Jingle Punks - The Shape Shifting of Music Licensing. An Interview with CEO Jared Gutstadt on how their revolutionary online business is changing the way commercial music is made, accessed and sold… and it’s all done with Apogee. The year 2. 01. 1 has started out well for Jingle Punks, landing two big spots already this year with Comedy Central’s new show called the Sports Dome and a Super Bowl spot featuring Larry the Cable Guy. Named one of “America’s Most Promising Startups” by Business Week in 2. Jingle Punks has not only successfully tapped into the ever- developing market of music licensing, but has fine- tuned it into a more efficient machine with a growing pool of otherwise undiscovered talent so clients such as NBC, ABC, Comedy Central and the History Channel can login and find exactly what they’re looking for. Adjacent to the Jingle Punks offices is  a recording studio where the team can record a lot of their own music for the database, such as their recent hit with the History Channel’s Top Gear with Bret Michaels which was written and produced entirely with Apogee ONE by Jingle Punks’ CEO Jared Gutstadt and Rick Smith. As a testament to the company’s output demand and the benefits of a portable, high- quality and self- contained workstation, Jared records over 1.

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Mac, Apogee Duets, ONEs and Logic. Leading a tenacious, skillful and resourceful team, Jared used his background as a musician and film executive to develop a database where clients could search for content using keywords they can easily identify with. The result of which is an well- oiled online and i. Pad app- available service allowing clients to get original material they need, quickly and affordably without the nightmare legalities of pre- historic licensing. Jingle Punks effectively eliminates the vicious Catch 2.

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Anyone from a badass blues trio in New Orleans to a killer high school band can submit their music online, and pending approval, instantaneously have their music available to be potentially picked up by a national ad campaign. How has your own experience in music and television supported your efforts to create an environment wherein musicians can actually get their work heard? I spent 1. If I wanted to find music that sounded like a Green Day track or find a cue that sounded like it was from a Spaghetti Western, there was no way for me to use the keywords as a starting point for search.  Believe it or not the music business as a whole is very techno- phobic, so the idea of using a relational search in a music library had never been done before or at least not the way Jingle Punks does it. We wanted to create a simple, clean interface for clients to access and pull from. Media is made so quickly now that teams no longer have time to go through an arduous process of clearing music track by track. Cable TV and advertising is a constant flow of media so we needed the tool to be super simple. My logic was that if you needed to explain how it worked to a client, then it was probably too complicated and they would never ever use it. We have one simple search window, our clients type in a word that they have in mind (for example: Juno, Lil Wayne or epic build) and the database pulls up a selection that the client can immediately listen to, place in a select bin or download on the spot for their media project. All the music in our system is pre- cleared so anything the client finds is fair game.  We do thousands of synchs a week because our system thinks the way editors and producers think and is hassle free.

Music publishing in the past has been more complicated than it needed to be so we try to make it easy and painless. In addition to having a database of submitted work, Jingle Punks also has a recording studio. What’s the layout of the room and who uses it? Our studio is something I have dreamed about for years.  I always envisioned a room where 4- 5 composers could work shoulder to shoulder in a smart environment. We sometimes spend entire days in our studio space with our heads down pumping out tracks without even noticing there are other people in the room. I don’t think we would be as effective if we were all spread out in different rooms. We have this sense of competitive urgency with us all there composing.  Sometimes we break to share some ideas or techniques with each other but for the most part we are just doing pitch after pitch. All the systems run Logic with an Apogee Duet as our interface.  We love Apogee because there are times when I need to move around the office to coordinate different recording set ups and the idea of just plugging and playing for me is very appealing. I used to be tied to heavy hardware set ups but ever since I started with the Duet and then onto the ONE for traveling I was hooked and am never going back to anything else. If someone gave me a Control 2. Pro Tools HD set up I would politely decline it. That may sound crazy but it’s just not worth the hassle for me. I make up to 1. 00 songs per week sometimes and I don’t need anything slowing me down. I compose in my studio, I compose in hotel rooms when I travel and I have even composed on flights and on busses. I cannot afford to have down time to meet the output demands that Jingle Punks currently has.„I cannot explain to you how many shows I have composed using the ONE’s internal mic.

If you watch American Pickers, all the guitar and mandolin parts were tracked at a cottage in Canada over the holiday break last year. When I got the call for that job I had 2 options…cut my trip short and use the Jingle Punks studio or just buy a cheap guitar up in Canada and get it done this way.

Because I had my ONE and laptop on me I took the latter option and no one would have known the difference. That show in particular is a testament to the strength of Apogee’s flexible work flow.“What kind of advice do you give musicians who are interested in creating jingles and submitting to Jingle Punks? If you are making music as your art and you want to start the band of your dreams and play out…my advice is just play from your heart. Make what you like. If it’s good, someone will want it. On the other hand if you make music as your job, my advice would be to master as many styles as humanly possible. Never be satisfied. I make myself crazy trying to hone in on what makes each genre believable. In many ways it’s like cracking a code, once you nail it you are in the clear and will always be able to reproduce the core of the idea over and over again. You have to be a musical ninja in the new media marketplace or you will get lost among the noise. No one is going to call you because you are the best punk rock guitarist or have great drum chops. The session era is over. You are gonna get the call if you can create show packages with 2. It’s important to be your own band and producer.

What market is Jingle Punks tapping into that is otherwise unreachable for your clientele? We are able to tap into a huge talent pool of regional musicians that otherwise would have no access to place music in shows. There is so much noise in this industry.  For the most part, the people getting opportunities to place music in shows are either pop acts or people affiliated with agents or creative companies. I used to think that the whole industry was a little unfair in this aspect. The idea behind our database is finding authentic talent from all over. What if there is some 1.