14 September 2023

MUSIC LICENSING

AUDIO NETWORK’S GUIDE TO MUSIC LICENSING

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    When you’re looking for music to licence – whether it’s for YouTube content or a blockbuster trailer, ads or TV shows – we can guarantee you’ll have lots of questions. Is it a legal requirement to have a music licence? What does my licence cover? How do I find the best tracks – quickly? We’re here to answer all these and more, to make music licensing straightforward, and enable you to find your perfect track from our catalogue, which covers every genre and mood.

    Watch our music licensing guide to find out more about what rights you need to clear when you’re using music in films, videos, ads or TV:

    How Does Audio Network’s Licensing Work?

    We want to make things as simple as possible. So we license our music tracks per project or video. Every licence is valid forever, and your project can be used across multiple platforms.

    It covers all sync and dubbing rights, but it doesn’t cover performing rights. These are normally the hosting platform’s responsibility (e.g. YouTube). They can be easily cleared directly with performing rights societies.

    Need a licence that covers multiple projects or videos? To license music for a campaign or series, get in touch with our account managers, who’ll be happy to help you out.

    Read more about our licences to find the right one for your project.

    The Right Track: At Your Fingertips

    We’ve got loads of ways for you to find the track you’re looking for – such as hand-picked playlists that cover every genre and mood, plus our collections of everything from hip hop to classical.

    If you want a deeper dive, then click ‘Search Music’ at the top of the page to get started, then use keywords or filters to find what you’re looking for (they’ll appear as tags above your search.)

    To refine your search even further, click on ‘Advanced Filters’ to specify a track duration, tempo, BPM, key, metre, or by lyric content.

    We’ve made it easy to identify tracks with explicit lyrics – just look for the (E) symbol next to the track name. You can filter these tracks out completely in the ‘Advanced Filters’ dropdown. Plus, if you want music without vocals, you can also filter vocal and instrumental-only tracks and versions.

    Loving an artist, composer or album? When you’re listening to a track, just click on the three dots next to the listing.

    Do I Get All the Different Versions of the Track When I Buy a Licence Online?

    All our tracks have different mixes and stems, to give you the widest amount of choice, so this is an important question. Your licence means you only get the specific version that you choose to purchase. If you want to use various different versions of the track, they’ll each require a licence.

    If you’re not sure which version of a track’s going to work best for your project, then we offer download accounts to test our music. This means you (or your clients) can get a real idea of how the track will fit with your finished production. Give your account manager a shout, or contact us and we’ll sort it out.

    Cue up the Cue Sheets

    When you’re purchasing tracks through music licensing companies for TV or radio content, you’ll need to fill in a cue sheet so the broadcaster can pay royalties to the artists and composers.

    Cue sheets are an industry standard document telling everyone what music has been used in a specific TV show, film, production or video. You can download one when you’re looking at your orders online under Account > Orders.

    Paying For Your Tracks

    Our online purchasing process is designed to be as simple as possible. Once you’ve decided on the tracks you want, just click ‘add to cart’ and follow the step-by-step process to put in your project name, company and billing details.

    We’re a VAT registered company, so if you’re based in the UK, we charge you VAT at the current rate of 20%. If you’re within the EU VAT area and haven’t provided a valid VAT number (including country code), we have to charge VAT at the rate applicable in your country. However, if you think you’ve been charged VAT incorrectly, please contact the billing team.

    We also have lots of different subscription options, if you know you’re going to be licensing music regularly.

    If you’ve got a subscription, but you’ve run out of downloads, then just speak to your account manager or contact us to ask for some more.

    Once you’ve paid for your music, you can download your invoice, licence and the music from your account section.

    Right Time, Wrong Music

    With online purchases, we can’t guarantee a refund unless there’s a technical defect with a file and you let us know within 48 hours of purchase. To request a refund, please contact us and we’ll be happy to help. Refunds will be issued to the card used at the time of purchase and processed within 15 working days.

    If you’ve downloaded and paid for the wrong track, though, get in touch and we’ll check your email receipt so we can send you the correct track.

    Downloading Music

    Once you’ve bought a track, you can download it in three easy steps:

    1. Go to your account page, and click on the ‘orders’ button
    2. Click on the view arrow on the right of the order you wish to download
    3. Choose to download tracks individually by clicking on the WAV or MP3 icon, or all together by using the tick boxes on the relevant tracks and then click on ‘download selected files as zip’ at the bottom of the list. There are select all/deselect all MP3 and select all/deselect all WAV buttons at the bottom to help

    Just bear in mind, WAV files are quite large – typically 30-40mb each – so it’s not ideal to zip more than three or four of these together at a time. Most broadband connections seem to have an undefined download limit, and in our experience, attempting to download more than 200mb of data in one go will just result in a blank screen!

    Once you’ve paid for a sound file, it stays in your account permanently and you can download it as many times as you need. However, you cannot re-use/sync it onto new content. 

    Get the Best Music for Your Project

    When you want to put together tracks for a specific project, just make sure you’re logged in, and then click the ‘Add to Project’ icon when you find a track you like (we’ll give you a prompt to see if you want to add the file to a new project or an existing one.)

    If you’re a member and have access to projects, you can download music from them in two ways: One by one - by clicking the WAV or MP3 icon, or packaged as a zip file - by selecting multiple files and using the file download format action from the drop-down box at the bottom of the page.

    When you want to share your project with other members of your team, or your client, you can choose to only include yourself in the ‘participants’, or click ‘Edit Project Info’ on the project sound file listing page, then select or deselect users.

    Once you’ve created your new project, or added your file to an existing one, you’ll go through to the project file listing page; download your files either one by one (clicking on the icons), or packaged as a zip file.

    YouTube & Other Content Platforms

    As a YouTube creator, it’s important to understand music licensing for videos. Content ID allows copyright owners to identify YouTube videos that include content that belongs to them. If you use unlicensed music, then they can take down your content – and even your channel.

    YouTube monetisation is how you can earn money from advertising based on the number of views your video gets, which the platform has integrated into your YouTube account. Open your YouTube channel homescreen and select ‘Video Manager’ from the menu and you should see a submenu with the label ‘Monetization’.

    Monetisation means you need to agree to YouTube’s terms and conditions for advertising. Once you’ve agreed to these terms, you can allow ads to run alongside your videos and YouTube will share a portion of the ad revenue generated with you.

    What is Google AdSense?

    AdSense (or Google AdSense) is a Google-managed advertising service. It’s designed for website publishers who want to display targeted text, video or image advertisements on their pages and earn money when visitors view or click the ads. The video element is integrated into YouTube, which is why you may have heard about it in relation to monetisation. Google explain this in more depth.

    Ads will appear on most videos that use copyrighted music. The revenue paid is shared with our composers.

    To block third-party ads or to monetise your YouTube videos, you will need to buy a Creator+ or a Corporate licence. If you use your video to promote a business, brand, or service, buying the Corporate licence also prevents unwanted ads (such as competitor ads) showing on your videos.

    If you’re creating ads shown on YouTube, you need our Digital Advertising licence.​ And when you’re working on a project or campaign where you or your clients use media spend, give our team a shout and we’ll discuss the project and how we can help you to find the best music.

    Claim Notices on a YouTube Account

    Music licensing for YouTube can be something that many creators fall foul of. YouTube’s Content ID system automatically detects copyrighted material and serves a notice when it finds it. If you have the correct licence, you can use our YouTube monetisation code to clear this claim. Once you’ve entered your code, it can take up to 48 hours for your claim to clear.

    For more info on YouTube Content ID see our useful links section. If you have purchased a Creator (previously Home & Student) and you do not intend to monetise your videos then no further action is required.

    If you don’t want to monetise your video, simply click ‘Acknowledge’ when YouTube sends you the copyright notice. Your video will then be cleared to stay up.

    YouTube Monetisation Codes

    We want to make licensing music for YouTube and dealing with the platform as simple as possible. Our YouTube monetisation code clears YouTube copyright claims that occur when you use Audio Network music in your videos – we developed the code to speed up the process.

    You’ll find a four-word code either on your order confirmation page, or on your confirmation email, with codes related to previous purchases under Account > Orders.

    Here’s how to clear your video using the monetisation code:

    1. In Video Manager, select Copyright Notices.
    2. Underneath your video, click the link that says Includes copyrighted content
    3. Click File a Dispute and then select I have a licence or permission from the proper rights holder to use this material.
    4. After confirming you wish to dispute, place your code in the Reason for Dispute box
    5. Your video will be cleared within 48 hours

    Need some more info? These are trusted resources that you may find helpful:

    So now you know all about our licensing, it’s time to start exploring a world of high-quality, original music! Latest albums, playlists, collections, commercial releases, it’s all here. And if you’re looking for expert takes on everything from the best ads to the biggest TV series and must-see movies and their soundtracks, we’ve got you covered on The Edit. Check out our latest releases below -

    new releases

    Need Music for Your Project?

    At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

    AUDIO NETWORK’S GUIDE TO MUSIC LICENSING Read More »

    AUDIO NETWORK VINYL

    TOP GLASTONBURY 2023 MOMENTS

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      Every year, for hundreds of thousands of fans (and for millions at home), Glastonbury Festival is one of the year’s most anticipated music events, with tickets sold out in minutes – even before the line-ups have been announced.

      So, what did the Glastonbury music festival 2023 deliver? Who were the headliners, the surprise guests and the icons, and what were the most memorable moments?

      Generations of Memories Made Down on the Farm

      Music forms the soundtrack of our lives, and live music in particular can create memories unlike any others. Glastonbury hosted its first festival at Worthy Farm in late summer 1970 – the day after Jimi Hendrix died. That year, it was called the Pilton Pop, Folk and Blues Festival, cost the princely sum of £1 to get in and included free camping and free milk (for anyone who doesn’t know, Worthy Farm is a working dairy farm.) The 1,500 attendees enjoyed Marc Bolan’s T-Rex – playing in place of the Kinks, who were due to headline.

      By 1971, the festival, which was inspired by the success of the Isle of Wight Festival and Woodstock in the US, had been renamed The Glastonbury Fayre and the date was changed to coincide with the summer solstice. Festival founders Michael and Jean Eavis saw the event as a place for the ‘expression of free-thinking people.’

      This is borne out by the location of the now iconic Pyramid Stage (a replica of the Great Pyramid of Giza in Egypt), which was determined by the Glastonbury Abbey and Stonehenge ley line, an invisible line that runs through the Vale of Avalon and is believed to demarcate ‘earth energies’.

      However, Glastonbury as we know it really kicked off in 1979, with a three-day festival attended by 12,000 revellers paying £5 a head, and Peter Gabriel headlining. Glastonbury 2023 welcomed over 210,000 revellers – similar to a city the same size as Bath, providing a five-day home to its festival-goers.

      Over the decades, as the Festival grew in size and reputation, it attracted some of music’s biggest names – everyone from Van Morrison to David Bowie, the Rolling Stones, Jay-Z, Beyoncé and Stormzy has taken to the Pyramid Stage – plus, of course, the Sunday afternoon ‘legends slot’, reserved for established, well-loved artists.

      In the early 90s, Britpop bands Oasis, Pulp, Blur and Radiohead all made their festival debuts at Glastonbury; it’s well established as a festival that embraces rising stars – this was also the place for the emerging dance and rave culture. The first TV broadcast by Channel 4 was in 1994 and the BBC took over in 1997.

