Tag Archives: Killer Tracks

Killer Tracks rebrands as Universal Production Music

Production music company Killer Tracks has rebranded as Universal Production Music. The new name strengthens alignment with parent company Universal Music Group.

As part of its rebrand, Universal Production Music has launched new US website. Using the new theme “Find Your Anthem,” the site provides intuitive tools for searching, sharing and collaborating, all of which are designed to help users discover unique tracks to tell their stories and make their projects stand out. New features include a “My Account” section that allows users to control access, download tracks, manage licenses and pay invoices.

“Customers will gain faster access to tracks, simplified licensing and more great music,” notes VP of repertoire Carl Peel. “At the same time, they can still speak directly with our music search specialists for help in finding that perfect track and building playlists. Our licensing experts will continue to provide guidance with questions related to rights and usage.”

Drawing on a roster of talent that includes top composers, producers and artists, Universal Production Music releases more than 30 albums of original music each month. It also offers more than 150 curated playlists organized by theme.

“We look forward to working closely with our colleagues in the US to share insights into emerging musical trends, develop innovative services and pursue co-production ventures,” says Jane Carter, managing director of Universal Production Music, UK. “Most importantly, our customers will enjoy an even wider selection of premium music to bring their projects to life.”

Killer Tracks offers label for reality television music

Production music company Killer Tracks has launched In Reality, a new label focused on songs for unscripted television. The new label debuts with 10 albums of original tracks specially created for all reality television genres and spanning an array of musical styles, emotions and scenarios.

The entire catalog is being supervised by Killer Tracks executive producer Ryan Perez-Daple, who has produced more than 300 of the company’s top-performing albums. In Reality’s new releases are available immediately for licensing and sync through the Killer Tracks website. The new label plans to release an additional 20 albums over the remainder of the year.

In Reality was developed to help unscripted television producers meet their music needs with immediate access to high-quality, easily editable songs tailored to lifestyle, competition, true crime, travel, documentary and other show formats. With music being a key part of the reality television experience, In Reality’s songs play to emotions, support plot twists and underscore moments of tension, action and humor. Across the catalog, musical styles include urban/hip-hop, feel-good rock, anthemic indie, promo/trailer, comedic beats and sensitive underscores. The label also offers tracks suitable for promos, trailers and other marketing media.

“Demand for music continues to grow from producers of shows across the reality TV spectrum,” says Perez-Daple. “Producers need a lot of music, and they need it quickly, but they also want music that has a contemporary sound, is well-produced and fits the tone and character of their shows. We’re creating tracks that are fresh, original and versatile, and tailored to production use.”

Ryan Perez-Daple

For In Reality’s initial albums, Perez-Daple drew on Killer Tracks’ deep talent pool of established composers and emerging artists. Contributing artists include Charles “Chizzy” Stephens III, Alex “Juice” Hitchens, Aire Atlantica and Fred Kron, among many others whose resumes include work with chart-topping recording artists, as well as film, television and advertising projects.

“We’re tapping into developing composers and producers, many of whom are working with major labels and whose sensibilities are in line with current trends in popular music,” Perez-Daple says.

In Reality songs are written for seamless audiovisual integration, include numerous edit points, and many come with alternate mixes, stems and musical toolkits.

Killer Tracks launches production music label for promos, trailers and more

Killer Tracks, an online resource offering pre-cleared music, has started a new label, called Icon, featuring music for movie trailers, television promos, advertising, sports, games and other media.

Frederik Wiedmann

The initial release includes 16 albums created and produced by award-winning composers Frederik Wiedmann and Joel Goodman, the founders of independent music producer Icon Trailer Music. The collection runs the gamut from orchestral scores to electronica.

After initially focusing on orchestral trailer music, Wiedmann and Goodman have recently been expanding beyond that niche, creatively and conceptually. “We spend a lot of time researching trends and market demands,” says Wiedmann. “We anticipate where the market is headed and are working with edgier and more contemporary styles.”

