How to Get Your Song in a Movie Trailer: Music Supervisor Secrets REVEALED!
In this episode, How to Get Your Song in a Movie Trailer: Music Supervisor Secrets REVEALED! Unlock the world of trailer music supervision with independent music supervisor Travis Drum from Ignition Creative! In this episode of the MUBUTV Music Business Insider Podcast, we explore how music is selected for blockbuster trailers and major ad campaigns. Travis reveals what makes a song trailer-worthy, how TikTok trends and classic tracks impact marketing, and what independent artists must know to break into lucrative sync placements. Learn about the fast-paced, creative process behind the scenes! 🚀🎬 #TrailerMusic #MusicSupervision #SyncLicensing
Our mission here at MUBUTV is to help independent artists and music business professionals of the future to educate, empower and engage their music career.
🎙️ Music Business Insider Podcast: https://www.mubutv.com/podcast The Music Business Insider Podcast is a deep dive for listeners like you who want to educate, empower & engage their music career. We take you inside behind the scenes through a series of in-depth conversations with today’s leading experts in the Music Industry including A&R, Music Supervision, Artist Management, Marketing, Publicity, Touring, and much much more. You can find it by searching “Music Business Insider Podcast” on any podcast app or platform [ie: Apple Podcasts, Spotify, etc.].
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https://www.mubutv.com/travis-drum-music-supervisor
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⚡️What you'll learn in this episode⚡️
👉 Why trailer music is more than just background noise
👉 The secret sauce of music placement in advertising
👉 Tips for indie artists to break into the world of sync
👉 What makes a song “trailer-worthy”
👉 The financial rewards of landing a spot
👉 and so much more...
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⚡️Insiders! Secure Your Spot! Get expert music career coaching with Ritch & Eric. Book your 15-min discovery call now: Grab a spot! 👉 https://book.mubutv.com
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Podcast Credits
Produced by: Ritch Esra & Eric Knight
Editor: Eric Knight
Shownotes & Transcriptions: Rick Staffy
DISCLOSURE: Some product links are affiliate links which means if you buy something we'll receive a small commission.
Copyright © 2025 MUBUTV™ Media. All Rights Reserved
In this episode of the MUBUTV Music Business Insider Podcast, Â music superv
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
On today's podcast, we're joined by Travis, Drum music supervisor
responsible for crafting the sounds behind some of the most captivating trailers
and ad campaigns in the industry. Travis shares how music has
become a driving force in marketing. From the impact of TikTok trends
to the magic of reinventing classic tracks for modern audiences, we
dive deep into what makes a song trailer worthy, the art
(00:22):
of chasing the perfect sink under crazy deadlines, and what
independent artists can do to break into the world. Advertising
Placements if you've ever wondered who picks that song
that makes you want to see a movie or buy that brand, you won't want
to miss this Insiders, Are you ready?
Welcome to MUBUTV's Music Business Insider Podcast where
(00:45):
our mission is to educate, empower and engage artists and
music business professionals who are dedicated to having a successful career
in the new music industry. Here are your hosts, Ritch
Esra and Eric Knight. Welcome back, insiders, to another
episode of the MUBUTV Music Business Insider Podcast, where
our mission is to educate, empower and engage your music career.
(01:07):
On today's episode, we sit down with music supervisor Travis Strum, who
specializes in the art of selecting and integrating music for trailer
and advertising campaigns. We take a deep dive into how the attention
economy has transformed the way music is used to capture audiences,
why dynamics and lyrics matter so much in trailer music, and the
balance between using tried and true classics and viral TikTok
(01:29):
tracks. Travis also shares insider tips for independent
artists looking to break into placements, reveals what it really takes to
get your music heard by major brands, and dishes on the creative, yet
fast paced world of trailer production, including how budgets,
client decision making and global collaboration shape what you hear
on the biggest movies and ads. If you've ever wondered what makes a song
(01:51):
perfect for a blockbuster trailer or how to get your music into one, this
is an episode you don't wanna miss, so stay tuned. But
first, a word from our sponsor. Hey insiders. Are you an
aspiring musician, artist, band or future music business
professional looking to take your career to the next level? Well, look no
further. At MUBUTV we offer personalized career counseling and
(02:13):
coaching designed specifically for folks like you. Imagine having
both of us by your side, guiding you through every step of your music journey.
Our sessions are tailored to meet your unique needs, focusing on critical
aspects of your music career such as refining your songs, defining
your artist story, identifying your target audience, and enhancing your
social media presence. Just to name a few. Whether you're just starting out
(02:35):
or looking to elevate your existing career, we've got you covered. Our
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from live shows to branding and marketing strategies. We
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(02:57):
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(03:19):
strategies to grow your audience, and the confidence to perform live. All
tailored just for you. So why wait? Don't let uncertainty
hold you back. Join us for your free 15 minute discovery
call at book.mubutv.com for a
transformative coaching experience that will elevate your music career.
That's book.mubutv.com
(03:41):
hi, this is Benjamin Groff. I'm the owner of Brill Building Music. Publishing,
and you're listening to the MUBUTV Music Business
Insider Podcast. Welcome back, insiders. Today's featured guest
is none other than Travis Drum, music supervisor from the ad
agency Ignition Creative. This was a very, very interesting
conversation, Eric, for a very specific reason. We normally don't have
(04:03):
music supervisors who specialize just in
trailers and in commercials. It's a world than music
supervision for film and tv, which is why I thought this would be a great
conversation for us to have so our listeners could get some of the distinctions
because film and television have different kind of requirements, as we learned in
the conversation. One of the most important elements that I thought he
(04:24):
spoke about that, that I think is most valuable from a business angle that
our listeners and insiders need to know is that the creative process or,
you know, involving music, it involves many stakeholders. The people that are
responsible for those kinds of decisions could be the ad
agency, the marketing team, the studio. They all
contribute to those choices, the individual producers. So there are
(04:46):
many spokes to the center of the wheel, shall we say,
in that particular world, as opposed to film and tv, where it may be the
music supervisor and the director or the producer, it's a much shorter kind
of element. Whereas you're trying to please many, many more people in the world of
ad agencies and commercials. Yeah. And one of the other areas that
I thought was interesting to talk about was trailer placements that are
(05:08):
lucrative. Landing a trailer spot can mean significant financial
boosts for artists, sometimes equating to a year's salary. I mean,
this could be a potentially big payday for any of you guys out there that
have music that could fit that world. And so it's something that not
a lot of people know of, but it's something that could be very lucrative for
you as an artist. I'm so glad you brought that up because it is one
(05:28):
of the distinctions in music placement in the sync world, what you're talking
about. It's very important in that not all placements are
equal in terms of the economic value. Correct. A film and TV placement might
have an entirely different value than a commercial might have an entire.
That same song in film and TV might have a different value in terms of
what you're going to be remunerated, as you're pointing out, in a trailer. Correct. They're
(05:50):
all different elements because it's only. For a certain time period and
it's a certain element that you're getting. And I'm assuming it's an all in deal.
I mean you get stuff on the publishing side of your when that comes out.