      The Festival programme caters to every kind of festival tribe and music fan, from dance to jazz, cabaret to rock, rap to pop and world music.

      Memorable Moments From Glastonbury 2023

      Who were the Glastonbury 2023 headliners? Friday night saw the Arctic Monkeys deliver an – it’s fair to say – divisive set, combining both new tracks and favourite hits, headlining for a third time (they previously headlined here a decade ago.)

      However, frontman Alex Turner’s pivot from raw, authentic Sheffield accent to a kind of lounge-lizard, Vegas persona isn’t for everyone. Hardcore fans who’ve been with them from the start love it, but with so many other stages and acts on offer elsewhere, if you weren’t enjoying it, there were plenty of other options – especially with the BBC’s Glastonbury channel offering the pick of each stage.

      The Mystery Is Solved

      The Arctics were arguably overshadowed by one of the big moments of this year’s festival: the Foo Fighters. There’d been a lot of chat about who mystery band ‘The Churnups’ were when the 2023 lineup was announced. Could it be Pulp, who last played Glastonbury in 2011, Red Hot Chili Peppers – yet to ever play the festival after pulling out of a headline slot in 1993 – or Blur, set to play Wembley in a fortnight (with ‘churnups’ being a cheeky nod to bassist Alex James’ love of cheesemaking)?

      But no, after a cryptic message from Dave Grohl that referenced ‘churning up emotions’, the Foos took to the stage ahead of Royal Blood and the Arctics at 6.15pm on Friday for, as the NME said, ‘a brief but brilliant return for a band who’ve etched themselves into festival folklore.’

      Marking one of the band’s first UK gigs since their tribute gigs to late drummer Taylor Hawkins last September and the release of their first album since his death, But Here We Are, the set’s hour run-time was ‘refreshingly zippy for a Foos show.’ Just nine songs, including ‘All My Life’, ‘No Son of Mine’, ‘Learn to Fly’, ‘The Pretender’ and ‘Everlong’, which was dedicated to Hawkins. It was a special gig for other reasons too – it was the 25th anniversary of the band’s first appearance at the festival, even down to the stage and the slot.

      Dave Grohl also joined The Pretenders with Johnny Marr for their performance on Saturday and Saturday’s headliners Guns N’Roses for ‘Paradise City’, clearly making the most of his Worthy Farm weekend. Plus, he showed he really is one of the most down to earth rockers around, when he tweeted a pic en route, saying, ‘Even rock royalty knows that there is no better way to travel to Glastonbury than by train’, from one of Great Western Railway’s finest.

      dave grohl

      Photo Credit: www.bbc.co.uk

      Guns N’Roses

      The veteran hard rockers’ set featured 25 songs in two and a half hours, creating, as the NME put it, ‘a solid performance… to the wrong crowd… Guns N’ Roses’ sultry, whiskey-chugging, in-your-face brand of rock felt misplaced when delivered at the hippie nucleus of the world.’

      G N’R were a controversial booking, given the lack of female headliners for 2023, with Lizzo and Lana Del Rey being pushed onto other stages, and a dearth of support for emerging talent. (Think of Stormzy headlining in 2019.)

      As well as the hits (‘Welcome to the Jungle’, ‘Sweet Child O’ Mine’, ‘November Rain’ and ‘Paradise City’), the band paid homage to some of their heroes, featuring UK Subs’ ‘Down on the Farm’, ‘TV Eye’ by The Stooges and Wings’ ‘Live and Let Die’.

      BBC News thought it was a ‘meandering, sporadically brilliant set that mixed stadium-level classics with less familiar deep cuts.’

      Lana Del Rey, meanwhile, was headlining the Other Stage, but was half an hour late (‘My hair takes so long to do… super sorry I’m so late’) and, having not started till after 11pm, ended up having her set cut by at least six songs, to the huge disappointment of her army of fans. (The setlist suggested that two of her biggest songs, ‘Summertime Sadness’ and ‘Video Games’ were among them.) The crowd made up for it in part by singing ‘Video Games’ a capella, with Del Rey singing along with them.

      Legends

      Yusuf/Cat Stevens played a nostalgic, slightly political set in the Sunday ‘Legends’ slot. The 74-year-old opened with ‘The Wind’ and later confessed that he was as nervous today as he was the first time he approached a microphone in public, in a small club in Soho in 1965.

      There was a medley of 60s classics and he paid tribute to George Harrison with a cover of ‘Here Comes the Sun’, followed by Nina Simone’s ‘Don’t Let Me Be Misunderstood’. If you were feeling at all emotional, then closing out with ‘Wild World’ and ‘Father and Son’ would’ve done the trick.

      Rocket Man Takes Flight: Elton John Glastonbury 2023

      On Sunday evening, as the sun set over Worthy Farm, a true music legend took to the Pyramid Stage for, surprisingly, his first ever appearance at Glastonbury: Elton John. As the gig was also billed as his last ever live performance in the UK, following three years on the road for his Farewell Yellow Brick Road tour (now officially the highest-grossing tour of all time, with box office receipts of £697m), it drew a monumental crowd.

      The 76-year-old, dressed in a gold lamé suit, played a non-stop stream of total bangers with his band and special guests for two hours, kicking off with ‘Pinball Wizard’ and building to an emotional climax. On what would have been George Michael’s 60th birthday, Elton dedicated ‘Don’t Let the Sun Go Down on Me’ to ‘one of Britain’s most fantastic singers, songwriters [and] artists. He was my friend, an inspiration… I want to dedicate this song to his memory, and all the music he left us with, which is so gorgeous.’

      As fireworks echoed round the site, there was an extended version of ‘Rocket Man’ to finish a truly epic performance.

      Ahead of the show, there’d been all sorts of rumours of special guests – from Britney Spears to Harry Styles and Dua Lipa. In the end, Elton championed a new generation of musicians over pop stars who could’ve been headliners in their own right.

      He invited Jacob Lusk of US soul group Gabriels to sing ‘Are You Ready for Love’; newcomer Rina Sawayama took Kiki Dee’s part on a rousing ‘Don’t Go Breaking My Heart’. Nashville’s Stephen Sanchez got to sing a song of his own – surely a huge honour in such a prestigious set – ‘Until I Found You’.

      The one exception was The Killers’ Brandon Flowers, who took to the stage for ‘Tiny Dancer’.

      Proving how highly anticipated it had been, Elton’s show was the most watched in the Festival’s history, with 7.3 million people tuning in, and social media going wild. (As a comparison, last year’s Sunday headliner, Paul McCartney, pulled in 2.7 million viewers.)

      SETLIST

      • Pinball Wizard
      • The Bitch Is Back
      • Bennie & The Jets
      • Daniel
      • Goodbye Yellow Brick Road
      • I Guess That’s Why They Call It The Blues
      • Philadelphia Freedom
      • Are You Ready For Love? (With Jacob Lusk and the London Community Gospel Choir)
      • Sad Songs Say So Much
      • Someone Saved My Life Tonight
      • Until I Found You (with Stephen Sanchez)
      • Your Song
      • Candle In The Wind
      • Tiny Dancer (with Brandon Flowers)
      • Don’t Got Breaking My Heart (with Rina Sawayama)
      • Crocodile Rock
      • Saturday Night’s Alright For Fighting
      • I’m Still Standing
      • Cold Heart
      • Don’t Let The Sun Go Down On Me
      • Rocket Man

      Standouts & Surprises

      Other standouts from the Glastonbury 2023 lineup included dance auteur Fred Again…, who had queues forming to get into the field when he took to the Other Stage for his blend of dubstep, grime and house, brought together with a pop sensibility. If you were looking for a kick-start for an evening in the dance tent, Fred Again’s crowd generated enough mass euphoria to take you through till the early hours.

      There was a time when Rick Astley was about the furthest thing from cool. But he was definitely Glasto 2023’s biggest winner. He’d never even been to the festival before (he confessed the closest he’d got was dropping off his daughter there in previous years.) But he stormed it not once but twice this year.

      His solo show, opening up the Pyramid Stage at midday on a gloriously sunny Saturday featured his hits (‘Never Gonna Give You Up’, ‘Together Forever’ and ‘Whenever You Need Somebody’) of course, but also covers of Harry Styles’ ‘As it Was’ and – in a showstopper absolutely no-one expected – taking to the drums and singing AC/DC’s ‘Highway to Hell.’

      He later brought even more joy as he paired up again with indie band Blossoms for a set of Smiths covers. ‘This Charming Man’? Absolutely – Rick Astley is, it turns out, a musical genius living his best life.

      There was an outpouring of emotion for Lewis Capaldi who had cancelled his other June dates in order to prioritise his mental health. The Scottish singer-songwriter has Tourette’s syndrome and his Pyramid Stage crowd proved themselves to be, as the Guardian’s Laura Snapes noted, ‘keenly aware of his situation, and determined to buoy him at every possible opportunity.’

      His voice started to go and as he closed out his set with ‘Someone You Loved’, it went completely and the audience belted it out for him – ‘it’s palpable how much the crowd want him to know that he’s OK, it’s all OK, he is loved. Although I’m sure it’s not the main stage moment Capaldi dreamed of, it is beautiful, supportive, truly communal, and a testament to the complex bond he has built with his fans; a real human triumph.’

      Surely Lizzo’s got to be a headliner next year? (Insert your own ‘It’s About Damn Time’ gag here.) Killer costumes, long green mermaid hair, her all-female band the Lizzbians and dancers the Big Grrrls – plus wave-your-arms-in-the-air pop gorgeousness (and her trusty flute), the US singer was her usual mischievous self (‘Can we twerk at Glastonbury?’) bringing nothing but positive vibes and a hell of a good time.

      Other unexpected joys? The BSL (British Sign Language) option on the BBC iPlayer, not least for Guns N’ Roses and the Foo Fighters – ‘People watching Guns N’ Roses on iPlayer are missing out if they don’t choose the British Sign Language option’ tweeted one fan, with another praising the, as yet nameless, BSL lady for, ‘some of the best god damn air guitar playing I’ve ever seen’.

      glasto 2023

      Photo Credit: http://www.twitter.com

      And fans loved Cate Blanchett, who starred in the video for ‘The Girl is Crying in her Latte’, joining Sparks on stage in an incredible yellow suit and glittery red headphones to dance at a level of cool that left pretty much everyone else behind.

      The Power of a Soundtrack

      When it comes to creating a memorable moment, Glastonbury shows that you need the right music. How to translate that for your events, projects and videos? First of all, work out what emotion you’re trying to evoke – from excitement to joy, empathy to nostalgia – and pick the track or genre that will bring that to mind for your audience.

      Enhancing your storytelling with music will create a connection with them too – check out our Sound and Story playlist for inspiration. Here at Audio Network, we have a vast catalogue of licensed music to cater to all your creative needs.

      We’ve got as many diverse genres, moods and styles as there are on Glastonbury’s stages – dive into our hand-picked playlists, and if you want that festival feeling, then of course we have a playlist to fit, so give it a listen!

      Need Music for Your Project?

      At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

      TOP GLASTONBURY 2023 MOMENTS Read More »

      The History of Electronic Music

      Tinny music on the bus. Your movie’s favourite soundtrack. That moment when the club just goes off. It’s impossible to imagine life without electronic music. But how much do you know about electronic music’s origins? We’ve put together a history of electronic music timeline, from the first devices at the end of the 19th century to the pioneering electronic musical groups that shaped today’s myriad of electronic music genres.

      Check out our hand-picked playlist, and prolific electronic composer Alex Arcoleo’s tracks to get you started.

