This time, the project was a full team effort. Flavorlab Sound provided mix, Producer’s Toolbox provided search and music placement, and Score created the music. Unlike in years past, showcasing this work happened at arm’s length. From postponed production time to restricted filming, and of course, remote music creation with Flavorlab Score. Jeff kicked off his pre-production schedule over the summer. Normally, he’d feel a place out in person, but gathered information via Zoom meeting, phone calls, and internet research. They wrote the script and prepared the shooting schedule. And then they waited. By September, case rates had declined and a crew was assembled. Carefully set travel plans, they quarantined, then headed to Atlanta. They spent nine nights in Georgia. Masked, eight feet apart in an old, spacious warehouse, and otherwise eating meals alone in their hotel rooms.
“We did a lot of FaceTimes with Jeff. We’d bat around ideas, like we might in person, and then work away alone. It ended up being very efficient.”
Erik Blicker, composer
The composers viewed working remote as their first real challenge pleasing a trusted, long time client. In the past, the three have kept close quarters from start to finish. It was top priority for the composer team to utilize Jeff as an equal creative partner, as they have in the past. Convening over FaceTime, the creative process took on a back and forth dynamic.
While left out of outlining like tempo maps and initial grooves, Jeff’s experience filming informed the music, jumping off points, and finer creative moments. “Structurally and emotionally, he always has a good idea. We also found this approach gave us a more mountaintop creative view,” said composer, Erik Blicker. “With three producers, you always want to leave space for everyone’s thoughts and you exchange ideas a long time. It’s easy to get stuck in the weeds. This way, we could flesh out an idea two or three steps down the line before moving on.”
They started in on a psychedelic rock direction, but found it wasn’t totally living up to the environment. “This organization is dedicated to multigenerational progress and support so we wanted to nod to the old and the new in our score,” explained Glenn. Mostly rooted in modern Motown, the score utilized a strong, live bass line. Foregoing live drums, the groove was supported by a hip hop style drum machine beat highlighting the next generation. To polish off the theme, they called on The Seamless Voice, Marlon Saunders. Normally an in-studio reunion, the recording happened virtually. “Marlon got it done in four takes. He puts the angelic sauce on everything he does,” described Glenn.
“My favorite part of the project is always the music. I know the writing, shooting and editing is complete and the video, in a way, is now reborn.”
Jeff Schwartz, creative director, Primalux
“It’s like painting emotions with a musical brush, exuding feelings from words and images like savory spices. This is the wonderful aftertaste when cooking in the Flavorlab!” Jeff continued. Looking to the future, out of necessity or for the sake of a new creative avenue, the trio hopes to blend old and new in their creative approach. “It’s not every day we get to write for positive societal progress,” Glenn said. “We’re just glad we get to do this every year and Jeff believes in our ability to create for organizations like these.”
In addition to the original score, our licensing team dipped into the Producer’s Toolbox catalogue to find a track outside the soulful theme. Looking for an electronic dance inspire sound, to highlight the future of robotics, they decided on “Time To Party” by Anthony Clint Jr.