But yeah, very interesting. And the other element to that is that different
people. Right. Different budgets are making the
decisions in trailers versus the film and television.
(06:11):
And with that, insiders sit back, relax and enjoy our
featured conversation coming live from Musexpo 2025
with Travis Strum. Travis, welcome. Thank
you. Glad to be here. Glad to have you on the show. Travis,
in your experience, is music being used more today with
marketing of brands than in the past? I think
(06:34):
with. Well, what I do is I do trailers and essentially
music plays a huge role in that. And
trailers in general have such a large budget that music
is a big part of that. All that. Okay,
definitely. So it's obviously a bigger aspect.
Bigger part, yeah. Because we're essentially trying to sell a movie,
(06:56):
try to get as many people in seats. And so music brings in a
whole large demographic of people into a movie. So it's just.
Yeah, it's so important. Travis, thank you so much
for joining us. Let me ask you, in an era where context,
consumers are bombarded with content, how has the attention
economy changed the way music is used in advertising today?
(07:18):
Yeah, I mean a lot of our clients want to use music
that's very popular now. And you know, TikTok
is essentially kind of like its own like A and R
picking like artists to be, you know, in our
media. So they do look for that. But there's also
(07:39):
just like focus on like older like artists, like
tried and true people. So it really depends on like
what is Being marketed. Okay. Yeah.
Interesting, because, you know, that was a trend for a while,
the idea of using the older, more familiar work. Yeah. And then
I think in the last, like, 20 years, the people in especially
(08:02):
in brands and in advertising expanded their base. Like you were
saying, wanting to use more contemporary or what I would say is
a wider variety of music than in the past. Yeah,
exactly. And it's just, you know, not every artist is
really ready for, like, trailers. So what we have to do is
we have to customize a lot of what we put in trailers.
(08:23):
And so it just depends on, like, the song
itself and then, like, kind of like broadening it and
putting in a trailer, like putting like an overlay
or a remix over it. So that plays a huge part of that,
too. Let me ask you, what are the key
elements that make a song or a composition effective in
(08:46):
an advertisement or a trailer? And how do they differ from music used in
other forms of media, like in film or in television? Yeah, I mean,
like, trailer music is very similar, special. First
of all, it has to, like, I specifically look at a
sound wave and, you know, peaks and valleys, and it has to have, like, different
parts and lots of dynamics and based on that
(09:08):
and lyrics and all sorts of things that then it gets put into a
trailer and then it might get passed off to a
composer or something. And then after that, then
we put it in the trailer. So we look at a lot of different things.
It can't just be like any song. It has to be very special.
Yeah. What are those elements that you look for? Like, what are some of the
(09:29):
elements that you look for? Oh, yeah, I mean, like, like stomp
downs or like accents, like hits,
lots of dynamics, like loud parts, soft parts. And
lyrics. Do lyrics play a part as well, too? Like if a lyric rides, kind
of like, carries. Oh, yeah, definitely. Especially
we look for certain parts of the song where, like, the lyrics are, like,
(09:51):
basically summarizing the movie or gives, like,
a thematic element to that. Very cool. Very cool.
Okay, Travis, once you land the
client or the spot, at what stage does music become a
factor in that process? Music is,
I would say, a very important factor. Like from the get
(10:14):
go, before we even cut a trailer, sometimes they're
asking for music. So,
you know, before, like an editor actually, like, looks at a thing, they were
kind of like, oh, wait, we want to start up with music. Like, can you
just, like, send us, like, a poll and just to
get some ideas going? And then based on that, it kind of gives,
(10:35):
like, the client, like, oh, okay, cool, cool. Maybe we could, like, run with this
or. But things are always changing. So then
once we do, like, an initial poll, like a client, we'll be like, oh, actually,
we want to do this direction. So it's always, like, a changing thing until we,
like, actually land on something interesting. So
that makes me wonder, like, in your particular role,
(10:58):
who are the decision makers that give the final green light as to what music
does get used in the spot, since you're talking about the
variations and changes that occur in your process. Yeah, I think
it really depends on the studio. It depends on the project, depends on the
budget. A lot of, like, students come to
us because they're like, oh, we need to market this movie, and
(11:21):
we want you to. You know, we're asking you to make the trailer. So,
like, please, like, give us some ideas. And then we'll be like, okay. Like, I
think these work. Then there might be, like, some other
person on the other end. Like, a client will be like, actually, like, let's
go this direction. Then we're like, okay, like, let's pivot. Here's some options. And
then they'll be like, actually, we actually like this one song. Can you please, like,
(11:44):
test this out? And it's just kind of like this process where we, like,
give them something. It'll be like, cut with it and edited with it. Just, like,
process of elimination, too. Kind of like what works, what doesn't work.
Interesting. How many variations will you give
for a project? Because you're talking about, like, all these different
elements where it's, you know, try this song, Travis, and maybe this one. And
(12:07):
we want to. What are we looking at here in that process? I mean, like,
a good example of that. Maybe, like, for a big studio,
we'll do, like, three different versions just to start with.
And then, like, one would be, like, a commercial song or a
production song. And then they'll be, like, customized. And then
we'll present those ideas, and they'll be like, we actually like this
(12:30):
one. Like, let's see, like, more we can. Can do with it. And then we'll
keep editing, editing, editing. And then they'll be like, actually, like,
why don't you try this song? Like, this might, like, I really like this song.
Try. And then we'll be like, okay, well, maybe it works. It
doesn't work. And then either yes, it does or no, it doesn't. And then
they're like, okay, well, maybe we can try a different era. Maybe we could try
(12:53):
something with this. And then we kind of just, like, keep pitching
that. And of Course, we have our own ideas as well.
I think you should use this. And then, you know, it's just kind of just
like back and forth. Okay,
Travis, in the world of commercial advertising, what role does
budget play in your musical choices for a brand?
(13:15):
Oh, man, it just really depends on the client and studio.
Some studios have lots of money. Some studios are very
independent. It really depends on the licensing terms.
You know, if you license for, like, six weeks, then
a bigger artist will pay a certain amount.
(13:35):
Or if it's a smaller, it could be in. I can't even say that word
too early. Perpetuity. So, yeah,
it really depends. And also, some studios have blanket
license with other, like, production libraries, so
that plays a part into it. It just really depends on the factors.
Hey, insiders, we hope that you've been enjoying our featured conversation.
(13:58):
Stay tuned because we've got so much value coming your way. But before we
dive back in, a word from our sponsor. Hey, Eric, as an artist,
what do you find are the most challenging aspects to a music
career, especially when you're starting out? Well, I think one of the first things is
just trying to get the direction of who you are as an artist, where you
want to go, where you want to be. And, you know, we've talked about it
(14:18):
on the show a lot. Who is your target audience? Who you. Who.
What do you stand for? What do you believe in? What do you think would
resonate with an audience? And so those are some of the things that I would
feel being a new artist. Obviously, what I know now is different because I know
these things, but for people that are out there, like our audience, that don't have
necessarily any direction to go would be the first things that I would start off
(14:39):
with. And having the songs incorporate those
elements that you're speaking of into it, that's so important today.