      Contents:

      • Electronic music history
      • Who first created electronic music?
      • Where did electronische musik originate?
      • Characteristics of electronic music
      • What was the first electronic song?
      • 1970s – from Kraftwerk to disco
      • Rise of the machines – the 1980s – electropop, synth pop and hip hop
      • The late 1980s and 1990s - EDM
      • The 21st Century – electrohouse and the electropop revival

      Electronic Music History

      The earliest electronic music instruments include electrical organ the Telharmonium, created in 1896. This was an instrument not only capable of altering or indeed synthesising sound, but also of spreading it across the newly created phone network. Other, later instruments included the theremin, invented in 1920 by a Russian scientist, Leon Theremin; the Ondes martenot, first built in 1928 by a French musician and scientist, Maurice Martenot; and the trautonium (an early electronic synthesizer), designed by a German, Friedrich Trautwein, in 1930.

      Phonographs (later known as gramophones) were invented around the 1870s and 1880s and were the first means of recording and reproducing audio files. Record players gradually became household items, with phonograph records introduced in 1925.

      The first compositions featuring electronica by composers such as Paul Hindemith and Ernst Toch saw them layering recordings of instruments and vocals at adjusted speeds. The origins of electronic music lie in these techniques. John Cage composed ‘Imaginary Landscape No. 1’ in 1939 by adjusting the speeds of recorded tones.

      Cage said of his ‘Imaginary Landscape’ pieces, ‘It’s not a physical landscape. It’s a term reserved for the new technologies. It’s a landscape in the future. It’s as though you used technology to take you off the ground and go like Alice through the looking glass.’

      This first piece was scored for four performers who play a muted piano and cymbal, as well as two variable-speed phonographs with amplifiers – it’s one of the first examples of electroacoustic music.

      By the 1940s, magnetic audio tape enabled musicians to tape sounds, then modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s in Egypt and France. Germany pioneered music produced solely from electronic generators in 1953, together with musicians and engineers in the US and Japan.

      Who First Created Electronic Music?

      Many people refer to Edgard Varèse as ‘the father of electronic music’. Born in Paris in 1883, he relocated to Berlin in 1907, meeting composers such as Strauss, Debussy and Satie, all of whom were impressed by his interest in new instruments, particularly electronic ones.

      However, it wasn’t till 1953 that the use of new technology invented during the second World War caught on with composers in France and Germany that Varèse was remembered and became a celebrity, lecturing at Yale, Princeton and Colombia universities. His piece ‘Déserts’, for chamber orchestra and tape, is considered electronic music’s first important work, and became the first piece transmitted in stereo on French radio.

      ‘Poeme Electronic’, completed in 1958 for the World’s Fair in Brussels, made an impact in terms of early electronic music, and Varèse’s work began to be released on record. Frank Zappa, Charlie Parker, The Beatles and many other musicians of that generation credit Varèse with inspiring them.

      The Beatles were pioneers in this regard, introducing electronic instruments to their music – most notably the Moog synth that was used on their Abbey Road album in 1969.

      Where Did Elektronische Musik Originate?

      1953 – the radio studios of the NWDR officially opened in Cologne in Germany. This would become the most famous electronic music studio in the world. One of the studio’s founders, Werner Meyer-Eppler, had written his thesis on synthesising music entirely from electronically produced signals in 1949 – this was elektronische musik.

      Karlheinz Stockhausen was one of the electronic studio’s resident composers, creating pieces such as ‘Mixtur’ (1964) and ‘Hymnen, drette Region mit Orchester’ (1967). He said that his listeners told him his electronic music gave them an experience of ‘outer space’, being in ‘a fantastic dream world’ and flying.

      Characteristics of Electronic Music

      In its simplest terms, you can characterise electronic music as a genre that’s created and produced by using electronic and electromechanical music instruments. These can include everything from an electronic oscillator and a theremin to a synthesizer, through Hammond organ, electronic piano and electronic guitar. Add in computers and software, and you’ve got the full landscape of modern electronic music.

      What Was the First Electronic Song?

      1970s

      In the 1970s, electronically produced music began to really break through in terms of having a significant influence on pop culture and music. Genres such as krautrock, disco, new wave and synthpop emerged, adopting second generation synths (replacing the original compact synthesizer, the Moog, designed by Robert Moog), together with electronic drums and drum machines.

      Kraftwerk were, arguably, the first electronic band. The German pioneers, with founding members Florian Schneider and Ralf Hütter became the godfathers of genres including synth-pop, EDM (electronic dance music) and post-rock. The New York Times summed up their significance: ‘they are what The Beatles are for rock music, a powerhouse for electronic dance music’.

      Their 1974 album Autobahn brought together synth melodies with vocals for the first time and marked the transition from their earlier, experimental krautrock style to a sound that was mostly comprised of synthesizers and drum machines. Despite a mixed critical reaction at the time, artists such as David Bowie cited the album as a major influence.

      Other artists who sowed the seeds of electropop were French composer Jean-Michel Jarre, and Yellow Magic Orchestra from Japan.

      Disco

      Disco artists also took advantage of the new electronic music tech that was being brought to the market in the 70s. Sly and the Family Stone’s hit ‘Family Affair’ incorporated one of the early drum machines.

      1972 heralded the appearance of Japanese-based electronics manufacturer Roland on the market. The drums on 1974 hit ‘Rock Your Baby’ by George McCrae were entirely courtesy of Roland’s TR 77 synth. In 1977, Donna Summer’s timeless disco classic, with its propulsive synth backing track, ‘I Feel Love’, was described by producer Giorgio Moroder as, ‘really the start of electronic dance.’

      Rise of the Machines

      Perhaps the most important development in electronic music is the use of digital computers; the 1982 International Computer Music Conference dominated the Venice Biennale – one of contemporary music’s major festivals.

      Early 80s music was dominated by synths, such as bass synth the TB-303, and programmable drum machines like the Roland TR-808.

      This was the decade that saw electronic dance music explode, and the evolution of its sound. The music industry was transformed by the musical instrument digital interface – aka the MIDI – which brought computers, instruments and other hardware together for the first time.

      In the UK, Human League were the first electropop group to score a No. 1 with their 1981 release ‘Don’t You Want Me’. UK New Wave also surfed the synth wave, with acts such as Gary Numan and Soft Cell; synth pop artists had a more polished sound, such as the Eurythmics and Depeche Mode.

      Electropop gained a global audience through Madonna’s ‘Like a Virgin’-era releases and the Pet Shop Boys’ hits.

      Hip hop continued to influence club culture, with famous artists using their turntables more like a musical instrument – look no further than pioneer Grandmaster Flash’s 1981 hit, ‘The Adventures of Grandmaster Flash on the Wheels of Steel.’

      Electro built on hip hop and German synthpop, bringing the TR-808’s unique sounds to the dancefloor. Afrika Bambaataa and Frankie Knuckles were instrumental in creating house music by uniting older disco, electro-funk and electronic pop.

      The Late 1980s & 1990s

      Electronic dance music started to really resemble today’s dance music in the late 80s. DJs at clubs, festivals and raves led the way in playing European music, leading to 90s electronic genres such as techno, trance, breakbeat hardcore, jungle, drum and bass and UK garage.

      Some of the best 90s electronic tracks were Daft Punk’s ‘Around the World’, Underworld’s ‘Born Slippy’ and ‘Insomnia’ by Faithless.

      Towards the end of the 90s, dubstep emerged in South London, as an offshoot of UK garage, and paved the way for grime. Its aggressive sound was based on 140bpm and a wild use of electronic instruments. The genre was headed up by Skrillex, Skream and Phaeleh.

      21st Century Sounds

      The dawn of the millennium brought producers like Tiesto, Daft Punk and David Guetta onto the scene. Tracks like ‘We Found Love’ (ft. Rihanna) and ‘Stay the Night’ (ft. Hayley Williams) hit the mainstream, proving that mixing EDM beats with some of radio play’s beloved icons was a recipe for global success. This was electronic music designed for super-clubs and festivals.

      Electronic music is constantly evolving, and as well as grime, electro house rose to prominence at the start of the new century. Characterised by prominent basslines, the tempo is between 125 and 135 bpm. Leading the pack were tracks such as Tom Neville’s 2005 remix, ‘I See Girls’ by Studio B and Fedde Le Grand and the D. Ramirez’s 2006 remix of Bodybrox’s ‘Yeah Yeah’.

      From there, trap music took over, having originated from styles like dub, Dutch house, techno and Southern hip hop.

      Electropop had a revival through stars such as Britney Spears (2007 album Blackout had a strong electropop sound) and a full-fledged electropop takeover was signalled by Lady Gaga’s 2008 debut, The Fame. K-pop, Calvin Harris, Dua Lipa and others have all kept the electropop flag flying recently.

      Dua Lipa’s second album is an electropop banger – Future Nostalgia has not only been certified double Platinum and spawned four top 10 singles, but was the tenth most successful album of 2020 worldwide, according to the International Federation of the Phonographic Industry. And it’s currently the sixth most streamed album of all time on Spotify with over 10 billion streams.

      Chartmetric.com posits that Covid-19, with a two-year hibernation in terms of clubs and venues meant that DJs in confinement explored darker, less mainstream subgenres such as techno and deep house, which have begun to have a resurgence. Chicago’s John Summit was named Beatport’s Best Selling Artist of 2021, for example; Rezz, meanwhile, is pioneering an experimental Space Bass sound:

      Fred Again… goes back to the earliest days of electronic music, when composers were splicing together audio collages. The artist’s ‘Actual Life’ project involves samples from sources like voice memos, social media clips and music by other artists, incorporated into original tracks, often centred on mental health and well-being.

      An Electronic Soundtrack for Life

      Want to license electronic music for your project? We have tons of original music to choose from, and a dedicated electronic collection.  Or discover one of our most successful electronic artists, Alex Arcoleo.

      Electro-supremo Alex Arcoleo is one of Audio Network’s most successful composers – he signed up with us way back in 2011. Alex grew up in a musical family and is a self-taught pianist, composer and producer, whose tracks have been used by some of the world’s biggest brands, including Puma, BMW, Samsung and Lacoste. Check out his latest album Juna, a heartfelt and uplifting set encompassing experimental breakbeat, ambient house, downtempo chill and quirky electro.

      Also head over to YouTube and check out the official visualiser for the track Marnie.

      Need Music for Your Project?

      At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

      The History of Electronic Music Read More »

      The Best Call of Duty Soundtracks of All Time

      When it comes to games music, who’s doing it better than Call of Duty? They’ve brought in everyone fm Hans Zimmer to Trent Reznor to make their soundtracks as immersive and thrilling as possible. But which are the stand-outs fm the series? We’re here to guide you through the killer (sorry) tracks and composers with our dive into the Call of Duty soundtracks, including:

      • Call of Duty: Modern War
      • Call of Duty: Modern Warfare 2
      • Call of Duty: Modern Warfare (2019 reboot)
      • Call of Duty: Modern Warfare 3
      • Call of Duty: Advanced Warfare
      • Call of Duty: WWII
      • Call of Duty: Black Ops Zombies
      • Call of Duty Black Ops
      • Call of Duty: Black Ops 2
      • Call of Duty: Black Ops 3
      • Call of Duty Ghosts

      Best Call of Duty Soundtracks

      Call of Duty debuted in 2003, originally focusing on games set in World War II. Games since then have been set in the Cold War, futuristic worlds and space. Call of Duty 4: Modern Warfare in 2007 was the first to introduce a modern setting and proved to be the breakthrough title, creating the Modern Warfare sub-series.