Joel Goodman

Whenever possible, Icon records with live orchestras, choirs and musicians. It also produces music with editorial in mind, creating tracks with numerous edit points, creating alternate mixes, and providing stems and musical toolkits. “We deliver lots of components that are useful to picture editors,” Goodman notes.

Wiedmann won an Emmy Award for the animated series All Hail King Julien. His credits also include the series Miles from Tomorrowland (Disney) and Green Lantern: The Animated Series (Cartoon Network), as well as the films Justice League: Flashpoint Paradox, Hostel: Part III, Mirrors II and Hellraiser: Revelations.

Goodman has more than 140 film and television credits, including the acclaimed PBS documentary series American Experience, for which he wrote the main theme. He has also scored more than 30 films for HBO, including Saving Pelican #895, for which he won an Emmy Award.

Quick Chat: Andy Donahue from Killer Tracks

Many of you are already familiar with 27-year-old Killer Tracks. This online resource offers pre-cleared music for film, television, advertising and interactive media. Their catalog spans many genres and features original works from award-winning composers, artists and producers. Their premium catalog is continuously updated with exclusive recordings and new music updates. They also have a dedicated team of music search specialists and licensing experts to help users find what they need.

We reached out to this industry mainstay’s Andrew Donahue to find out more about their offerings, but also learn about trends going on in this part of the business.

Can you talk about how you’ve seen your segment of the industry change over the years?
Over the past five years, the production music industry has changed tremendously. It’s a much more competitive marketplace. We need to continue to innovate with music and technology, making it easier for our clients to find the perfect track for their projects. One way Killer Tracks is doing this is through our new track customization tool, Score Addiction. It allows you to edit tracks, change track tempo and sync video with the track.

What is it that clients need or are requesting currently?
Clients increasingly want to have options for stems, shorter edits and stings — 30, 15, 8 seconds, or even less. Social media is making shorter edits the norm. Clients are also becoming more reliant on metadata. It’s crucial for data to be immediately accessible and accurate.

How do you decide what type of music to compose/record next? Do you poll your users? Do research?
Killer Tracks has a production team that understands the needs of our clients. We determine what genres to produce based on download, licensing and search reporting data. We are constantly receiving feedback from clients, our music search specialists and our licensing team, and always maintain awareness for what is happening in pop culture and trends in music, advertising, TV and film.

We try to spot trends before they’re big. We have been willing to stick our necks out to produce something that seems crazy only to have it become a top download — months later it’s suddenly the sound everyone wants. Our aim is to have music ready when a style becomes popular.

How do you find composers/talent?
Our production team has a pool of composers who produce music from every genre. Most new composers come to us through referrals from composers and musicians they currently work with.

What are some questions a client should ask or consider when they are looking for music for their project in order to help the process go smoothly?
When you are conducting a music search, be as specific as possible. If you have a song in mind, that’s great, but descriptive terms (tags) can be even more useful, e.g. “uplifting,” “motivational,” “medium tempo,” “building,” “violin but no guitar,” etc. Clients can also take advantage of our music search team and let them suggest tracks based on a description, reference track or link to a scene.

Any misconceptions about these types of libraries?
Many people think that all libraries sound the same, and that library music isn’t very good, unless it’s custom. Nothing could be further from the truth! We work with artists and composers who create outstanding, original work. We have everything from classic English punk from The Mutants to jazz- and classically-influenced orchestral work from cinematic legend Ennio Morricone. You hear our work everywhere without even realizing it. For example, we provided the theme song for Curb Your Enthusiasm and the soundtrack for Lexus’ “December to Remember” campaign.

You recently introduced Legacy, which was recorded by an 81-piece orchestra. Is something of this scope typical for Killer Tracks?
Legacy is a follow-up to a prior release called Shock and Awe. Currently, there is a lot of demand in the trailer world for tracks with vocals over live orchestra. Legacy is our response. It was recorded live with a full orchestra.