Yeah. And I think that's one of the reasons why we started MUBUTV and why
we started this new consulting service that we're offering to all of our insiders
out there. Because that is another one of the big things. I mean, that is
the big thing, is like, having the great songs. That's what it really starts off.
(15:00):
Our friend Don Grierson always said it always starts with a great song. So
that's probably. Besides putting together what your audience and what your
target audience is, is the single most important thing. Where are your songs
at currently, today? Are you collaborating with people? Are you trying
to go out to networking events where you can connect with other songwriters and stuff
like that? So, yeah. And what are your strengths exactly? You know,
(15:22):
are you a strong lyric writer? Are you a strong melody writer? Are you
a strong musician? A player. Right. You know, and it's really important to
get really strong clarity on those issues before
proceeding. I totally agree, Rich. And you know, with our consulting services,
we offer a myriad of different packages that we've made it super affordable
for everybody. So, you know, if you guys are interested out there and connecting with
(15:45):
us on a coaching call, you can visit
book.mubutv.com and start off with a free
15 minute discovery call. Well, yeah, absolutely. That. We start with an
initial 15 minute call where we can get a sense of who you are, what
are the issues that you specifically have and want to work on.
Exactly. And we can go from there. Absolutely. Yeah. And we tailor everything
(16:06):
to your needs. It's not like a cookie cutter thing. We kind of really want
to get to know who you are as an artist. Where you at today? What's
the snapshot of you as an artist today? And then start trying to
craft something that's tailor made for you. So again, if you're interested, Visit
us at book.moobutv.com for your 15 minute
discovery call. Hey, this is Todd Mayo, author of Caveman
(16:26):
Chronicles and founder of the Caverns. Are you an insider? I am.
Subscribe now. Let me ask you, do they come to you
when they're gonna give you the job for putting this together?
Do they come to you with a budget? Do they say, like, Travis,
this one has 200,000 or this one has 800,000? Or
do they say, you know, come up with idea or how does that budgeting process
(16:48):
work? Since you just talked about. Oh, yeah. I mean, like, some people would
just be like, we only have 17k. Right. Music.
And then we're like, great, okay, so that kind of like, is a process of
elimination of, like what we can use and we just go from there.
Okay. Yeah, no, I wondered because, I mean, I've heard sometimes,
you know, people spending fortunes Right. On trailer music.
(17:12):
I remember there was one studio, it was like 10, 15 years ago, that wanted
a U2 song just for the trailer. Yeah. And the song
isn't in the movie, but they wanted it for the trailer and spent a
fortune of money doing that just for the trailer. Like, trailer music is so
lucrative because it's just like a one time fee and that's
basically like a year's salary for artists. It's very important. It's
(17:34):
not like film and television where
it's just like, we're Gonna give you this lump of money, like, and here it
is. It's like, it's great, in my opinion. And when, like, an artist
gets a trailer spot that really deserves it, it makes me happy.
Yeah, Precisely. Let me ask you, do you find that
brands are more open today to a wider variety of creative
(17:57):
choices when it comes to music or not?
I mean, it really depends.
I feel that they're always looking for something that it's
gonna pull in the most amount of, like, audience into the
movie. So if it's something
that's targeted to, like, Gen Z, then it's gonna be like, tick tock. And
(18:19):
how do we work in, like, bringing these people in? Or if it's a
larger movie, like a Marvel, maybe it's like a
Kendrick Lamar. And, you know, we're just gonna. Like, this song is,
like, very popular. We're gonna pull people in. Or maybe it's just, like,
something that's completely left field and it's
a great song and it's. It's. I mean, essentially, to me,
(18:42):
it's like, it's art. And
honestly, it just depends on the situation, but I've seen a lot of different things,
and, yeah, it just really depends.
Travis, for independent artists that are looking to break into
advertising placements, what are some key strategies that they
should consider when pitching their music to agencies and brands?
(19:05):
I mean, know exactly what you want to do, know what your
goals are. And I think there are certain
people out there in my world, at least for trailers,
that are really open to composers.
And because we work at such a fast pace, it
doesn't matter what city you live in. I think
(19:27):
we use a lot of composers from, like, Europe, like, to turn
around something. So it really doesn't matter,
like, what cd, if you're composing music, but also just
know what you want to do, know what your end goal is, know, like, what
you're really good at, what you can offer. Because,
no, we go to people because we. Oh, wow. They do that really well. So
(19:49):
just hone in your craft and just know what you want. In general,
you. You touched on something with the time factor. So you guys work. It's kind
of like, I guess with, like, tv, you guys are working at a quick pace.
How. Describe that. Like, that's got to be crazy. Oh, man.
Like, oh, everything is needed, like, as soon as possible,
really. So the turnaround times. Yeah, we're not even, like, joking. That's something that,
(20:13):
like, happens, like, all the time. It's like, we need to turn this around as
soon as possible. So sometimes
we'll even have like an editor, like
for good examples. I was like, in Australia, and then like a composer
in the uk and like, we'll make a decision and
then as we go to the bed, they're working. Wow. So.
(20:35):
And then when we get up, like, we have something. So it's just like
that world. It's just like crazy. No, that's interesting to hear because
modern technology allows for that. Right. It allows for, you know, Australia,
which is 18 hours ahead of LA, and England, which is eight hours ahead of
LA. So you can pull those elements together and have that. I mean,
I've heard of, have producers and mixers who can, you know,
(20:58):
record bands in South Africa. Yeah. And mix it,
send them back, you know, and work that 20,000 miles away.
Literally. You know, in terms of. And so what you're describing is exactly
that. Yeah. Of that kind of element where you can pull all those
elements together regardless of where they are on the planet. Yeah. And
more people are looking for that. So I wouldn't discourage anybody to say, like, oh,
(21:20):
should I move to LA or New York? Right. Like, if you're trying
to get into trailers, like, just hone in your craft and figure
it out and, you know, people be receptive.
Let me ask you, Travis, you know, as more and more brands create content
specifically for online websites and social media, does
this give you any additional creative freedom in your music choices
(21:42):
in a time that, you know, whereas time is not as significant of a
factor as it would be with ads or TV or radio. You know, most
of the time when you're creating a spot, it's a 30 second spot, a minute
spot, or maybe 90 seconds. But a lot of times, like, I remember
BMW last year created this incredible spot that was like
three or four minutes for online. Are you finding any of the
(22:04):
brands that are coming to you for spots that you're having that kind of freedom
for longer pieces? Oh, yeah. I mean, a
trailer is just not, not just movies, it's, you know, like
brands, it's ads. It's like musicians are using it to
introduce people to like a record. And I think
as we progress into that form of art,
(22:27):
that is going to be useful across the board, you know, like
for a car, you know, is a longer spot or like a behind the scenes
or an artist trying to like tease an album, they'll
use a trailer. So I think that will be more common as a
way to like bring people in in the future. Yeah, definitely.
So you're seeing more of that in terms of it's not
(22:50):
just the 32nd spot, the 62nd spot. So that's good.
