Monday, 25 August 2014 00:00

Sync Summit Music Supervisor Series Pt 1: Daryl Berg

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SyncSummit

We are happy to announce that we’re partnering with the talented folks at Sync Summit to participate in this year’s Sync Summit Hollywood. Sync Summit markets itself as “the world premiere music + media market” and hosts events in several popular locales across the globe focusing on music licensing, clearances, and all things sync related.

Some of this year’s speakers include executives from Warner, Sony, The Hit House, MGM, and many more. The agenda is slam-packed with panel discussions leaving plenty of time for networking breaks.

As such, we’re also partnering with the Summit to bring you exclusive interviews with some of this year’s key speakers starting with music supervisor, Daryl Berg.

Daryl is the founder of music service organization Sound Canyon, a company that offers music supervision & licensing, publishing, creative development and composition. Berg has worked on television shows like “Masterchef" and “The Biggest Loser,” and spent time as a business development director for EMI, along with many other impressive accomplishments.

We spoke with him about his favorite sync moments, the licensing biz, Sync Summit and more! See his responses below.


I discovered I wanted to be a music supervisor…

After getting laid off from major label, like so many people at the time, a friend of mine knew about my love of music and my licensing/creative experience and asked me to work with him for a bit.  It wasn’t something I pursued specifically, but after the downfall of the digital music industry in the early 2000s, I wanted to try anything to keep my career in music alive. We started off pitching music, taking small supervision gigs, and eventually that blossomed into an in house network gig.

Daryl BergOne of my favorite music supervision moments ever is…

Basquiat - Public Image Ltd - Public Image, Ltd.  This song just BLOWS you off your seat and prepares you both lyrically and stylistically for the bombastic nature of what Basquiat went through in the NY art scene in the 80s.  An incredible film music moment.

One of my favorite music supervision moments from a project I worked on is… too many to name.  I used to license a lot of indie music in bulk, so somewhere in there are a lot of bands that no one ever heard of back then, but everyone’s heard of today.  I’d like to say it was because I was so ahead of the curve, but in true form follows function way, more likely it was because those bands and labels were simply willing to license the music to me for low fees.

The thing about music supervision that will never change is…

Budget, budget, budget.  Always make sure you know your budget before sending any music along, otherwise you’re going to end up making promises to your producers that your wallet can’t keep.

The thing about music supervision that’s changing fastest is…

Diversification in the hats a supervisor wears.  These days, with the competition in the industry, it’s hard to just be a music supervisor and have a flourishing career.  So many I know are becoming publishers, working with composers on their own, starting labels, etc.  You can’t just know about just putting music to picture any more and expect to have this long lasting, financially stable career.

One thing I hope I can express to audiences at Sync Summit is…

It's not about your taste in music, or identifying the next big thing before anyone else.  It’s about knowing how to translate what musical emotions your producer/director are trying to reveal to the audience.

The next artist I want to sync up is…

I want to lead the next wave in making Norwegian Black Metal the new Coldplay.  Ok, I kid, I kid, but seriously, I don’t listen to a great band and think, wow, they’d be good for a sync.  It’s probably counterintuitive to what I do, but I tend to keep a warehouse of music in my head and then when the time comes, if it works, terrific.  However, bands that I currently am really enjoying that I hope to find a place for? Joyce Manor, Strand of Oaks are both great. The new King Tuff is one of the best rock records i’ve heard in a long time too.

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Music Supervision 2: The Complete Guide to Selecting Music for Movies, TV, Games, & New Media

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The newly revised, definitive book on music supervision, which guides you through real-world scenarios and legal landmines, explores sound design, and profiles key players.

Music supervision, or matching music to all the different mediums from films to ring tones, is one of the fastest-growing careers in the music industry, but finding the winning song for a national ad campaign or compiling a platinum movie soundtrack takes more than just good taste. Music supervision today requires serious multi-tasking and the ability to navigate licensing, relationships, and cultural trends with ease. This book guides you through real scenarios and legal landmines you might encounter; it explores sound design and profiles key players with insightful interviews, while providing project form templates that will save time for seasoned music supervisors.

This is the only guide to the career of music supervision and is ideal for the music student, musician, industry executive and of course, for those who want to break into the field of music supervision. Authors David Weiss, Ramsay Adams and David Hnatiuk are all renowned figures in the procurement and supervision of music and they apply their combined knowledge and experience to give the best possible advice and tell you how to get the job!