop us a <a href="https://www.sencit.net/contact">line</a> and we’ll help you out.

How to license music?

Licensing 101 Alt 2

Music Licensing 101: Video Productions, Film Trailers, Video Games, and Beyond

It’s one thing to have finally found the perfect track to match your trailer, commercial, TV show or <a href="https://www.sencit.net/licensing">film</a>, but, as any editor or music supervisor will tell you, it’s another thing entirely to land a license for that track squarely within your marketing or production budget.
As with all things in the music business, the price of <a href="https://www.sencit.net/blog/informational-resources/types-of-music-licenses">music licensing</a> agreements varies greatly depending on the negotiation between copyright owners and those looking to license music. These sometimes vast differences in price and expectations have no doubt contributed to the growing appeal of full scope music companies, like Sencit, whose relationships with labels and publishers in the industry help take some of the guesswork out of licensing fees.
While Sencit specializes in music supervision and rights clearance for trailers, in our broader experience as a full-service music company we have noticed some commonalities in the way licensing fees are structured that will be familiar to those who have worked in <a href="https://www.sencit.net/" target="_blank" rel="noreferrer noopener">music sync</a> before.
Type of Production: Trailer, Film, Commercial &amp; More
It’s common knowledge among licensors that budgets for marketing projects like trailers and advertisements trend higher than those for productions. Because of this, many artists and copyright holders will adjust their music usage fees accordingly. The flip side is that artists are often willing to license for much less than they otherwise would, given the opportunity to expand their audience through placement in a film, video game, or TV production, or they have a personal connection to the message of the project.
For well-known artists or those on a major label, it’s not uncommon for trailer placement fees to come in at as much as six figures for master rights and synchronization licensing. For independent films, this fee can range from as low as $10,000 to the low six figures — though again, this is often subject to negotiation based on the artist’s personal interest in the project.
The fees for lesser-known artists, or up-and-comers partnered with niche music libraries are usually lower, offering affordable opportunities to budget-conscious productions at no cost to overall production value. But that’s not to say you should assume the music of a well-known artist is out of reach — Sencit’s Rights Clearance Division has a long history working with labels and publishers of all sizes, and can help facilitate the discussions that go into securing these kinds of rights agreements.
Media Rights and Usage
The scale of your project matters when pricing music licenses, and can hinge on the extent to which you plan on using the musical work. For example, a worldwide license —one you’d need for global release in theaters, television, at film festivals, etc. — will naturally cost more than one limited to a particular region. This is because the requisite distribution rights cover more ground and entail that much more usage. Additionally, some artists are represented by multiple publishers in different parts of the world and will need to factor in the additional costs of these pre-existing agreements, complicating the process of clearing usage everywhere you plan on distributing your project.
Again, this underscores the importance of working with labels and licensors who have a strong understanding of their own publishing arrangements and can tackle large-scale licensing agreements with confidence. Many tenured production music libraries will offer industry-standard rate cards with set prices, making it much easier to set your expectations and stay on budget. These rates will vary based on the type of production, the timing of the usage (how much of the song is being used) and the extent of rights required (regional, worldwide, theatrical, online)–a nice alternative to the sometimes unpredictable nature of direct negotiations over price.
Industry Experience
Perhaps the most relevant factor in negotiating the cost of a music license often winds up being the level of experience of the parties involved. Big-name acts know their worth as ambassadors of culture, and knowingly command big-name prices for placement in ads, video game trailers, film and TV. On the other hand, less tenured artists or libraries with less experience in licensing (and perhaps with some outsize expectations) may turn a wild card when it finally comes time to talk pricing. Having knowledge of industry trends in fee licensing can be helpful here, along with a clear sense of your own budgetary constraints and the type of music you can expect for the money.
When securing the rights for a track, you ultimately want as few surprises as possible. Getting a project smoothly across the finish line often just comes down to experience. At Sencit, the bonds we’ve forged with labels and publishers throughout the years is as much an instrument to our success as the time we’ve spent in the industry as rights and music supervisors ourselves. Fun fact: our <a href="https://www.sencit.net/services/music-supervision">Music Supervisor</a> and <a href="https://www.sencit.net/services/music-rights-clearance">Rights Clearance</a> leads have a combined 35+ years of experience between them. Besides the balancing of budget, keeping the experience of rights clearance at minimal friction will be easier for everyone involved, with fewer last minute changes, re-approvals, or revised expectations.
Regardless of the budget or scale of your project, it pays to have more options than fewer when licensing music for trailers, film or TV. Don’t sell your project short just because you don’t know how much something will cost—and if you’re having trouble finding out, reach out to those of us who can. Your success (and the success of your clients) will benefit as much from confident rights clearance as from the music that underscores the journey there.