      Modern Warfare also received a reboot in 2019, with a sequel released in 2022. The trailer’s soundtrack is J. Balvin’s hard-hitting ‘Wherever I May Roam’, featuring Metallica.

      As the longest-running sub-series, Modern Warfare has soundtracks featuring the talents of games experts Stephen Barton and Sarah Schachner, movie maestro Hans Zimmer and composers such as Lorne Balfe.

      Call of Duty: Modern Warfare

      Set in 2011, Modern Warfare takes place in locations from the UK to the Middle East, Azerbaijan, Russia and Ukraine.

      Most of the music for Modern Warfare was composed by Stephen Barton, who’s also contributed to film scores by Harry Gregson-Williams, who composed the game’s main theme. Barton’s also worked on the music for Titanfall and its sequel and co-composed the score for Star Wars Jedi: Fallen Order. The score was nominated for Best Original Score for a Video Game or Interactive Media at the International Film Music Critics association.

      The 2019 reboot of Modern Warfare has a soundtrack composed by Sarah Schachner, who’s composed for Assassin’s Creed: Unity, Call of Duty: Infinite Warfare, and the newest Call of Duty release – Modern Warfare II. She also has music credits on Iron Man 3, and the two Now You See Me films.

      Schachner’s score won the Hollywood Music in Media award for Original Score – Video Game.

      Call of Duty: Modern Warfare 2

      The music for Call of Duty: MW2 soundtracks multi-national special forces unit Task Force 141 as they hunt Vladimir Makarov, leader of the Russian Ultranationalist party, as well as the US Army rangers defending the Washington DC area from a Russian invasion. The trailer deploys Eminem feat. Nate Dogg’s ‘Till I Collapse’:

      Excitingly, Hollywood legend Hans Zimmer composed the main theme for Modern Warfare 2. Zimmer has won Oscars for soundtracks including The Lion King and Dune, and Golden Globe Awards for The Lion King, Gladiator and Dune.

      The opening track has all Zimmer’s trademark epic orchestral tension, together with choral elements:

      The rest of the soundtrack was composed by Lorne Balfe – probably best known for his work on the BBC’s His Dark Materials. He’s also composed for Assassin’s Creed: Revelations, the Skylanders series and worked on FIFA 19 with Hans Zimmer.

      FMM’s composer interview went behind the scenes with Lorne, to find out how he got to the emotional core of the music:

      Balfe told GameInformer.com that, ‘The music helps tells a story, and with game music, we have to help the gamer get into the character and that world.’ Plus, whilst the process might be the same, composing for games and films is different because of ‘the amount of music. With a film, you might compose from 30 to 70 minutes of music. On some games, I will have to write over five hours of music.’

      Call of Duty: Modern Warfare 3

      We’re back with Task Force 141, hunting Vladimir Makarov, which proved a massive success. In its first 24 hours on sale in 2011, the game sold 6.5 million copies in the US and UK and grossed $400 million, making it the largest entertainment launch ever at the time.

      Composer Bryan Tyler’s main theme is a thing of brooding beauty:

      Tyler’s extensive career covers film, TV and video games scores, from Transformers: Prime to seven installments of the Fast & Furious franchise and Assassin’s Creed IV: Black Flag. He was nominated for the International Film Music Critics Award for Best Original Score for a Video Game for both Call of Duty: Modern Warfare 3 and Lego Universe.

      A keen gamer himself (and a huge COD fan), Tyler offered an intriguing insight into the approach to composing to games to IGN.com, highlighting that it’s not a linear process, as it is for movie scores:

      ‘In a game, the way the music works in any particular level is determined by the gamer. The player ends up being the director, which means I have an infinite amount of directors. I really have to keep in mind that my music is going to be used differently depending on how the player plays the game. If they’re going in one direction or the other, if they’re doing poorly or very well, or if they’re going to different areas that require different types of music at different times; these are all scenarios that I have to really write the music around, because it’s going to change every time the game is played.’

      Call of Duty: Advanced Warfare

      The 11th major installment came out in 2014 and had a futuristic setting between 2054 and 2061, following Jack Mitchell, a US Marine and his involvement with Atlas, a private military corporation selling its services to the highest bidder.

      Harry Gregson-Williams, who composed the main title theme for Call of Duty 4: Modern Warfare, returned while Audiomachine composed the overall score.

      He told the Film Music Institute that, ‘One of the main goals that [studio] Sledgehammer Games looked to accomplish with Advanced Warfare was not to make it sound “futuristic” per se, but more “advanced”, as the title implies. They wanted the sound design and music to always be “grounded” through the use of natural and organic sounds/musical ideas in combination with more futuristic sounds. I think the score contributed these humanistic elements that emphasised the drama and story-telling aspects of the game.’

      The trailer features Kevin Spacey’s character, with epic choral elements towards the end.

      Call of Duty: WWII

      The first title in the series to be set primarily during World War II since Call of Duty: World at War in 2008, WWII came out in 2017.

      The trailer includes the operatic part of Ante Meridian’s ‘Glorious’, (feat. Maria Jordania Sable).

      Composer Wilbert Roget II told Pushsquare.com that he listened to war film soundtracks to prepare for writing WWII, including Fury, Saving Private Ryan, The Hurt Locker and Zero Dark Thirty. He was also inspired by 20th Century art music such as Claude Vivier’s ‘Zipangu’, Toru Takemitsu’s ‘Requiem for String Orchestra’ and Krzysztof Penderecki’s ‘Threnody for the Victims of Hiroshima’. He mainly wanted to avoid World War II ‘sonic stereotypes’ such as heroic trumpets, snare drums and high woodwinds, to enable the telling of ‘a very personal, relatable story.’

       

      Wilbert Roget II was a music editor at LucasArts and was a composer for Star Wars: The Old Republic, together with Lara Croft and the Temple of Osiris.

      He revealed to Pushsquare.com that for the WWII soundtrack, ‘It was vitally important that we knew exactly where we were on a scale from “period” to contemporary, from blockbuster to personal, and so on. Most of these questions were answered with the main theme, ‘A Brotherhood of Heroes’ – I tried to use as many sonic ideas and experiments as possible within the piece, so that it could serve as a palette for the rest of the score.’

      Call of Duty Black Ops Zombies

      Call of Duty: Black Ops Zombies is the sequel to Call of Duty: World at War – Zombies, released in 2011. The game’s setting originally takes place in a German bunker during World War II, from the viewpoint of a US Marine. SS soldiers who’ve become zombies attempt to infiltrate the bunker, and the players must defend themselves.

      For Call of Duty zombies soundtracks, supervisors looked to the post-hardcore, alternative metal of acts like Treyarch Sound, Brian Tuey, James McCawley and Kevin Sherwood. The lead track is ‘Damned’, featuring echoey, creepy piano notes and simple melody lines, together with menacing background growls and clicks.

      Call of Duty Black Ops Soundtracks

      The original Call of Duty Black Ops soundtrack was composed by Sean Murray and released in November 2010. The seventh title in the Call of Duty series is set in the 1960s, during the Cold War. The game’s campaign follows CIA operative Alex Mason as he attempts to recall combat memories in order to locate a numbers station to transmit broadcasts to sleeper agents.

      Tracks by the Rolling Stones (‘Sympathy for the Devil’), Creedence Clearwater Revival, Eminem and Avenged Sevenfold also feature. Lead track ‘Cube One’ has a ‘coded message’ giving numbers at the start and end, to ramp up the Cold War/sleeper agent aspect.

      The launch trailer featured snippets from the Rolling Stones’ ‘Gimme Shelter’.

      The game’s voicecast includes Sam Worthington (Avatar), Ed Harris and Gary Oldman.

      Call of Duty: Black Ops 2 Soundtracks

      Composer Jack Wall is a veteran of video games soundtracks, having composed them for Splinter Cell and Mass Effect. He’s also known as an engineer for artists including John Cale and Patti Smith.

      The Call of Duty: Black Ops 2 soundtrack features over 40 intense orchestral tracks which were recorded at the legendary Abbey Road Studios.

      There’s also some Mozart thrown in for good measure (‘Symphony No. 40 in G minor, K550’), and Avenged Sevenfold appear after the end credits for ‘Carry On’.

      The main theme was composed by no less a talent than Trent Reznor, previously the Nine Inch Nails frontman and now equally known for his award-winning film scores, including The Social Network. The theme begins sounding sparse and echoey, whilst also having plenty of atmosphere and builds the excitement from there.

      In an interview with USA Today, COD superfan Reznor explained his thinking on the theme:

      ‘What I learned in listening to the full story and the amount of effort that has gone into the back story and the characters and the full preparation, there is a lot of reservation and angst and sense of loss and regret and anger bubbling under the surface.

      ‘So it didn’t make sense to have a gung ho, patriotic-feeling theme song. It has to feel weighty. There is a lot of remorse and apprehension here.’

      The action’s set in two separate eras, the 1970s/80s and 2025, including some zombies, and the trailer has a soundtrack that’s suitably futuristic.

      Wall and Reznor received the ASCAP Film and TV Music Awards for Top Video Game in 2012, as well as a nomination from the GoldSpirit Awards.

      Call of Duty: Black Ops 3

      Black Ops 3 takes place in 2065, 40 years after the events of Black Ops 2, in a world facing upheaval from climate change and new technologies.

      The trailer kicks off in fine, typically explosive style, with The Rolling Stones’ ‘Paint it Black’.

      Jack Wall returned to create the soundtrack, along with Treyarch’s Audio Director Brian Tuey. The game also featured an instrumental score entitled ‘Jade Helm’, provided by Avenged Sevenfold, for use in the multiplayer mode.

      Wall told Forbes.com that, ‘a big part of putting together the score for this game was grounding its particular vision of the future with “severe” electronic work and an attempt to conjure up sounds the player has never heard before.’

      He also revealed that developer Treyarch had built a new audio engine designed to be less reliant on scripted events, and to allow the soundtrack and cinematic elements to trigger based on contextual clues instead:

      ‘Let’s say you’re in a battle situation, and when you fire the last shot - on the next bar there would be a cross fade into an outro, which takes you down to no music, and that would crossfade seamlessly so that it feels like the same piece of music. Other times we might go into a cinematic right from battle, so we put a hit right on the thing to denote that something is dramatic is happening, and then fade out into the cinematic music. It works really well - their engine is way better than it was in Black Ops 2.’

      Call of Duty Ghost Soundtracks

      The trailer for Call of Duty: Ghosts has racked up over 39 million views on YouTube since its launch in 2013, so it was obvious that COD fans were desperate for a fresh release. It introduced a new game mode, Extinction, and is mostly told through the eyes of Logan Walker. A fun element was the first non-human playable character in the franchise, a German Shepherd dog called Riley.

      Ghosts is set in the near future, following the nuclear destruction of the Middle East – the Ghosts are a force of US Special Operations personnel conducting clandestine missions behind enemy lines.

      David Buckley (The Good Wife, Netflix’s The Stranger) provided the game’s original soundtrack, which also featured Eminem’s ‘Survival’ as the credit song.

      Game On

      If you’re looking for more inspiration, then check out the major Japanese video game composers behind some iconic soundtracks, as well as the standout tracks on the annual NFL Madden soundtracks.