That's good to know. And I think our audience would appreciate that because there's more
opportunities and more choices for music in those situations. Oh, totally.
Yeah. Yeah. You know, Travis, getting the right people to create music for your
project is a large part of your job. What's the best way for
someone, independent, artist, publisher, or label, to learn what your musical
(23:12):
needs are and get on your radar? Oh, man. I think the
best thing for that is to find something that is
becoming sort of a trend and to capitalize on that
and offer it and see when no one else is offering
it. And a good example of that, I think, is, like, I've used this
artist a couple times. They're like production library
(23:34):
record for different spots. And it was just, you know, maybe it was like,
weird, like, trailer's weird because, like, it's kind of like Goldilocks where it's
just like, it can't be this, this, but it can't be this. And, like,
certain artists, like, might have that element, and it
works perfectly. And we're always looking for something that's like, oh, it has to
(23:55):
be this, but it can't be this, but it's also this. It's just such a
weird thing. So find something and be like, okay, well, I see this trend that's
happening. I also noticed that maybe, like, people aren't using
this, so maybe they'll use this. And then. Yeah, it's just
like a weird phenomenon for us because it's like, it makes sense, but also,
like, can't really describe it. Yeah, no, no, it's that.
(24:16):
Finding that key to the puzzle. Yeah. That you're talking about. Yeah, very much
so. Travis, throughout your life, what books or films
or documentaries have really inspired you, professionally speaking,
that you could recommend? The last film that really
inspired me, probably the Brutalist. Okay.
Yeah. Brutalist. Talk about why. What was it about that was so inspiring to you?
(24:39):
Oh, man. I mean, like, I think that was like, the last piece of music
where I felt like it just, like, touched me and like, oh, my
God, like, this music is just so inspiring. And just
you don't see films like that, like, come around that often. So then when I.
When I saw it, I was like, wow, like, completely cow captivated. And that really
inspired me to, like, just going down, like, the wormhole of movies and,
(25:00):
like, music and, like, film and, like, cinematography and all
that. So, yeah, that. That was the last thing that inspired me. Yeah,
he's, you know, he Won the Oscar for. For his. For his work on that.
He's a very interesting guy. Yeah. Yeah. He's very, very soft spoken.
And I've seen interviews with him. And he's British.
Yes. And he. He's. His
(25:22):
whole approach. Yeah. On that film was very, very
unique. It wasn't the traditional, like, you know, here's the whole
film done. Please do it. Yeah, it was. He was like,
on the set. He was like, in production,
which is not something that you often see. Exactly. And. And he.
He, you know, so. And. And the score was absolutely
(25:44):
stunning. Yeah. So that he composed for that film. Yeah. I had to see it
twice in theaters. I was just, like, completely blown away. Yeah, absolutely.
Travis, what advice can you offer our listeners who are wanting to pursue
a career in music supervision in advertising? Oh, man, that's a
great question. Well, my background and myself is. I'm a
musician, and I spent many years playing and recording
(26:06):
and teaching music, and then one day I wanted to pivot
into supervision. And my advice to that is
to, like, there's a lot of good programs for music supervision. Like
UCLA Extension is a great one. And also just networking with
people. I had to spend at least
a good two years meeting people, interning,
(26:29):
doing programs like reading books. And if
you connect with people and you're very passionate and
you want to get into this, people will hire you, but you just have to
be very patient and hard working and set yourself apart from
a lot of different people. Travis, where can people best connect with you at
Ignition? Is it through your website or online socials or. I
(26:51):
think my company has an email that if people want to reach
out for music, we have our website and you can
just shoot us an email anytime. Great. Wonderful.
Travis, we want to thank you so much for coming by and doing this. This
was so interesting and very, very helpful. Helpful. We really, really appreciate
it. Great. Thank you so much. Thank you. Such
(27:13):
an interesting conversation. Yeah, this was a great one, Eric. You know, this
is not an area that we've done a lot of exploration. We've had some. Have
some people, some people in. In this world, but it is in. In
relation to music supervision. This is a very, very
focused world because it deals with the world of trailers with. With
ads, which, as. As we've discussed on this show, have an
(27:35):
entirely different context of music supervision
than film and TV does. One of the more important things that I
thought he spoke about was that trailer music is very special.
It serves a very specific purpose. And he spoke about how his
choices in the creative, you know, had to have certain like
(27:55):
peaks and valleys to them. Also, it's a much tighter time
frame and you're looking at often either words
or tone to support something rather than an
emotional subtext to it, which, you know, in a film and TV show, a song
may be used in the background to convey something, but you have a longer period
of time. Here you're using something to support a 30 second AD
(28:16):
or a 40, you know, 45 or 1 minute AD. It's very rare that,
that commercials go over that. So that was a very interesting
kind of element, like what works in a trailer. And that's one of the reasons
you see covers and specific types of tone and
remixes. Right. And recutting of. Of
classics being used. Maybe it's just the lyric, but it's the
(28:38):
tone and the way they've said it in an entirely new context that makes it
work. Yeah, absolutely. And one of the other things that I thought was really great,
what he said on music's growing role in trailers and marketing, and I
quote, music plays a huge role in that. And trailers in
general have such a large budget that music is a big part of that.
We're essentially trying to sell the movie, trying to get as many people in seats.
(29:00):
And so music brings in a whole large demographic of people into
a movie. So it's just so important. And you and I have
talked about like that whole world of how trailers is really the
marketing of how to set it up to get people into the
theater, which is becoming much more harder and harder, as you know. And
so it's an interesting kind of dichotomy that happens between getting music
(29:22):
that's placed in a film and television versus an actual trailer, which is the thing
that's actually representing the piece of work out to the world.
Absolutely. It's. I mean, that's the whole. You've nailed it
with that statement. That's the whole purpose of a trailer, is to get your
interest enough to capture it where you are
going to see that movie. Right. Not that you're just aware of it or. Oh
(29:44):
yeah, I saw that. But I want to see that.
Exactly. You know, and, and, and how it's used. And sometimes it's just a
specific element. I've been watching this trailer recently of the new Brad Pitt
movie which is called Formula one. Oh, I've seen it yet.
And the trailer uses Fleetwood Max the chain.
Wow. We will never break the chain. Right, Exactly. But that's all they
(30:07):
use. Yeah, but it's the, the whole thing, it's very
common droning. Yeah. Kind of thing. It's the recording. But they've done something.
They've done something different. They remixed it. Yeah. Yes. Where you just have that
refrain and it's haunting. It's just, you know, never break the ch.
Yeah. And it's. It's like one of the most. This craziest and most
effective trailers that I think you and I can both agree and probably everybody listening
(30:30):
to. This was the Joker trailer when that first came out. I mean, that was
just. Holy crap. Yeah. You know, they established
something so powerful. Yes. It was so powerful that you
were just compelled. I've got to go watch this. And it delivered,
you know, which is the other thing. You got to deliver those goods when you're
coming out with a huge trailer like that, because if your trailer is better than
(30:51):
the movie, then there's a problem. But, yeah, that Joker movie. I remember
being in the theater and I was just stunned
watching that. Just for the first time, you remember the impact. He's dancing and he's
just. And the. And the music smile. I mean, it was just such a perfect
marriage of the two. So whoever did that is just brilliant.
