Hi. Welcome to 2022. It's me, Ben. It's been a while. I've watched... just so much television since we last spoke. It's too cold and covid-y and I got a newborn so I've just been inside. Watching. It's not an interactive medium, folks. I don't know if I know how to speak to people anymore. I can spot a plot twist a mile away but I can't string a sentence together to save my life. Am I doing it right? I feel like I usually use more exclamation points! Nope, that doesn't look right. Periods it is. 


This is #48. Same sections. Let's do this.





This Thursday SAS is hosting a Sync Summit panel on the evolution of trailer music! This all-female panel will discuss the history, evolution, current and upcoming trends in the trailer business. Moderated by SAS's own Jamey Sussman, panelists Lana Bui, Joni Fuller, and Aura Kay will touch on history, trailer trends, forecast upcoming trends, touch on any gender shifts within trailer music, and the importance of how now, more than ever, women are composing, directing and leading in all things trailer music.



Recent Work

This trailer for the latest installment in the, I guess, Agatha Christie Cinematic Universe (ACCU), Death on the Nile, features a cue from Joni Fuller off of her 2019 debut SAS trailer album, A Beautiful Chaos. This cue was destined for the mystery thriller genre and feels right at home with detective Hercule Poirot. 


This Infiniti spot for the 2022 QX60 features a triumphant, percussive track from SAS composer, JNUARY, as well as a person named Erin Andrews who seems like someone I'm supposed to recognize based the title says "with Erin Andrews."






Lawrence - Don't Lose Sight

Lawrence - Don't Lose Sight - You may have heard this infectious, soul-pop track featured in recent Microsoft spots or may have come across the song through the (arguably cooler) acoustic version. It's fun, uplifting and a has a little attitude makes it a great fit a lot of brands, especially when combined with a strong vocal performance. 



Submit ideas inspired by this ref HERE with playlist name "#48 Blind"

Ryan Lott - Counting Atomic

Ryan Lott - Counting Atomic - This unique, light, percolating blend of orchestral and electronic elements ebbs and flows, introducing new and interesting sounds and rhythms atop a bedrock of a single repeating triplet pattern. It feels ethereal, curious and playful, keeping each individual instrument relatively simple and leaving space to add depth and complexity by layering them together. 


Submit ideas inspired by this ref HERE with playlist name "#48 Protons"

Alexander Desplat - Krisofferson's Theme

Alexander Desplat - Krisofferson's Theme - I wonder if eventually I'll have shared this entire soundtrack. Either way, our clients certainly have! The score for Fantastic Mr. Fox has been a go-to reference for playful, plucky, upbeat modern orchestral music for the last decade and this particular track leans a bit saccharine. A good fit for the sweet, young fox it was written for. 


Submit ideas inspired by this ref HERE with playlist name "#48 Kris?"

Oh Wonder - Hallelujah

Oh Wonder - Hallelujah - This anthemic alt-pop track from UK duo, Oh Wonder,is built on a driving, modern electronic foundation layered with warm vocal harmonies and lush orchestration that elevates the track and gives it additional scope and scale. The percussion is energetic and exciting, cracking and thundering at the climax of the track and giving it a danceable pulse. 


Submit ideas inspired by this ref HERE with playlist name "#48 Leonard?"





Does SAS have a standard for mastering levels?


The short answer here is that no, we don't have a standard and rely on composers or their engineers to master the tracks in a way that best represents them. Certainly different genres and arrangements may get different treatment, so the only guidance we provide is to keep in mind that your track will be in playlists with likely similar tracks from other artists, so you'll want to make sure that it stands up alongside those tracks. If you'd like some examples of tracks we have in the catalog we can send some samples so you can ensure there's no major dip or jump in volume. 


Should I preemptively submit cutdowns in certain lengths and what is the best way to do so?


It certainly doesn't hurt to have a few lengths or alt versions on hand for when a client needs something quickly. Common lengths are :60, :30, :15, and :06, but it's probably not necessary to submit all 4 for every track you submit. You should send them alongside your submission, not nestled within a stem zip (more info on stem zips in the Q&A of this newsletter). 



Hi. Me again. You guys see Yellowjackets? Hacks? Ozark? The Witcher? How I Met Your Father? Squid Game? And Just Like That? Dexter? Sweet Tooth? They were fine. Bye.


Happy Scoring Everybody!



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