      And if you want music to license for games, we have literally thousands of tracks which would be perfect. From pumping rock and metal for action sequences, to motivational hip hop and more chilled tracks for those quieter moments.

      The Lorne Balfe Collection

      Call of Duty: Modern Warfare 2’s composer Lorne Balfe has launched ‘The Lorne Balfe Collection’ through Audio Network. A definitive collection of hybrid orchestral music, this is the real sound of Hollywood, produced and curated for production music use.

      Balfe is a world-famous composer whose work has brought everything from Top Gun: Maverick to Dungeons & Dragons, Black Widow to Mission Impossible and Lego Batman to life. He knows his genres inside out and has personally picked a set of albums showcasing action, drama, sci fi, superheroes, spies, fantasy, adventure and thrillers. Get ready to be transported to a limitless number of worlds.

      lorne balfe campaign

      Need Music for Your Project?

      At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

      The Best Call of Duty Soundtracks of All Time Read More »

      AUDIO NETWORK VINYL

      MISSION: IMPOSSIBLE SOUNDTRACK REVIEW

      Contents
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        Tom Cruise and the IMF gang are back with another Mission: Impossible blockbuster, set to hit the screen in July. And not only that, it’s going to be epic – Dead Reckoning is just Part One of the seventh film in the franchise – you’ll have to wait nearly a whole year for the second part to drop.

        In the meantime, what can we expect from the soundtrack, and what’s made the music from Mission: Impossible’s previous scores and soundtracks such an essential part of the MI experience?

        Plus, Scottish composer Lorne Balfe – who will become synonymous with Mission: Impossible following his work on Fallout and both parts of the upcoming Dead Reckoning –has been working with us. Balfe’s exclusive collection of music means you can get ahead of the competition by licensing that ‘Hollywood sound’ for your own projects…

        • Mission: Impossible (1996)
        • Mission: Impossible 2 (2000)
        • Mission: Impossible III (2006)
        • Mission: Impossible – Ghost Protocol (2011)
        • Mission: Impossible – Rogue Nation (2015)
        • Mission: Impossible – Fallout (2018)
        • Mission: Impossible – Dead Reckoning Part One (2023)
        • Mission: Impossible – Dead Reckoning Part Two (2024)

        Mission: Impossible (1996)

        The original Mission: Impossible was a TV series that ran in the US from 1966 to 1973. It was revived in 1988 for two seasons, but it was Tom Cruise’s reboot that really put the story of a covert team of secret government agents on the map in 1996. Not to mention kick-starting a franchise that’s earned over $3.5 billion to date globally.

        Cruise plays Ethan Hunt, an agent of the Impossible Missions Force (aka the IMF), tasked with taking down some of the world’s biggest bad guys. The first film was directed by Brian De Palma (Scarface, Carlito’s Way) and used Lalo Schifrin’s iconic original ‘Theme from Mission: Impossible’, together with a score by composer Danny Elfman. The latter composed new themes for the characters of Ethan Hunt, Claire and the IMF.

        Mission: Impossible music of course has to begin with one of the best-loved theme tunes of all time. U2 bandmates Larry Mullen Jr and Adam Clayton were fans of the original TV show and knew the theme well. Clayton put together a version, as did Mullen – Polygram were thrilled with both, and ended up with seven tracks (including remixes), which appeared on a limited-edition vinyl release.

        Mullen revealed that, ‘The initial request came for U2 to do a version of it and we couldn’t because we were in the middle of recording Pop. Adam and I thought it might be worthwhile having a bash at it (alone). There was no reference to U2, so it took the pressure off us on one level and the expectations that this was going to be some rock track, basically giving us the licence to do whatever we wanted.’

        Clayton’s way into the theme was that, ‘it’s got to have that slightly exotic feeling of going to a foreign place and being in danger. It’s got to get your heartbeat going. Certainly, the music that Lalo wrote fitted that bill. Even when I was a kid, I’ve always been able to remember it.’

        U2’s version, as well as Schifrin’s version, as performed with the London Philharmonic Orchestra, were nominees for the Grammy Award for Best Pop Instrumental Performance.

        The full soundtrack album contains 15 tracks, as below; however, only five are heard in the movie – the theme music, the Cranberries’ ‘Dreams’ and the three Danny Elfman score suites.

        Track Listing:

        1. ‘Theme from Mission: Impossible’ – Larry Mullen & Adam Clayton
        2. ‘Spying Glass’ – Massive Attack
        3. ‘I Spy’ – Pulp
        4. ‘Impossible Mission’ – Danny Elfman
        5. ‘Headphones’ – Björk
        6. ‘Weak’ – Skunk Anansie
        7. ‘On and On’ – Longpigs
        8. ‘Claire’ – Danny Elfman
        9. ‘Dreams’ (Radio Edit) – The Cranberries
        10. ‘You, Me and World War III’ (‘Big’ Single Remix) – Gavin Friday
        11. ‘So’ – Salt
        12. ‘Trouble’ – Danny Elfman
        13. ‘No Government’ – Nicolette
        14. ‘Alright’ – Cast
        15. ‘Mission: Impossible Theme (Mission Accomplished)’ – Adam Clayton & Larry Mullen

        In the final scene, as Ethan flies home having saved the day, a flight attendant approaches him and offers him a new mission… Cue theme – heralding the start of a billion-dollar franchise going forward.

        Want to know where it all began? The original Mission: Impossible theme composer Lalo Schifrin revealed to CNMS Archive that for the TV series, he suggested, ‘one theme only, like a paramilitary operation with a suspenseful march’ to emphasise the team aspect of the show. His brief from the director was ‘something very exciting; something really light, not like the background music, which is really serious.’ He wanted a theme with ‘a lot of rhythm, vigour… something rhythmically exciting’. There are Latin jazz influences (Schifrin was a jazz musician who played with Dizzy Gillespie), together with its distinct percussion and odd 4/5 rhythm.

        Mission: Impossible II (2000)

        The second Mission: Impossible outing was directed by action maestro John Woo (Hard Boiled, Face/Off) and added Ving Rhames to the IMF crew, playing computer-hacker Luther Stickell. Ethan Hunt joins forces with professional thief Nyah Nordoff-Hall (Thandiwe Newton) to find a genetically modified disease held by rogue IMF agent Sean Ambrose (Dougray Scott).

        The sequel became the highest-grossing film of 2000 and featured the kind of action sequences that fans have come to love – including that jaw-dropping free-climbing opener, at the end of which, Ethan receives his mission and then the theme tune and title sequence kicks in.

        The trailer showcases Limp Bizkit’s punched-up version of the main theme; the film’s original score was composed by Hans Zimmer and features vocals performed by Lisa Gerrard.

        The tracks by Zimmer are:

        1. ‘Hijack’
        2. ‘Seville’
        3. ‘Nyah’
        4. ‘Mission: Impossible Theme’
        5. ‘The Heist’
        6. ‘Ambrose’
        7. ‘Bio-Techno’
        8. ‘Injection’
        9. ‘Bare Island’
        10. ‘Chimera’
        11. ‘The Bait’
        12. ‘Mano a Mano’
        13. ‘Mission: Accomplished’
        14. ‘Nyah and Ethan’

        Together with a track by Zap Mama, ‘Iko-Iko’.

        The metal and rock-heavy soundtrack album features tracks by Metallica, the Foo Fighters and Brian May, Chris Cornell and Tori Amos.

        Track Listing:

        1. ‘Take a Look Around (Theme from M:I-2)’ – Limp Bizkit
        2. ‘I Disappear’ – Metallica
        3. ‘Scum of the Earth’ – Rob Zombie
        4. ‘They Came In’ – Butthole Surfers
        5. ‘Rocket Science’ – The Pimps
        6. ‘Have a Cigar’ – Foo Fighters and Brian May
        7. ‘Mission 2000’ – Chris Cornell
        8. ‘Going Down’ – Godsmack
        9. ‘What U Lookin’ At?’ – Uncle Kracker
        10. ‘Backwards’ – Apartment 26
        11. ‘Karma’ – Diffuser
        12. ‘Alone’ – Buckcherry
        13. ‘Immune’ – Tinfed
        14. ‘My Kinda Scene’ – Powderfinger
        15. ‘Carnival’ – Tori Amos
        16. ‘Nyah’ – Hans Zimmer featuring Heitor Pereira

        Mission: Impossible III (2006)

        Mission: Impossible III, or M:i:III, if you’re into abbreviations, stormed the box office in 2006. JJ Abrams, previously known for appointment TV such as Lost, made his directorial debut with the third installment. Tom Cruise was joined by Philip Seymour Hoffman, playing elusive arms dealer Owen Davian, Keri Russell, Maggie Q, Laurence Fishburne and Michelle Monaghan.

        Way back in 2002, David Fincher was slated to direct, but departed owing to ‘creative differences’. Cruise was a fan of Abrams’ Alias, and he was brought on board to shepherd the production around Shanghai, Berlin, Rome, LA and the Vatican City.

        The director wasn’t the only thing that MI switched up – the third composer to take on the Mission: Impossible score was Michael Giacchino, who’s since won an Oscar for his work on Up and has scored everything from Doctor Strange to Star Wars Rogue One, Jojo Rabbit and The Batman. And in another break with tradition, there wasn’t a soundtrack featuring the movie’s contemporary music – but there is a Kanye West track, ‘Impossible’, which also features Twista, Keyshia Cole and BJ.

        Track Listing:

        1. ‘Mission: Impossible Theme’
        2. ‘Factory Rescue’
        3. ‘Evacuation’
        4. ‘Helluvacopter Chase’
        5. ‘Special Agent Lindsey Farris’
        6. ‘Ethan and Julia’
        7. ‘Humpty Dumpty Sat on a Wall’
        8. ‘Masking Agent’
        9. ‘Voice Capture’
        10. ‘See You in the Sewer’
        11. ‘Davian’s Brought In’
        12. ‘Bridge Battle’
        13. ‘Davian Gets the Girl’
        14. ‘IMF Escape’
        15. ‘Disguise the Limit’
        16. ‘Shang Way High’
        17. ‘The Chutist’
        18. ‘Hunting for Jules’
        19. ‘World’s Worst Last 4 Minutes to Live’
        20. ‘Reparations’
        21. ‘Schifrin and Variations’

        Abrams wasn’t playing with the cold open for M:i:III, which cranks the tension and mystery up to 100% within the first three minutes:

        The third outing ends with Ethan and wife Julia (Michelle Monaghan) heading off on their honeymoon – complete with suitably romantic music – and Ethan pondering a job offer from the White House on his return.

        Mission: Impossible – Ghost Protocol (2011)

        The fourth M:I film was directed by Brad Bird, in his live-action debut. The IMF are shut down after being publicly implicated in a bombing of the Kremlin and must clear their names.

        The trailer promises all the explosive action and fight sequences we’ve come to expect, with Eminem’s track featuring P!nk, ‘Won’t Back Down’, crunching into a beats-loaded version of the theme.

        Michael Giacchino once again took on scoring duties, having worked with Bird on The Incredibles and Ratatouille. The soundtrack has a Russian influence, tying into the plot, and the theme tune was reworked, with Bird asking the composer to make it as ‘modern and hip and energetic and oppressive as you possibly can, and that will just keep the audience busy.’

        Variety said that, ‘Giacchino once again supplies jazzy, propulsive riffs on Lalo Schifrin’s classic theme’.

        The highest-grossing film in the franchise to date featured Jeremy Renner as intelligence analyst William Brandt, and new IMF field agent Benji Dunn, played by Simon Pegg.

