Meet the songwriter behind the Nissan 2023 Z ad

Music industry and sync licensing veteran Aaron Saloman whose music appears in Nissan’s Z ad in 2023.

After a major placement in a Nissan Z commercial, musician and songwriter Aaron Saloman joined Digital Music News to discuss the deal – and explain how seemingly modest sync license successes can pave the way for greater opportunities in the long run. term.

The following was created in conjunction with Songtradr, as part of a larger partnership focused on the sync license space. Here, we take a closer look at the person and process behind the upcoming Nissan Z announcement. Be sure to check out our ongoing coverage of this growing industry. here.

Aaron Saloman’s “Questfunk” sets the tone in a quick commercial for Nissan Z titled “The Arrival,” which features the Yokohama-based automaker’s 2023 Z. Saloman-based has established a presence in the sync licensing space by uploading its music to emerging song libraries. And at the time, all kinds of reality TV pros were licensing songs through these resources, which hadn’t yet been inundated with songs.

“I was fortunate enough to find the first group of composers who were making reality TV libraries about a decade or more ago,” said Saloman, whose music has appeared in shows such as Jersey Shore, American gatherers, and Cribs for teenagers. “So I was getting all of these placements in these libraries, that you really don’t do anything about. And shows don’t even pay for the music – you only get royalties. “

Of course, the emergence of artist-friendly sync platforms such as Songtradr (and, in turn, upfront license fees) has allowed music professionals to put royalty placements only on the back burner. To make the most of the opportunities available to him at the time, the aaronmusic productions owner used the agreements to strengthen his portfolio and separate his work from that of competing designers.

“Your average person doesn’t know what’s going on in the background,” the Sleep drones creator Saloman. “I can certainly put on the resume that I have these hundreds of placements in all those TV shows you’ve heard of, and someone who might watch me for a documentary or for a bigger placement – they don’t get.” not care that they came through a non-exclusive library.

“You always have to think about how a layman is going to look at these things,” he said of synchronized placements. “I don’t care what the nuts and bolts were of how someone did something, and whether that’s the approved way to do it or not. Let’s say I saw visual artwork by an artist hanging in a gallery. I don’t even know how he got there. I’m just impressed he’s here.

Saloman – who created the soundtrack for Capybara Games, headquartered in Toronto Creature cry remaster – then recognized an increase in interest from advertising teams as a result of his work in games.

“I’ve definitely had a few people at advertising companies who were impressed that I’ve worked on video games,” the music veteran told Digital Music News. “I guess it’s a lot cooler now to work on video games than it was back then – like 10 years ago. But yes, this whole industry has since taken off and has become sort of the main cultural industry on Earth. “

On that front, Saloman went on to explain that increased competition and the added responsibilities of composers (such as some programming duties) have so far prevented him from creating music for other game projects. Likewise, the sound engineer noted that the field of synchronization licensing of the modern music industry is extremely competitive.

“It’s definitely, yes, it’s more competitive than ever,” he said of the contemporary world of synchronization licensing. “It was relatively easy for me to at least get into the lower level reality TV genre of placement when I first started. And it’s not that easy – even that level of placement isn’t that easy. easy for people now. And then bigger placements, like for advertising companies, got harder and harder. “

Despite this heightened competition, a continued increase in visual media production means that there are also more placement opportunities available for creators – especially on social media. Other musicians discussed how a volume-based timing approach allows them to make remarkable chords.

And in the future, it’s possible that today’s high-exposure placements on Instagram, TikTok, YouTube, and various services could prove to be just as professionally beneficial as the fast-firing reality TV licenses. from the past, building portfolios of musicians and attracting interest across the visual media industry.

But the short-term benefits of sync licenses remain significant, and Saloman has also given creators some advice as they continue to seek results in space.

“There aren’t a lot of people who have a bunch of music ready to go in formats that are useful for businesses or advertising agencies,” Saloman said. “There’s probably only a small group of people that an ad agency can email, and that person would say, ‘Oh yeah, I have the track ready to go, and I have too. a printed instrumental mix, and I also already have a 60-second commercial montage completed and a 30-second commercial montage completed. ‘

“It can be a way to set yourself apart, if you know the lingo and what is going to be asked for and you already have that stuff ready to go. It makes you very easy to work with.

“Print instrument mixes when you record a record,” Saloman concluded. “If you are an artist, not strictly a sync composer, if you are just an artist with an album but also hoping to get sync chords, absolutely ask your engineer to print instrumental versions when you mix it up. ”

With the tremendous growth that sync licenses have enjoyed in recent years – not to mention visual media’s own growth trajectory – a plethora of investment opportunities lie ahead. While there is no sure-fire way to get career-changing offers, a series of examples suggest that each placement is a significant step in the right direction.


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