And this is what Travis does. Yeah, absolutely.
(31:13):
It's. It's. It's a real art. The whole element of music
and trailers and commercials is a real art. Hey,
insiders, thanks so much for tuning into this episode. We really appreciate
it. To get show notes, links, and everything that was mentioned during this
interview, head on over to our Official
website at
mubutv.com/podcast/shownotes. If you're enjoying the
(31:35):
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(31:57):
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This show was produced and created by Ritch Esra and Eric Knight
(32:19):
theme music by Disciples of Babylon. And be sure to tune in next week
for another episode of the MUBUTV Music Business
Insider Podcast.
On today's podcast, we're joined by Travis, Drum music supervisor
responsible for crafting the sounds behind some of the most captivating trailers
and ad campaigns in the industry. Travis shares how music has
become a driving force in marketing. From the impact of TikTok trends
to the magic of reinventing classic tracks for modern audiences, we
dive deep into what makes a song trailer worthy, the art
(00:22):
of chasing the perfect sink under crazy deadlines, and what
independent artists can do to break into the world. Advertising
Placements if you've ever wondered who picks that song
that makes you want to see a movie or buy that brand, you won't want
to miss this Insiders, Are you ready?
Welcome to MUBUTV's Music Business Insider Podcast where
(00:45):
our mission is to educate, empower and engage artists and
music business professionals who are dedicated to having a successful career
in the new music industry. Here are your hosts, Ritch
Esra and Eric Knight. Welcome back, insiders, to another
episode of the MUBUTV Music Business Insider Podcast, where
our mission is to educate, empower and engage your music career.
(01:07):
On today's episode, we sit down with music supervisor Travis Strum, who
specializes in the art of selecting and integrating music for trailer
and advertising campaigns. We take a deep dive into how the attention
economy has transformed the way music is used to capture audiences,
why dynamics and lyrics matter so much in trailer music, and the
balance between using tried and true classics and viral TikTok
(01:29):
tracks. Travis also shares insider tips for independent
artists looking to break into placements, reveals what it really takes to
get your music heard by major brands, and dishes on the creative, yet
fast paced world of trailer production, including how budgets,
client decision making and global collaboration shape what you hear
on the biggest movies and ads. If you've ever wondered what makes a song
(01:51):
perfect for a blockbuster trailer or how to get your music into one, this
is an episode you don't wanna miss, so stay tuned. But
first, a word from our sponsor. Hey insiders. Are you an
aspiring musician, artist, band or future music business
professional looking to take your career to the next level? Well, look no
further. At MUBUTV we offer personalized career counseling and
(02:13):
coaching designed specifically for folks like you. Imagine having
both of us by your side, guiding you through every step of your music journey.
Our sessions are tailored to meet your unique needs, focusing on critical
aspects of your music career such as refining your songs, defining
your artist story, identifying your target audience, and enhancing your
social media presence. Just to name a few. Whether you're just starting out
(02:35):
or looking to elevate your existing career, we've got you covered. Our
comprehensive approach ensures you get insights on everything
from live shows to branding and marketing strategies. We
understand that every artist is unique. That's why our coaching
is personalized just for you. And here's the best part. We offer
flexible coaching packages that fit any budget. Choose from individual
(02:57):
sessions ranging from 30 to 90 minutes or save with our discounted four
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accessible. Imagine the clarity and direction you'll gain
after just one session. The feedback on your songs, the
(03:19):
strategies to grow your audience, and the confidence to perform live. All
tailored just for you. So why wait? Don't let uncertainty
hold you back. Join us for your free 15 minute discovery
call at book.mubutv.com for a
transformative coaching experience that will elevate your music career.
That's book.mubutv.com
(03:41):
hi, this is Benjamin Groff. I'm the owner of Brill Building Music. Publishing,
and you're listening to the MUBUTV Music Business
Insider Podcast. Welcome back, insiders. Today's featured guest
is none other than Travis Drum, music supervisor from the ad
agency Ignition Creative. This was a very, very interesting
conversation, Eric, for a very specific reason. We normally don't have
(04:03):
music supervisors who specialize just in
trailers and in commercials. It's a world than music
supervision for film and tv, which is why I thought this would be a great
conversation for us to have so our listeners could get some of the distinctions
because film and television have different kind of requirements, as we learned in
the conversation. One of the most important elements that I thought he
(04:24):
spoke about that, that I think is most valuable from a business angle that
our listeners and insiders need to know is that the creative process or,
you know, involving music, it involves many stakeholders. The people that are
responsible for those kinds of decisions could be the ad
agency, the marketing team, the studio. They all
contribute to those choices, the individual producers. So there are
(04:46):
many spokes to the center of the wheel, shall we say,
in that particular world, as opposed to film and tv, where it may be the
music supervisor and the director or the producer, it's a much shorter kind
of element. Whereas you're trying to please many, many more people in the world of
ad agencies and commercials. Yeah. And one of the other areas that
I thought was interesting to talk about was trailer placements that are
(05:08):
lucrative. Landing a trailer spot can mean significant financial
boosts for artists, sometimes equating to a year's salary. I mean,
this could be a potentially big payday for any of you guys out there that
have music that could fit that world. And so it's something that not
a lot of people know of, but it's something that could be very lucrative for
you as an artist. I'm so glad you brought that up because it is one
(05:28):
of the distinctions in music placement in the sync world, what you're talking
about. It's very important in that not all placements are
equal in terms of the economic value. Correct. A film and TV placement might
have an entirely different value than a commercial might have an entire.
That same song in film and TV might have a different value in terms of
what you're going to be remunerated, as you're pointing out, in a trailer. Correct. They're
(05:50):
all different elements because it's only. For a certain time period and
it's a certain element that you're getting. And I'm assuming it's an all in deal.
I mean you get stuff on the publishing side of your when that comes out.
But yeah, very interesting. And the other element to that is that different
people. Right. Different budgets are making the
decisions in trailers versus the film and television.
(06:11):
And with that, insiders sit back, relax and enjoy our
featured conversation coming live from Musexpo 2025
with Travis Strum. Travis, welcome. Thank
you. Glad to be here. Glad to have you on the show. Travis,
in your experience, is music being used more today with
marketing of brands than in the past? I think
(06:34):
with. Well, what I do is I do trailers and essentially
music plays a huge role in that. And
trailers in general have such a large budget that music
is a big part of that. All that. Okay,
definitely. So it's obviously a bigger aspect.
Bigger part, yeah. Because we're essentially trying to sell a movie,
(06:56):
try to get as many people in seats. And so music brings in a
whole large demographic of people into a movie. So it's just.
Yeah, it's so important. Travis, thank you so much
for joining us. Let me ask you, in an era where context,
consumers are bombarded with content, how has the attention
economy changed the way music is used in advertising today?