        Track Listing:

        1. ‘Give her my Budapest’
        2. ‘Light the Fuse’
        3. ‘Knife to a Gun Fight’
        4. ‘In Russia, Phone Dials You’
        5. ‘Kremlin with Anticipation’
        6. ‘From Russia with Shove’
        7. ‘Ghost Protocol’
        8. ‘Railcar Rundown’
        9. ‘Hendricks’ Manifesto’
        10. ‘A Man, A Plan, A Code, Dubai’
        11. ‘Love the Glove’
        12. ‘The Express Elevator’
        13. ‘Mission Impersonatable’
        14. ‘Moreau Trouble Than She’s Worth’
        15. ‘Out for a Run’
        16. ‘Eye of the Wistrom’
        17. ‘Mood India’
        18. ‘Mumbai’s the Word’
        19. ‘Launch is on Hendricks’
        20. ‘World’s Worst Parking Valet’
        21. ‘Putting the Miss in Mission’
        22. ‘Mission: Impossible Theme (Out with a Bang Version)’

        The opening scene features a dramatic killing in Budapest by an assassin (Lea Seydoux), followed by a prison escape orchestrated by computer expert Benji (Simon Pegg), including Dean Martin’s ‘Ain’ that a Kick in the Head’ soundtracking a massive running brawl through the corridors. ‘Light the fuse’, Ethan tells his colleague, ushering in the theme.

        The standout scene is undoubtedly the stunning Burj Khalifa sequence, which showcases an almost Bond-esque soundtrack, Giacchino’s ‘A Man, A Plan, A Code, Dubai’, which also brings in elements of the classic Schifrin theme.

        The final scene has Ethan revealing to Brandt that he faked Julia’s death to keep her safe, with a solemn piano and strings score (‘Putting the Miss in Mission’) as he watches over her from a distance.

        Mission: Impossible – Rogue Nation (2015)

        Anti-IMF The Syndicate, an international black ops terrorist organization composed of rogue government agents from all over the world, are the team’s newest enemy in Rogue Nation.

        The trailer uses an ominously re-worked version of the Fugees’ ‘Ready or Not’, as well as the theme, and introduces a fabulous plane stunt to hook you from the get-go.

        And when that plane sequence is the first thing out of the Rogue Nation blocks, you know you’re in for a wilder ride than ever before.

        The fifth installment was directed by Christopher McQuarrie, with Tom Cruise, Jeremy Renner, Simon Pegg and Ving Rhames all returning to the fold, joined by Alec Baldwin, Sean Harris and Rebecca Ferguson.

        The musical score was composed by Joe Kraemer, who’d previously collaborated with McQuarrie on The Way of the Gun and Jack Reacher. Three tracks, ‘Escape to Danger’, ‘A Matter of Going’ and ‘Finale and Curtain Call’ all interpolate Puccini’s Nessun Dorma aria from Turandot in the key opera house scene, which definitely ranks as one of the best uses of classical music on the big screen:

        Kraemer wanted to put his own spin on Lalo Schifrin’s theme by paying homage to the original TV show: ‘So, I went back and looked at the pilot, then many episodes from the early seasons. And decided that I would make a score that could have been recorded for the pilot, in the sense that I didn’t want to use any sounds that weren’t available to Lalo Schifrin when he scored it. Which meant no synthesisers, no drum machines, no techno loops. Everything was done with acoustic instruments recorded in a symphonic setting. Which is essentially how Lalo did the pilot. What I felt was that it would help me sound sort of retro, but it wouldn’t limit what I could write. It would only limit how I could achieve it.’

        For the rest of the score, Kraemer was inspired by minimalist composers like Philip Glass and Steve Reich, using instruments in unconventional ways to create new sounds. For an underwater sequence, for example, he used a piano with an extra octave at the lower end and muffled the lowest string with a towel to produce a repetitive thumping sound like an engine.

        Track Listing:

        1. ‘The A400’
        2. ‘Solomon Lane’
        3. ‘Good Evening, Mr Hunt’
        4. ‘Escape to Danger’
        5. ‘Havana to Vienna’
        6. ‘A Flight at the Opera’
        7. ‘The Syndicate’
        8. ‘The Plan’
        9. ‘The Torus’
        10. ‘Morocco Pursuit’
        11. ‘Grave Consequences’
        12. ‘A Matter of Going’
        13. ‘The Blenheim Sequence’
        14. ‘Audience with the Prime Minister’
        15. ‘A Foggy Night in London’
        16. ‘Meet the IMF’
        17. ‘Finale and Curtain Call’

        The final scenes show the team outwitting Solomon Lane (Sean Harris) and capturing him, then Ethan saying farewell to MI6 agent Ilsa Faust (Rebecca Ferguson), which includes elements of both Turandot and the theme.

        Mission: Impossible – Fallout (2018)

        Christopher McQuarrie was back to both write and direct the sixth installment of Mission: Impossible, in which Ethan and the IMF go head-to-head with the Apostles, a bioterrorist offshoot of the Syndicate. The first director to return to the franchise delivered what fans and critics hailed as not only the best installment, but also one of the best action films of the decade. It also became the highest-grossing film of Tom Cruise’s career until Top Gun: Maverick.

        The core cast was joined by Henry Cavill, Angela Bassett and Vanessa Kirby, with Sean Harris returning as Solomon Lane.

        Composer Lorne Balfe was brought in for Fallout, and created an epic, inspiring score, with many comparing it to Hans Zimmer’s The Dark Knight Rises. For our money, it’s one of the best Mission: Impossible soundtracks.

        The Scottish composer has worked on everything from movies to TV and video games, including The Lego Batman Movie, The Dark Knight, His Dark Materials, Dopesick, Call of Duty: Modern Warfare 2 and FIFA 19. Balfe has collaborated with Hans Zimmer on a variety of projects, including Tom Cruise’s other epic blockbuster, Top Gun: Maverick.

        Light the Fuse podcast interviewed Lorne in his studio about composing the score, and how he’s been thinking about different things to do with the theme (‘one of the most memorable themes of all time’), as he’s watched each film in the series, together with the challenges of writing at the same time as Fallout was being edited:

        Balfe brought in choral elements to the main theme for the closing credits, taking inspiration from a Tavener piece, with the vocals sung in Latin; the score overall shows off a much ‘darker’ side of Ethan, as the stakes get ever higher. (Do stakes get much higher than the nailbiting final sequence as Ethan and the IMF battle to stop a nuclear explosion?) Lorne Balfe ups the ante with a percussion-driven piece, ‘Cutting on One’, as there’s a call-back to Mission: Impossible 2’s rock-climbing sequence.

        Track Listing:

        1. ‘A Storm is Coming’
        2. ‘Your Mission’
        3. ‘Should You Choose to Accept’
        4. ‘The Manifesto’
        5. ‘Good Evening, Mr Hunt’
        6. ‘Change of Plan’
        7. ‘A Terrible Choice’
        8. ‘Fallout’
        9. ‘Stairs and Rooftops’
        10. ‘No Hard Feelings’
        11. ‘Free Fall’
        12. ‘The White Widow’
        13. ‘I Am the Storm’
        14. ‘The Exchange’
        15. ‘Steps Ahead’
        16. ‘Escape Through Paris’
        17. ‘We are Never Free’
        18. ‘Kashmir’
        19. ‘Fate Whispers to the Warrior’
        20. ‘And the Warrior Whispers Back’
        21. ‘Unfinished Business’
        22. ‘Scalpel and Hammer’
        23. ‘The Syndicate’
        24. ‘Cutting on One’
        25. ‘The Last Resort’
        26. ‘Mission: Accomplished’

        Mission: Impossible – Dead Reckoning Part One (2023)

        When M:I director and writer Christopher McQuarrie, who, let’s not forget, oversaw Tom Cruise jumping out of a plane over 100 times for Fallout, tells Empire, ‘If we’d known the challenges, we’d never have done it’, you know Dead Reckoning Part One is going to be the most ambitious Mission: Impossible yet.

        With each Mission: Impossible, the action stakes get ever higher, and for this seventh outing, McQuarrie and Cruise are promising end-to-end, edge-of-your-seat thrills:

        The core cast is joined by Captain America’s Hayley Atwell, Guardians of the Galaxy’s Pom Klementieff and Esai Morales playing villain Gabriel. Ethan and his IMF team embark on their most dangerous mission to date: to track down a terrifying new weapon that threatens all of humanity before it falls into the wrong hands.

        Dark forces from Ethan’s past are also closing in, resulting in a deadly race around the globe, and he’s forced to consider that nothing can matter more than his mission – not even the lives of those he cares about most… This summer’s biggest movie? You wouldn’t bet against it.

        Plus, composer Lorne Balfe returns to take on scoring duties.

        Mission: Impossible – Dead Reckoning Part Two (2024)

        The Dead Reckoning sequel was shot back-to-back with Part One, but you’ll have to wait ‘til the end of June 2024 to see it on the big screen. Will this be Tom Cruise’s final outing as Ethan Hunt? By the time the film’s released, he’ll have been playing the character for over 28 years; everyone’s expecting this eighth outing to be the last.

        So far, all we really know is the cast list, with everyone from Part One returning, together with Mark Gatiss, Janet McTeer, Hannah Waddingham and Lucy Tulugarjuk, in undisclosed roles. Plus, Lorne Balfe will be composing another incredible soundtrack.

        The Lorne Balfe Collection

        Curated by blockbuster film, TV and video games composer Lorne Balfe, this is the real sound of Hollywood.

        Experience hybrid orchestral music on an epic scale, recorded at the world’s finest studios with industry-leading musicians, and created in collaboration with the collective behind scores for Top Gun: Maverick, Mission Impossible, Black Widow, Black Adam, His Dark Materials and more.

        The Best Soundtracks in Cinema

        Want more deep dives? Check out the biggest-selling movie soundtracks in history; the best love songs in cinema; the names to know in terms of movie composers and some names to rival Mission: Impossible for fantastic action movie soundtracks.

        Need Music for Your Project?

        At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

        This page was updated 28/05/2024.

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        How to Collaborate with Other Musicians

        HOW TO COLLABORATE WITH OTHER MUSICIANS

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          With an estimated 60,000 songs uploaded to Spotify every single day, it’s harder than ever for artists to get their music heard. One of the best ways to cut through that noise is to become an active member of a musical community, aligning yourself with like-minded artists through collaboration. In doing so, you’re giving yourself a head start in finding an entirely new audience.

          And the benefits of music collaboration don’t stop there. In addition to extending your reach, working with other creatives can be cost-effective, allowing you to pool resources – including studio time – as well as knowledge. Crucially, keeping your horizons open can only help widen your vision, encouraging you to reach new creative heights you might never have scaled solo.

          In this blog, we look at some of the different ways in which you can collaborate with other artists – both in person and remotely – and look closer at some of the best collaboration songs that have helped break new artists.

          HOW TO COLLABORATE WITH OTHER MUSICIANS

          Breakthrough Collaborations

          • Lil Nas X – ‘Old Town Road ft. Billy Ray Cyrus (Remix)’
          • Wizkid – ‘Essence ft. Tems’
          • Powfu – ‘Death Bed (Coffee for Your Head)’
          • Rema – ‘Calm Down ft. Selena Gomez’
          • Justin Bieber – ‘Despacito ft. Luis Fonsi and Daddy Yankee’

          Lil Nas X – ‘Old Town Road ft. Billy Ray Cyrus (Remix)’

          Peaking at number one on the Billboard Hot 100 for a record-breaking 19 consecutive weeks, ‘Old Town Road’ saw Georgia-raised rapper Lil Nas X redefine the parameters of viral success.