Music Licencing Fees Alt 2

Music Licensing Fees: Budgeting for the Perfect Track

Anyone who’s ever edited, produced, or <a href="https://www.sencit.net/services/music-supervision" target="_blank" rel="noreferrer noopener">music supervised</a> a movie trailer knows the power of a great cue. The right song or piece of sound design can create instant cohesiveness and lend structure to your project. The creative issues that have plagued your project for months seem to suddenly fix themselves. New exciting themes emerge, and the material comes alive like never before. The right cue is simply magic.
 
But with the perfect cue comes a process that is far less thrilling and intuitive. That’s right, we’re talking about music licensing. It can be tedious, tiresome, and time-consuming, but with a little guidance and the right resources, the process becomes a lot more user-friendly. Having worked for years in trailer audio, I’ve picked up a few tricks and tips along the way… and I’d like to share them with you over the course of the next few posts. Today, we’ll cover the basic terms and concepts of music licensing to help you determine which particular license is right for your project.
 
<h2> What is music licensing?</h2>
 
Music Licensing is the process of acquiring rights to use copyrighted audio or compositions. A music license is an agreement between the owner of the material (the “Licensor”) and the party seeking permission to use the material (the “Licensee”). Music licenses almost always have a fee associated with them. In the case of mechanical licenses, the fee is usually fixed, or compulsory; while other licenses -- like Synchronization or Master Use licenses - are usually negotiated by the copyright owner and the licensee.
 
Typical copyright owners include Labels, Publishers, Music Libraries, Artists and Songwriters. The two most common types of copyrights are sound recording (<a href="https://www.sencit.net/services/artist-and-label-services">labels &amp; artists</a>) and composition (publishers and songwriters). Sound Recordings and Compositions function as two sides of the same musical coin.
 
 
 
Music Licenses for Visual Media
 
The first step to clearing the rights for a piece of music or sound is understanding what type of license you’re going to need. There are generally two licenses required to use a particular song in connection with visual media.
 
Synchronization License (aka Sync or Synch): A synchronization license grants the right to use a specific composition in connection with one or more categories of visual media (film, TV shows, commercials, video games and movie trailers, to name a few). These licenses are usually procured by film studios, television networks, production companies, visual media content creators on platforms like YouTube, and even film students. And most importantly, a <a href="https://www.sencit.net/" target="_blank" rel="noreferrer noopener">Sync License</a> only covers the underlying composition, not the recording itself. For that you’re going to need a...
 
Master Use License: In addition to obtaining a Synchronization License for the underlying composition, you'll likely need a Master Use License, which grants the rights to a specific sound recording. While the owner of the published material remains the same for every recording of a composition, the owner of the master rights changes depending on which recording is being used. For example, Sencit created a <a href="https://www.sencit.net/" target="_blank" rel="noreferrer noopener">trailer music</a> version of Behind Blue Eyes, written by Pete Townsend of The Who. To use this track, the Licensee must obtain the Sync License from Townsend's publisher as well as a Master Use License from Sencit, the owner of the specific recording.
 
 
Other Common Music Licenses
 
Public Performance License: A Public Performance License grants permission to play a song in a public place or transmit the track to the public by way of radio broadcast, tv broadcast, and/or the internet. Public Performance Licenses are commonly procured by TV networks, radio stations, movie theaters, restaurants, retail businesses, and venues. These licensees pay an annual fee to organizations called Performance Rights Societies (PROs) for the right to “perform” or play the music. For each TV Program, movie, commercial or live band performance, the licensee submits a list of songs played (the “cue sheet”) to the PRO, who then pays composers and publishers a pre-arranged share (“royalties”) from the total license fee. Note that show producers, DJs, and band managers typically draft the cue sheet for the venue or broadcast manager, who then submits the list to the PRO. Royalties for Public Performance are only paid to the music publisher and composer, not to the performing artist or owner of the recording.
 