(07:18):
Yeah, I mean a lot of our clients want to use music
that's very popular now. And you know, TikTok
is essentially kind of like its own like A and R
picking like artists to be, you know, in our
media. So they do look for that. But there's also
(07:39):
just like focus on like older like artists, like
tried and true people. So it really depends on like
what is Being marketed. Okay. Yeah.
Interesting, because, you know, that was a trend for a while,
the idea of using the older, more familiar work. Yeah. And then
I think in the last, like, 20 years, the people in especially
(08:02):
in brands and in advertising expanded their base. Like you were
saying, wanting to use more contemporary or what I would say is
a wider variety of music than in the past. Yeah,
exactly. And it's just, you know, not every artist is
really ready for, like, trailers. So what we have to do is
we have to customize a lot of what we put in trailers.
(08:23):
And so it just depends on, like, the song
itself and then, like, kind of like broadening it and
putting in a trailer, like putting like an overlay
or a remix over it. So that plays a huge part of that,
too. Let me ask you, what are the key
elements that make a song or a composition effective in
(08:46):
an advertisement or a trailer? And how do they differ from music used in
other forms of media, like in film or in television? Yeah, I mean,
like, trailer music is very similar, special. First
of all, it has to, like, I specifically look at a
sound wave and, you know, peaks and valleys, and it has to have, like, different
parts and lots of dynamics and based on that
(09:08):
and lyrics and all sorts of things that then it gets put into a
trailer and then it might get passed off to a
composer or something. And then after that, then
we put it in the trailer. So we look at a lot of different things.
It can't just be like any song. It has to be very special.
Yeah. What are those elements that you look for? Like, what are some of the
(09:29):
elements that you look for? Oh, yeah, I mean, like, like stomp
downs or like accents, like hits,
lots of dynamics, like loud parts, soft parts. And
lyrics. Do lyrics play a part as well, too? Like if a lyric rides, kind
of like, carries. Oh, yeah, definitely. Especially
we look for certain parts of the song where, like, the lyrics are, like,
(09:51):
basically summarizing the movie or gives, like,
a thematic element to that. Very cool. Very cool.
Okay, Travis, once you land the
client or the spot, at what stage does music become a
factor in that process? Music is,
I would say, a very important factor. Like from the get
(10:14):
go, before we even cut a trailer, sometimes they're
asking for music. So,
you know, before, like an editor actually, like, looks at a thing, they were
kind of like, oh, wait, we want to start up with music. Like, can you
just, like, send us, like, a poll and just to
get some ideas going? And then based on that, it kind of gives,
(10:35):
like, the client, like, oh, okay, cool, cool. Maybe we could, like, run with this
or. But things are always changing. So then
once we do, like, an initial poll, like a client, we'll be like, oh, actually,
we want to do this direction. So it's always, like, a changing thing until we,
like, actually land on something interesting. So
that makes me wonder, like, in your particular role,
(10:58):
who are the decision makers that give the final green light as to what music
does get used in the spot, since you're talking about the
variations and changes that occur in your process. Yeah, I think
it really depends on the studio. It depends on the project, depends on the
budget. A lot of, like, students come to
us because they're like, oh, we need to market this movie, and
(11:21):
we want you to. You know, we're asking you to make the trailer. So,
like, please, like, give us some ideas. And then we'll be like, okay. Like, I
think these work. Then there might be, like, some other
person on the other end. Like, a client will be like, actually, like, let's
go this direction. Then we're like, okay, like, let's pivot. Here's some options. And
then they'll be like, actually, we actually like this one song. Can you please, like,
(11:44):
test this out? And it's just kind of like this process where we, like,
give them something. It'll be like, cut with it and edited with it. Just, like,
process of elimination, too. Kind of like what works, what doesn't work.
Interesting. How many variations will you give
for a project? Because you're talking about, like, all these different
elements where it's, you know, try this song, Travis, and maybe this one. And
(12:07):
we want to. What are we looking at here in that process? I mean, like,
a good example of that. Maybe, like, for a big studio,
we'll do, like, three different versions just to start with.
And then, like, one would be, like, a commercial song or a
production song. And then they'll be, like, customized. And then
we'll present those ideas, and they'll be like, we actually like this
(12:30):
one. Like, let's see, like, more we can. Can do with it. And then we'll
keep editing, editing, editing. And then they'll be like, actually, like,
why don't you try this song? Like, this might, like, I really like this song.
Try. And then we'll be like, okay, well, maybe it works. It
doesn't work. And then either yes, it does or no, it doesn't. And then
they're like, okay, well, maybe we can try a different era. Maybe we could try
(12:53):
something with this. And then we kind of just, like, keep pitching
that. And of Course, we have our own ideas as well.
I think you should use this. And then, you know, it's just kind of just
like back and forth. Okay,
Travis, in the world of commercial advertising, what role does
budget play in your musical choices for a brand?
(13:15):
Oh, man, it just really depends on the client and studio.
Some studios have lots of money. Some studios are very
independent. It really depends on the licensing terms.
You know, if you license for, like, six weeks, then
a bigger artist will pay a certain amount.
(13:35):
Or if it's a smaller, it could be in. I can't even say that word
too early. Perpetuity. So, yeah,
it really depends. And also, some studios have blanket
license with other, like, production libraries, so
that plays a part into it. It just really depends on the factors.
Hey, insiders, we hope that you've been enjoying our featured conversation.
(13:58):
Stay tuned because we've got so much value coming your way. But before we
dive back in, a word from our sponsor. Hey, Eric, as an artist,
what do you find are the most challenging aspects to a music
career, especially when you're starting out? Well, I think one of the first things is
just trying to get the direction of who you are as an artist, where you
want to go, where you want to be. And, you know, we've talked about it
(14:18):
on the show a lot. Who is your target audience? Who you. Who.
What do you stand for? What do you believe in? What do you think would
resonate with an audience? And so those are some of the things that I would
feel being a new artist. Obviously, what I know now is different because I know
these things, but for people that are out there, like our audience, that don't have
necessarily any direction to go would be the first things that I would start off
(14:39):
with. And having the songs incorporate those
elements that you're speaking of into it, that's so important today.
Yeah. And I think that's one of the reasons why we started MUBUTV and why
we started this new consulting service that we're offering to all of our insiders
out there. Because that is another one of the big things. I mean, that is
the big thing, is like, having the great songs. That's what it really starts off.
(15:00):
Our friend Don Grierson always said it always starts with a great song. So
that's probably. Besides putting together what your audience and what your
target audience is, is the single most important thing. Where are your songs
at currently, today? Are you collaborating with people? Are you trying
to go out to networking events where you can connect with other songwriters and stuff
like that? So, yeah. And what are your strengths exactly? You know,
(15:22):
are you a strong lyric writer? Are you a strong melody writer? Are you
a strong musician? A player. Right. You know, and it's really important to
get really strong clarity on those issues before
proceeding. I totally agree, Rich. And you know, with our consulting services,
we offer a myriad of different packages that we've made it super affordable
for everybody. So, you know, if you guys are interested out there and connecting with
(15:45):
us on a coaching call, you can visit
book.mubutv.com and start off with a free
15 minute discovery call. Well, yeah, absolutely. That. We start with an
initial 15 minute call where we can get a sense of who you are, what
are the issues that you specifically have and want to work on.