          Built from a beat bought online for $30, the song blends country music with trap, a novel combo that helped Lil Nas X play the algorithm on TikTok.

          To take things up a gear, he reached out to country music legend (and Miley’s dad) Billy Ray Cyrus to feature on the remix and – voila! – music history was made.

          Wizkid – ‘Essence ft. Tems’

          In linking up with Afrobeats legend Wizkid to co-write ‘Essence’, Nigerian singer-songwriter Tems increased her clout tenfold. The first Nigerian song in history to chart on the Billboard Hot 100, the track was subsequently nominated for a Grammy for ‘Best Global Music Performance’ and received a remix featuring Justin Bieber.

          Tems has gone on to collaborate with Drake and Future, and to write Rihanna’s recent comeback single ‘Lift Me Up’.

          Powfu – ‘Death Bed (Coffee for Your Head)’

          In a collaboration between two emerging artists, Canadian singer/rapper Powfu intepolated parts of ‘Coffee’ by Filipino-British singer-songwriter Beabadoobee into this alt-pop smash.

          Since going viral on TikTok, the track has amassed more than 1 billion streams on Spotify, while both artists have become household names.

          Rema – ‘Calm Down ft. Selena Gomez’

          ‘Calm Down’ by Nigerian artist Rema was already one of our standout tracks of 2022. But when Selena Gomez jumped on the remix, the track’s success was taken to another level entirely.

          At the time of writing, it’s still riding high on the BBC Radio 1 playlist.

          Justin Bieber – ‘Despacito ft. Luis Fonsi and Daddy Yankee’

          While Puerto Rican artists Luis Fonsi and Daddy Yankee have long been legends of the Latin music scene, this link-up with pop prince Justin Bieber helped propel ‘Despacito’ to an even wider audience.

          As well as hitting the top of the Billboard Hot 100 (and being placed at number 2 in the year-end chart), the remix was nominated for three Grammys. More importantly, it helped kickstart a wave of Spanish-language pop that continues to this day, paving the way for a host of other Latin American artists to achieve breakout success.

          Food for thought for anyone contemplating making songs with multiple artists.

          Different Ways to Collaborate

          • Co-write a song
          • Contribute a guest verse
          • Sample an artist
          • Share a tour
          • Swap gigs
          • Do a remix
          • Produce a track
          • Cover each other’s songs
          • Make music videos together
          • Collaborate on a live session
          • Do Instagram Live performances

          From co-writing and remixing to live social media broadcasts, there are lots of different ways in which you can collaborate with other musicians.

          We detail some of the key creative options below.

          HOW TO COLLABORATE WITH OTHER MUSICIANS

          Co-write a Song

          To co-write effectively it’s essential you leave your ego at the door: it’s a collaboration not a competition. Take advantage of the invaluable opportunity to receive constructive feedback. Be prepared to discard ideas that aren’t working, or to reshape them entirely for the greater good. And don’t let the fear of rejection limit you – the more uninhibited your creative process, the more likely you’ll create something memorable.

          The cornerstone of collaboration is ‘Yes, and…”, an improvisational technique in which you run with one another’s ideas, expanding on your partner’s line of thinking. Why not try it in your next co-writing session.

          Contribute a Guest Verse

          Looking to branch out beyond your current fanbase or genre? Why not write a guest verse for another artist. Not only can you take advantage of each other’s clout, very often a feature can help carry songs to heights they would never have reached solo.

          Some high profile examples include Burna Boy’s turn on Asake’s ‘Sungba’ and Cardi B’s contribution to Kay Flock’s ‘Shake It’.

          Sample an Artist

          One great way to collaborate is to interpolate a portion of an existing song into a brand new recording. Recent hits built around sampling include Central Cee’s ‘Obsessed With You’ (featuring portions of PinkPantheress’ ‘Just For You’) and Beyoncé’s ‘Alien Superstar (sampling both ‘Moonraker’ by Foremost Poets and ‘I’m Too Sexy’ by Right Said Fred).

          As ever, it’s essential that you obtain permission both from the owner(s) of the copyright in the recording you are sampling, and from the owner(s) of the work’s publishing copyright. For more information on the legalities of sampling, head to the Musician’s Union website.

          Share a Tour

          Whether it’s a co-headline or a support slot, sharing a tour is another great way to pool fanbases and extend your reach.

          Not only that, you can split the overheads and take advantage of the opportunity to collaborate onstage every night. It’s a no-brainer.

          Swap Gigs

          Another opportunity for live collaboration is to swap gigs. For example, you might invite an artist to open for you at your hometown show, and they’ll return the favour in their hometown. As with sharing a tour, swapping gigs is a brilliant way to widen your audience.

          Do a Remix

          Remixing an existing song is another surefire way to extend your reach.

          Nowadays, the remit of a remix extends from contributing a guest verse (see Justin Bieber hopping on ‘Essence’ by Tems and Wizkid) to putting a new spin on the original production (hello to Cornershop’s 90s classic ‘Brimful Of Asha’, as remixed by Fatboy Slim). Whichever path you choose, be sure to put your unique stamp on the song.

          Produce a Track

          Producing a track for another artist gives you the opportunity to be creative while glimpsing someone else’s creative process and extending your creative network.

          Artists who double up as producers include Jeff Tweedy of Wilco – who produced Low’s 2013 album The Invisible Way – and Bleachers’ Jack Antonoff, who has produced everyone from Taylor Swift and Lorde to St. Vincent.

          Cover Each Other’s Songs

          They say imitation is the sincerest form of flattery, but if Radio 1’s Live Lounge has proven anything, it’s that a cover version can unlock an entire new meaning.

          Whether you’re offering a like-for-like interpretation or a radical twist on the original track, covers are a great way to collaborate.

          Make Music Videos Together

          The music video remains one of the most powerful promotional tools at an artist’s disposal, and it’s the perfect arena for some artist or band collaboration.

          You could make a cameo in another artist’s video a la Phoebe Bridgers with Muna or even direct for them, as Lava La Rue did for Wet Leg’s song ‘Ur Mum’. Read our blog on how to make a music video.

          Collaborate on a Live Session

          Why not document that creative chemistry in real time? Find out everything you need to know about capturing the best possible sound in our blog, How To Record A Live Session.

          Do Instagram Live Performances

          Creating a collaborative social media broadcast provides the opportunity for artists to pool audiences while offering their fanbases unique content.

          Not only that, fans can interact with artists in real time, thereby feeling part of the performance.

          How to Collaborate Remotely

          • Set up a home studio
          • Reach out to musicians
          • Use the same software as other musicians

          If the past few years have taught us anything, it’s that collaboration is not only possible at a distance, it can be a brilliant way to unlock brand new creative avenues.

          Whether swapping files over email, or undertaking co-writing sessions over Zoom, suddenly the parameters of who you can practically work with are widened exponentially: all you really need is a decent internet connection and some great ideas to connect with musicians.

          But practically, how do you go about online music collaboration? What hardware should you have at your disposal? And what music collaboration software is available to you?

          HOW TO COLLABORATE WITH OTHER MUSICIANS

          Your Home Studio-Set-up

          First up, you’ll need your Digital Audio Workstation (DAW). If you’re completely new to home recording, why not try out free software like Apple’s GarageBand or Cakewalk by BandLab? If you’re ready to invest in your set-up, there are a plethora of paid options at your disposal, including Ableton Live, Apple Logic Pro, Avid ProTools, Cockos Reaper 6 and Steinberg Cubase.

          In addition, you’ll want to get your hands on some studio monitors, a MIDI keyboard, an audio interface and a decent quality microphone or two.

          Reaching Out to Musicians

          DMs are a great way to reach out to musicians you admire about potential collaborations. Of course, it goes without saying that you should always be respectful and never harass an artist – rather, build up a rapport over time with like-minded creatives. It might help to approach them with an idea so that you have something to tempt them, as well as a starting point for your collaboration.

          Using the Same Software

          You can either collaborate within the same DAW, using different DAWs or in collaborative software. In the former instance, you simply export and swap zipped folders containing the project files. If you’re using different DAWs, you export and swap your stems (AKA audio files).

          The biggest benefit of this approach is that it doesn’t matter which plugins you use as every sound is rendered to audio. Finally, there are now some great options for online music collaboration software, including Satellite Plugins 2.0 and Splice Studio.

          Sharing is Caring

          In conclusion, there are no downsides to collaboration. From building your knowledge base and skillset to splitting costs and creating a community that empowers you, working with other musicians is a win-win.

          For more tips and tricks head to our blog The Edit, which features articles on a huge range of subjects, including How To Come Up With A Stage Name and How To Make A Music Video.

          Discover and sample our playlists and collections, or browse the latest albums and our very own top 40. Each and every one of our high-quality background music tracks is licensed for use in you in your next production, whether you’re working on TV programming, films or advertising.

          Want to Get Your Hands on Our Latest Releases?

          When you need to license music for your production, we have thousands of original, high-quality tracks to discover. Including some of the greatest ever artist collaborations!

          new releases

          For example, if you’re after a west coast sound with a UK twist, then we definitely encourage you to check out our latest release from Johnny Lloyd and Clif Norrell.

          Titled Reanimate, this is an uplifting and laid-back collection of guitar and vocal led indie-rock. Take a listen below.

          REANIMATE

          Need Music for Your Project?

          At Audio Network we create original music, of the highest quality, for broadcasters, brands, creators, agencies and music fans everywhere. Through clear and simple licensing, we can offer you a huge variety of the best quality music across every conceivable mood and genre. Find out how we can connect you with the perfect collaborator today by clicking the button below!

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          How to Make a Dance Video

          HOW TO MAKE A DANCE VIDEO: THE ULTIMATE GUIDE

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            When you think about a dance video, what comes to mind? Madonna’s ‘Vogue’? Beyoncé’s ‘Single Ladies (Put a Ring on It)’? Or, of course, the iconic ‘Gangnam Style’?

            The rise of MTV in the 1980s made music videos one of the biggest new art forms for decades.

            Add in the global reach of YouTube and TikTok and dance videography is not only hugely influential, but one of the most impactful ways an artist can create and build their identity and brand.

            So, how do you make a great dance video? We’ll take you through the essentials:

            • Choosing the right song to dance to
            • Choreography and style
            • Equipment
            • Planning/rehearsals
            • Moodboards
            • Budget
            • Filming
            • Editing

            Choosing the Right Song to Dance To

            If you’re looking to make a high concept video (think Michael Jackson’s ‘Thriller’), then obviously choosing the right song to dance to is the first thing on your list.

            A great song could be what takes your choreography to another level – plus the genre may also dictate the look and styling of your video. Think of the story that you want to tell in order to find the right track.

            Try searching on Soundcloud for a track that fits your choreography style, or the concept of your video – or find a cool cover or remix of a track.

            If you’re looking for music to license, then our catalogue has everything from pop to hip hop, R&B to dance – and we add new, original music every fortnight.

            Choreography & Style

            When it comes to making a dance video, you’ve got masses of different styles to choose from.

            There’s your one-shot extravaganzas, such as the opening sequence to La La Land’s ‘Another Day of Sun’, which is nearly six minutes long:

             

            The secret to successfully pulling off a one-take video is a lot of rehearsal, some very carefully planned camera moves and choreography that’s polished to within an inch of its life.