 
 
Mechanical/Compulsory License: A Mechanical License grants permission to reproduce and distribute a sound recording that has been previously recorded and released to the public. This license is most commonly used for cover songs and applies to audio-only products, like digital downloads and interactive streams or Compact Discs. These licenses are most often procured by artists after recording (but prior to distributing) their cover song. Common ways to obtain a mechanical license for a cover song include The Harry Fox Agency's Songfile or from distribution platforms like TuneCore and Distrokid.
 
Due to the Copyright Act of 1909, the copyright owner of a composition is required to issue a compulsory license to anyone who wishes to make a mechanical reproduction – such as a vinyl record or CD – provided the following terms are met:
 
1. 	The song is a non-dramatic work
2. 	The song has been previously recorded
3. 	The previous recording has been distributed to the public
4. 	The new recording doesn't change the basic melody or fundamental character of the song
5. 	The new recording is only used in audio-only products
6. 	A compulsory license fee of 9.1 cents per copy (for recordings up to 5 minutes) is paid
 
 
Print License: A print license grants permission to reproduce printed lyrics and music. Print music is commonly distributed in the form of folios, sheet music, and guitar tabs; while print lyrics are typically used in books, advertisements, and merchandise. Note that guitar tabs as well as lyric websites like Genius must obtain a print license to display and print underlying compositions of a particular song.
 
 
How to License Music 
If you are interested in obtaining a <a href="https://www.sencit.net/">Music Synchronization License</a> or Master Use License to acquire music or sound design for your media project, this post will walk you through the necessary steps in a clear and concise fashion.
 
To obtain Public Performance licenses in the United States, you will need to contact a Public Performance Organizations like ASCAP, BMI, SESAC or AMRA.
 
Mechanical Licenses are compulsory and can be obtained through the Harry Fox Agency.
 
Print licenses will always be obtained through the publishing company since this license is for the use of the composition.
 
Finally, remember that licensing music is more than a legal transaction. In an age when record sales are down and free streaming is common, your license fee can go a long way to support artists and performers. And if you need help with this, Sencit’s <a href="https://www.sencit.net/services/music-rights-clearance" target="_blank" rel="noreferrer noopener">Rights Clearances</a> team is always available to make this process easy for you. Good luck!
 
How to License Music
Sencit’s Rights Clearances team leverages its extensive knowledge on music licenses to ensure a seamless process in helping you obtain a music license. However you have the ability to obtain them on your own via the following sources: 
<ul><li dir="ltr">A Music Synchronization License or Master Use License for use of music or sound design for your media project, our “How to License” article will walk you through the necessary steps in a clear and concise fashion.</li></ul>
<ul><li dir="ltr">Public Performance License in the United States can be obtained by contacting a Public Performance Organization like ASCAP, BMI, SESAC or AMRA </li><li dir="ltr">Mechanical Licenses are compulsory and can be obtained through the Harry Fox Agency. </li><li dir="ltr">Print licenses will always be obtained through the publishing company since this license is for the use of the composition.</li></ul>
 
Finally, It’s important to remember that licensing music is more than a legal transaction. In an age when record sales are down and free streaming is common, your license fee can go a long way to support artists and performers. 
If you are looking for support or more information on <a href="https://www.sencit.net/licensing">music licensing</a>, our team is always here to help.

Informational Resources

The Art of Silence: Mastering Negative Space in Trailer Sound Design

The Art of Silence: Mastering Negative Space in Trailer Sound Design

How Music and Sound Design Shape the Rhythm of Movie Trailers

Trailerization vs Remix: What’s the Difference?

Sound Perspective In Film: Understanding The Elements Of Sound Design

Packets - Thinking Outside the Playlist

Bending the Ear: Composing for the Horror Genre

Musical Terms Editors and Music Supervisors Should Know that will garner better results for composers (Mixing, Mastering, Needle Drop, more)

Defining Mastering

Music Licensing 101: Video Productions, Film Trailers, Video Games, and Beyond

Music Licensing Fees: Budgeting for the Perfect Track

Types of Music Licenses

Licensing