Exactly. And we can go from there. Absolutely. Yeah. And we tailor everything
(16:06):
to your needs. It's not like a cookie cutter thing. We kind of really want
to get to know who you are as an artist. Where you at today? What's
the snapshot of you as an artist today? And then start trying to
craft something that's tailor made for you. So again, if you're interested, Visit
us at book.moobutv.com for your 15 minute
discovery call. Hey, this is Todd Mayo, author of Caveman
(16:26):
Chronicles and founder of the Caverns. Are you an insider? I am.
Subscribe now. Let me ask you, do they come to you
when they're gonna give you the job for putting this together?
Do they come to you with a budget? Do they say, like, Travis,
this one has 200,000 or this one has 800,000? Or
do they say, you know, come up with idea or how does that budgeting process
(16:48):
work? Since you just talked about. Oh, yeah. I mean, like, some people would
just be like, we only have 17k. Right. Music.
And then we're like, great, okay, so that kind of like, is a process of
elimination of, like what we can use and we just go from there.
Okay. Yeah, no, I wondered because, I mean, I've heard sometimes,
you know, people spending fortunes Right. On trailer music.
(17:12):
I remember there was one studio, it was like 10, 15 years ago, that wanted
a U2 song just for the trailer. Yeah. And the song
isn't in the movie, but they wanted it for the trailer and spent a
fortune of money doing that just for the trailer. Like, trailer music is so
lucrative because it's just like a one time fee and that's
basically like a year's salary for artists. It's very important. It's
(17:34):
not like film and television where
it's just like, we're Gonna give you this lump of money, like, and here it
is. It's like, it's great, in my opinion. And when, like, an artist
gets a trailer spot that really deserves it, it makes me happy.
Yeah, Precisely. Let me ask you, do you find that
brands are more open today to a wider variety of creative
(17:57):
choices when it comes to music or not?
I mean, it really depends.
I feel that they're always looking for something that it's
gonna pull in the most amount of, like, audience into the
movie. So if it's something
that's targeted to, like, Gen Z, then it's gonna be like, tick tock. And
(18:19):
how do we work in, like, bringing these people in? Or if it's a
larger movie, like a Marvel, maybe it's like a
Kendrick Lamar. And, you know, we're just gonna. Like, this song is,
like, very popular. We're gonna pull people in. Or maybe it's just, like,
something that's completely left field and it's
a great song and it's. It's. I mean, essentially, to me,
(18:42):
it's like, it's art. And
honestly, it just depends on the situation, but I've seen a lot of different things,
and, yeah, it just really depends.
Travis, for independent artists that are looking to break into
advertising placements, what are some key strategies that they
should consider when pitching their music to agencies and brands?
(19:05):
I mean, know exactly what you want to do, know what your
goals are. And I think there are certain
people out there in my world, at least for trailers,
that are really open to composers.
And because we work at such a fast pace, it
doesn't matter what city you live in. I think
(19:27):
we use a lot of composers from, like, Europe, like, to turn
around something. So it really doesn't matter,
like, what cd, if you're composing music, but also just
know what you want to do, know what your end goal is, know, like, what
you're really good at, what you can offer. Because,
no, we go to people because we. Oh, wow. They do that really well. So
(19:49):
just hone in your craft and just know what you want. In general,
you. You touched on something with the time factor. So you guys work. It's kind
of like, I guess with, like, tv, you guys are working at a quick pace.
How. Describe that. Like, that's got to be crazy. Oh, man.
Like, oh, everything is needed, like, as soon as possible,
really. So the turnaround times. Yeah, we're not even, like, joking. That's something that,
(20:13):
like, happens, like, all the time. It's like, we need to turn this around as
soon as possible. So sometimes
we'll even have like an editor, like
for good examples. I was like, in Australia, and then like a composer
in the uk and like, we'll make a decision and
then as we go to the bed, they're working. Wow. So.
(20:35):
And then when we get up, like, we have something. So it's just like
that world. It's just like crazy. No, that's interesting to hear because
modern technology allows for that. Right. It allows for, you know, Australia,
which is 18 hours ahead of LA, and England, which is eight hours ahead of
LA. So you can pull those elements together and have that. I mean,
I've heard of, have producers and mixers who can, you know,
(20:58):
record bands in South Africa. Yeah. And mix it,
send them back, you know, and work that 20,000 miles away.
Literally. You know, in terms of. And so what you're describing is exactly
that. Yeah. Of that kind of element where you can pull all those
elements together regardless of where they are on the planet. Yeah. And
more people are looking for that. So I wouldn't discourage anybody to say, like, oh,
(21:20):
should I move to LA or New York? Right. Like, if you're trying
to get into trailers, like, just hone in your craft and figure
it out and, you know, people be receptive.
Let me ask you, Travis, you know, as more and more brands create content
specifically for online websites and social media, does
this give you any additional creative freedom in your music choices
(21:42):
in a time that, you know, whereas time is not as significant of a
factor as it would be with ads or TV or radio. You know, most
of the time when you're creating a spot, it's a 30 second spot, a minute
spot, or maybe 90 seconds. But a lot of times, like, I remember
BMW last year created this incredible spot that was like
three or four minutes for online. Are you finding any of the
(22:04):
brands that are coming to you for spots that you're having that kind of freedom
for longer pieces? Oh, yeah. I mean, a
trailer is just not, not just movies, it's, you know, like
brands, it's ads. It's like musicians are using it to
introduce people to like a record. And I think
as we progress into that form of art,
(22:27):
that is going to be useful across the board, you know, like
for a car, you know, is a longer spot or like a behind the scenes
or an artist trying to like tease an album, they'll
use a trailer. So I think that will be more common as a
way to like bring people in in the future. Yeah, definitely.
So you're seeing more of that in terms of it's not
(22:50):
just the 32nd spot, the 62nd spot. So that's good.
That's good to know. And I think our audience would appreciate that because there's more
opportunities and more choices for music in those situations. Oh, totally.
Yeah. Yeah. You know, Travis, getting the right people to create music for your
project is a large part of your job. What's the best way for
someone, independent, artist, publisher, or label, to learn what your musical
(23:12):
needs are and get on your radar? Oh, man. I think the
best thing for that is to find something that is
becoming sort of a trend and to capitalize on that
and offer it and see when no one else is offering
it. And a good example of that, I think, is, like, I've used this
artist a couple times. They're like production library
(23:34):
record for different spots. And it was just, you know, maybe it was like,
weird, like, trailer's weird because, like, it's kind of like Goldilocks where it's
just like, it can't be this, this, but it can't be this. And, like,
certain artists, like, might have that element, and it
works perfectly. And we're always looking for something that's like, oh, it has to
(23:55):
be this, but it can't be this, but it's also this. It's just such a
weird thing. So find something and be like, okay, well, I see this trend that's
happening. I also noticed that maybe, like, people aren't using
this, so maybe they'll use this. And then. Yeah, it's just
like a weird phenomenon for us because it's like, it makes sense, but also,
like, can't really describe it. Yeah, no, no, it's that.