            A one-take can result in something truly spectacular, such as Kiesza’s ‘Hideaway’, which features awe-inspiring choreography, but it’s not something for the faint-hearted.

            Alternatively, watch a wide variety of different videos and ads that feature choreography for inspiration.

            You might want something where the choreography is showing a story or a concept. What feeling are you trying to express?

            The blend of storytelling, music and choreography is particularly effective in this promo for the official song from Euphoria by Labrinth and Zendaya, ‘All for Us’:

            AXA UK shows dancer and choreographer Taylor Haine’s determination to succeed in its ad, ‘The Dancer’, which expertly pairs its soundtrack – Karen O’s ‘I Shall Rise’ – with inspiring visuals of Taylor, who was fitted with a prosthetic leg from a very young age and whose passion has always been dancing.

            Let’s Dance – Choreography

            Is your choreography going to be modern or street style, classical or freestyle – do you want to bring in some ballroom steps to create an interesting fusion?

            If you’re creating your own choreography, you need to study the music. By knowing it inside out, you can design dance moves that work with both the beat and the lyrics.

            Watch the pros for inspiration; whether it’s dance-focused musicals, such as Chicago, or competitive series like So You Think You Can Dance, study the styles and combinations of movement – as well as how the dancers are conveying emotion:

            Top choreographer Arlene Phillips – an ex-Strictly Come Dancing judge – advises that you should plan out your most impactful elements first, then work in additional steps around them.

            She also suggests challenging yourself with unique rhythms, styles and techniques.

            Equipment

            What equipment will you need to film a dance video? Well, it can be as simple as just using your phone!

            Check out Steezy’s expert hacks for shooting dance videos on your phone:

            But if you want to up the quality, then you’ll need to either buy or hire a camera and some lights at a minimum.

            Cameras

            You don’t have to invest a huge amount of money in cameras to create a dance music video that looks amazing. But a top tip is to have a few cameras on-set so that you can capture footage from various angles – this will give you plenty of options when it comes to editing your video.

            The best camera for dance videos? Bestoflens.com recommends the Olympus OM-D E-M1 Mark III, while Cameragurus.com plumped for the Fujifilm X-T4 (which also has a feature to record slow-motion) or the GoPro HERO9, which is great in low light.

            A top tip for filming dance videos is to get a wide-angle lens, as you want to show as much of the dancing as possible, by shooting at a wide angle.

            To stand out from the crowd, and create really high-end video, then the best option is to rent the most expensive cameras the pros use (such as the RED), rather than buying them, as a more affordable alternative when you’re starting out.

            Lights

            If you’re filming in a dance studio, then make it look more interesting and give it depth with clever lighting – and even effects such as a smoke or fog machine.

            Spotlights create a harsher light that looks more dramatic, as there are more shadows, whereas soft box lights create a softer look, which is the most flattering for people’s faces.

            Best use of lighting in a minimalist set up? Definitely Beyoncé’s ‘Single Ladies (Put a Ring on It)’ – it’s an absolute masterclass, and one of our picks of the best ever dance videos below.

            Planning

            A useful element when you’re planning your dance video is to create a treatment, outlining the video’s concept, direction, aesthetic and style. A treatment doesn’t have to be complicated – it provides the building blocks and the structure for everyone to follow.

            Often, when creating your treatment, you may realise that your concept will take you way over budget. Or that your concept is out of sync with the style or tone of the music, so it’s a useful exercise in lots of ways.

            The most effective dance music video treatments have plenty of visual images for reference – don’t make it too descriptive, as people reading it may tune out.

            Listen to the track at least 20 times, to figure out what will best bring out the emotion or themes. Then, depending on your budget, think of a location, together with planning what kind of lighting, camera movements and camera lenses you’ll need.

            Plus, who else do you need on your team? From dancers to a director, a choreographer to a lighting assistant, make-up artist and a stylist, the list will depend on your concept, and your budget.

            Rehearsals

            If you’re filming a choreographed dance, then try to attend as many rehearsals as you can, so you know what movements the dancers will be making, and how to track them with camera movements.

            Can’t get to the rehearsals? Ask for video footage that you can study.

            Moodboards

            Creating moodboards (also known as idea boards or theme boards) can help you to put together a succinct treatment and will provide the foundations for a storyboard and shot list.

            Moodboards are a practical way to take your creative ideas and bring them to life in the real world.

            Your dance video moodboard can include shots illustrating the choreography, location, costume and make-up looks, to share ideas with your team, from the director to the stylist.

            There are various free apps to create moodboards, which include templates to make life easier. Online moodboards can include images, video, links and colour references, such as stills from previous shoots, or images you’ve saved from Film Grab, Instagram or Pinterest.

            Budget

            It would be nice to think you’ve got a massive budget to play with, but the reality is you probably won’t have.

            So, if your location is a dance studio, or somewhere that’s fairly plain, add in interest with accent lighting or effects such as the fog/smoke mentioned above, plus make the most of environmental textures and colours.

            You could even try shooting with green screen if you want to bring in something more dramatic, or out-of-this-world.

            When dividing up your budget, work out what your priorities are – is it the equipment? Paying for a professional choreographer and dancers? The location, set design, costumes or effects? Your treatment and moodboard should help with this.

            Filming

            When it comes to how to film a dance video, if you’re filming outside, then aim to shoot during ‘golden hour’ – the hour after sunrise, or the hour before sunset.

            Make sure the sun is behind your subjects, which gives you a nice backlight to work with. When shooting indoors, the experts recommend turning off all the fluorescent lighting, so you can choose the amount and type of light that’s going to work best for you.

            When it comes to camera movements, match them to the feel and pace of the song. Slow, smooth movements will fit an emotional ballad or love song.

            Try to match the speed of your movements to the pace of the track – obviously, if you’re shooting a track with a much faster bpm, then quicker movements and speedy edits will fit the bill.

            If you’re shooting in different locations, then when you’re putting together your shotlist you’ll need to work out which parts of the song will be filmed in which location – and how you’re going to transition between the two.

            Through watching the choreography rehearsals and listening to the track multiple times, you should be able to work out ‘action points’, which are moments where there’s a change in the vocals, the tempo or the instruments.

            This is where you can put in specific action or dance moves to heighten the dramatic or emotional impact of the video.

            How to Edit Dance Videos

            There’s a wide range of video editing software options; however, if you’re doing minimal editing, then the software on your computer – e.g. Windows Movie Maker or iMovie – may be good enough.

            Adobe Premiere will give you a lot more flexibility in terms of video editing – and there are plenty of video tutorials to help you get started. If you’re new to editing, then go with the adage ‘less is more’ – keep it simple and follow your instincts.

            Read our expert article on how to edit music to picture and also our cheat’s guide to basic editing cuts.

            Dominique from Neek Films talks you through the process of editing a dance video with Premiere Pro.

            From selecting the best part of each take to ‘editing to the dance’, adding effects and, most importantly, not ‘overpowering the dance’ – you need to be able to see the full choreography in the video:

             

            What Are the Best Dance Videos?

            Here’s our pick of the top 5 dance videos of all time.

            Madonna – ‘Vogue’ (1990)

            The Queen of Pop has nailed pretty much every music genre and dance style during the course of her career, from pop to disco, country music to R&B and dance.

            You might know about voguing from POSE, the award-winning TV series about New York City’s Ballroom culture – in 2019, Billy Porter became the first openly gay black man to win in an Emmy lead acting category (Primetime Emmy Award for Outstanding Lead Actor in a Drama Series).

            But arguably most people’s introduction to voguing was through Madonna’s black and white video, directed by David Fincher, and choreographed by Karole Armitage.

            Inspired by the LGBTQ+ subculture of the African-American and Latino communities throughout the 1980s and 90s as well as 1970s disco influences, the song set a trend, bringing voguing into mainstream pop culture. And with that ‘Vogue’ became the world’s bestselling single of 1990.

            Also referencing the style of Hollywood’s Golden Age of the 1920s and 30s, the video won three awards at the 1990 MTV Video Music Awards, out of a total of nine nominations.

            Pinkfong Kids’ Songs & Stories – ‘Baby Shark Dance’ (2016)

            It may not be cool, but in January 2022, ‘Baby Shark Dance’ became the first YouTube video to surpass 10 billion views – it’s now clocked up well over 11 billion.

            It’s probably not going to be winning any awards for its choreography, but it’s super easy for kids to pick up and the cartoon visuals are bright, colourful and ideally tailored for its audience.

            Add in the fact that the song will get stuck in your head for weeks at a time, and you’ve got the perfect blend of song, choreography and video.

            Lady Gaga – ‘Bad Romance’ (2009)

            When it comes to extreme visuals matched with, ‘I have to watch that again’ choreography, no-one does it better than Gaga and ‘Bad Romance’ has it all. There are weird, white pods in an underground bunker, with dancers dressed like white latex versions of the creature in Alien.

            Gaga appears in a selection of futuristic outfits and wigs, from Goth to glam, her character morphing from passive to powerful. Plus there are dance sequences in a variety of outfits (were the white/red colourways inspired by Kylie Minogue’s ‘Can’t Get You Out of My Head’ video?)

            Directed by Francis Lawrence, it was nominated for ten MTV Video Music Awards, winning seven, including Video of the Year. Billboard went one further and hailed it as the best music video of the 21st Century.

            The video’s concept is that Gaga is kidnapped by supermodels and sold to the Russian mafia – by the end of the video, though, Gaga’s got her revenge and is lying next to the remains of the man who bid for her, on a dramatically burned-out bed.

            Mark Ronson ft. Bruno Mars – ‘Uptown Funk’ (2014)

            Snappy outfits, (extra props for the shots of Bruno, Mark and the crew sporting curlers in a hair salon), a big white limo and some awesome dance moves have made this one of the most-watched videos of all time, with over 4.6 billion views.

            It’s a great example of a classic ‘let’s do the show right here’ street location, which has the feel of an old-skool Hollywood backlot (helped by the fact it was shot at 20th Century Fox Studios’ ‘New York Street’ backlot in LA). Then the action shifts for the final third to a neon-lit club.

            The retro feel is enhanced by the late 70s/80s clothes, leading the Guardian to praise its, ‘super-slick, Jackson-like group choreography, glossy production and retro styling.’

            Beyoncé – ‘Single Ladies (Put a Ring on It)’ (2008)

            The track itself won three Grammy Awards, including Song of the Year, and the video is another black and white favourite, showing that you don’t need massive sets or elaborate costumes to make the best dance music videos – you can create something truly iconic on a very low budget, if you’ve got the talent and the moves.

            Directed by Jake Nava, who also directed ‘Crazy in Love’ and ‘Beautiful Liar’, the amazing choreography was put together by Frank Gatson Jr and JaQuel Knight – the inspiration was a 1969 Bob Fosse routine called ‘Mexican Breakfast’ on The Ed Sullivan Show, featuring Fosse’s wife, Gwen Verdon, and two other women.

            Beyoncé revealed to Entertainment Weekly that, ‘We kept a lot of the Fosse choreography and added the down-south thing — it’s called J-Setting, where one person does something and the next person follows. So it was a strange mixture… It’s like the most urban choreography, mixed with Fosse — very modern and very vintage.’

            The video shoot apparently took about 12 hours, with multiple performances being filmed and then edited together to give the impression of a single take.

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            This page was updated 28/05/2024.

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