New
York, NY (Dec. 6, 2004)
Employing
some G&E sounds in its promo campaign last season, Rutgers Football
once again charges the field this year to a G&E beat. Composers
and G&E Music founders Glenn Schloss and Erik Blicker got their
heads back in the game to create original music and sound design for
this season's promo, designed to speak to urban communities surrounding
Rutgers. Record crowds signal the campaign's success, as the: 30 spot
plays not only at all of the home games on a brand new state of the
art audio system, but also as a trailer in movie theatres throughout
New Jersey.
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G&E scored and sound designed
the spot, taking direction from agency James Howard Inc., and Michael Goodnaugh,
creative director. Bionic Media owner/editor Steve Beal created the visual elements,
working with a temp track the G&E guys provided early on, and then closely
back and forth towards the touchdown finish of the project. Like the game,
the music was to be hard-hitting, aggressive, passionate, and developed for
a largely
urban market. The final musical product has an aggressive hip-hop rock vibe,
and with no voice-over, fierce sound design hits, tackles, fumbles, and cheers
through fast cut game footage. |
G&E enlisted the talents of hip-hop producer/bass player Warren McRae in
composing the score. "We'd give him a drum loop, and then he'd send back
break beats with certain elements replaced," said Blicker. "We went
back and forth, traded with him until we had a nice solid drum groove. And,
then we built up the track, with Warren coming into our studio to lay down
live electric
bass. The collaboration was great. We definitely bumped it up a couple notches
in the mix this year too."
G&E chief engineer Brian Quill mixed the song on the Pro Tools HD system
in G&E's Manhattan studio, and sound designed the spot. Quill focused on
creating sound design that complimented the music, so design elements like tackles
and whistles fit rhythmically within the score. "I put 60 Hz sign waves
underneath the hits so that people in big sound system environments feel the
hits. Since this played in the stadium, I knew that effect would impact the crowds." For
extra boost in the low end, Quill describes, "I had two mixes--the full
mix and then the bass line and split out. I lined up the bass split with the
full mix, in effect doubling the bass, applied my own EQ to the bass track
and then combined the two with the added sound design, which gave me the ability
to really control the low end and make it punch where I wanted it to."
G&E Music
www.gemusic.com
Check
out the spot!
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