(24:16):
Finding that key to the puzzle. Yeah. That you're talking about. Yeah, very much
so. Travis, throughout your life, what books or films
or documentaries have really inspired you, professionally speaking,
that you could recommend? The last film that really
inspired me, probably the Brutalist. Okay.
Yeah. Brutalist. Talk about why. What was it about that was so inspiring to you?
(24:39):
Oh, man. I mean, like, I think that was like, the last piece of music
where I felt like it just, like, touched me and like, oh, my
God, like, this music is just so inspiring. And just
you don't see films like that, like, come around that often. So then when I.
When I saw it, I was like, wow, like, completely cow captivated. And that really
inspired me to, like, just going down, like, the wormhole of movies and,
(25:00):
like, music and, like, film and, like, cinematography and all
that. So, yeah, that. That was the last thing that inspired me. Yeah,
he's, you know, he Won the Oscar for. For his. For his work on that.
He's a very interesting guy. Yeah. Yeah. He's very, very soft spoken.
And I've seen interviews with him. And he's British.
Yes. And he. He's. His
(25:22):
whole approach. Yeah. On that film was very, very
unique. It wasn't the traditional, like, you know, here's the whole
film done. Please do it. Yeah, it was. He was like,
on the set. He was like, in production,
which is not something that you often see. Exactly. And. And he.
He, you know, so. And. And the score was absolutely
(25:44):
stunning. Yeah. So that he composed for that film. Yeah. I had to see it
twice in theaters. I was just, like, completely blown away. Yeah, absolutely.
Travis, what advice can you offer our listeners who are wanting to pursue
a career in music supervision in advertising? Oh, man, that's a
great question. Well, my background and myself is. I'm a
musician, and I spent many years playing and recording
(26:06):
and teaching music, and then one day I wanted to pivot
into supervision. And my advice to that is
to, like, there's a lot of good programs for music supervision. Like
UCLA Extension is a great one. And also just networking with
people. I had to spend at least
a good two years meeting people, interning,
(26:29):
doing programs like reading books. And if
you connect with people and you're very passionate and
you want to get into this, people will hire you, but you just have to
be very patient and hard working and set yourself apart from
a lot of different people. Travis, where can people best connect with you at
Ignition? Is it through your website or online socials or. I
(26:51):
think my company has an email that if people want to reach
out for music, we have our website and you can
just shoot us an email anytime. Great. Wonderful.
Travis, we want to thank you so much for coming by and doing this. This
was so interesting and very, very helpful. Helpful. We really, really appreciate
it. Great. Thank you so much. Thank you. Such
(27:13):
an interesting conversation. Yeah, this was a great one, Eric. You know, this
is not an area that we've done a lot of exploration. We've had some. Have
some people, some people in. In this world, but it is in. In
relation to music supervision. This is a very, very
focused world because it deals with the world of trailers with. With
ads, which, as. As we've discussed on this show, have an
(27:35):
entirely different context of music supervision
than film and TV does. One of the more important things that I
thought he spoke about was that trailer music is very special.
It serves a very specific purpose. And he spoke about how his
choices in the creative, you know, had to have certain like
(27:55):
peaks and valleys to them. Also, it's a much tighter time
frame and you're looking at often either words
or tone to support something rather than an
emotional subtext to it, which, you know, in a film and TV show, a song
may be used in the background to convey something, but you have a longer period
of time. Here you're using something to support a 30 second AD
(28:16):
or a 40, you know, 45 or 1 minute AD. It's very rare that,
that commercials go over that. So that was a very interesting
kind of element, like what works in a trailer. And that's one of the reasons
you see covers and specific types of tone and
remixes. Right. And recutting of. Of
classics being used. Maybe it's just the lyric, but it's the
(28:38):
tone and the way they've said it in an entirely new context that makes it
work. Yeah, absolutely. And one of the other things that I thought was really great,
what he said on music's growing role in trailers and marketing, and I
quote, music plays a huge role in that. And trailers in
general have such a large budget that music is a big part of that.
We're essentially trying to sell the movie, trying to get as many people in seats.
(29:00):
And so music brings in a whole large demographic of people into
a movie. So it's just so important. And you and I have
talked about like that whole world of how trailers is really the
marketing of how to set it up to get people into the
theater, which is becoming much more harder and harder, as you know. And
so it's an interesting kind of dichotomy that happens between getting music
(29:22):
that's placed in a film and television versus an actual trailer, which is the thing
that's actually representing the piece of work out to the world.
Absolutely. It's. I mean, that's the whole. You've nailed it
with that statement. That's the whole purpose of a trailer, is to get your
interest enough to capture it where you are
going to see that movie. Right. Not that you're just aware of it or. Oh
(29:44):
yeah, I saw that. But I want to see that.
Exactly. You know, and, and, and how it's used. And sometimes it's just a
specific element. I've been watching this trailer recently of the new Brad Pitt
movie which is called Formula one. Oh, I've seen it yet.
And the trailer uses Fleetwood Max the chain.
Wow. We will never break the chain. Right, Exactly. But that's all they
(30:07):
use. Yeah, but it's the, the whole thing, it's very
common droning. Yeah. Kind of thing. It's the recording. But they've done something.
They've done something different. They remixed it. Yeah. Yes. Where you just have that
refrain and it's haunting. It's just, you know, never break the ch.
Yeah. And it's. It's like one of the most. This craziest and most
effective trailers that I think you and I can both agree and probably everybody listening
(30:30):
to. This was the Joker trailer when that first came out. I mean, that was
just. Holy crap. Yeah. You know, they established
something so powerful. Yes. It was so powerful that you
were just compelled. I've got to go watch this. And it delivered,
you know, which is the other thing. You got to deliver those goods when you're
coming out with a huge trailer like that, because if your trailer is better than
(30:51):
the movie, then there's a problem. But, yeah, that Joker movie. I remember
being in the theater and I was just stunned
watching that. Just for the first time, you remember the impact. He's dancing and he's
just. And the. And the music smile. I mean, it was just such a perfect
marriage of the two. So whoever did that is just brilliant.
And this is what Travis does. Yeah, absolutely.
(31:13):
It's. It's. It's a real art. The whole element of music
and trailers and commercials is a real art. Hey,
insiders, thanks so much for tuning into this episode. We really appreciate
it. To get show notes, links, and everything that was mentioned during this
interview, head on over to our Official
website at
mubutv.com/podcast/shownotes. If you're enjoying the
(31:35):
content and what we're doing here on the show, please subscribe to the podcast on
Apple Podcasts, Spotify, or wherever you listen to
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(31:57):
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ending with the handle mubutv, which is spelled M U B U T
V. Don't forget to catch our flagship show, the MUBUTV Music
Business Insider Video Series airing every week on YouTube
at YouTube.com/MUBUTV.
This show was produced and created by Ritch Esra and Eric Knight
(32:19):
theme music by Disciples of Babylon. And be sure to tune in next week
for another episode of the MUBUTV Music Business
Insider Podcast.
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