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September/October 2020

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SOUND LIBRARIES 20 POST SEPT/OCT 2020 Alibi playlists reflect 2020 Alibi Music ( in Los Angeles has created five play- lists that are designed for editors in need of soundtracks that reflect the current world going on around them, be it themes related to change, fear, empowerment or even 'Karens'. Each playlist offers unique, versatile tracks, stems and alt versions that vibe to a particular feel. "If I could put our collective 2020 experience to music, it might sound something like this," explains Julia Trainor, Alibi's head of sync A&R. "So why not share it with those being tasked to edit promos, trailers, ads, videogames and other content influ- enced by where we are today?" "Time For Change" has a no-more-excuses attitude and speaks to the times, reflecting the empowerment of people to take action in making the change they want to see. It's a blend of an- them-like songs, inspiring music, heroic orchestral and overcom- ing-the-odds ballads. "Hype Drums" helps to motivate the listener via exciting, hype-building drums. "Horror With A Twist" takes known sounds and songs, and turns them on their head in a creepy way. "Music For Karen" is exactly what someone who "needs to speak to the manager" would put together, and includes cheesy oldies that listeners can't stop thinking about. On the other hand, "Music Not For Karen" is cool, new music that would probably never show up on her playlist. Alibi's production music and sound design has been used in a number of projects recently, including Kia's summer blockbuster parody, the acclaimed Netflix series Dark Desire, and the promo for USA's Dirty John Betty. UPPM's Re|Covered label reimagines classic songs Universal Publishing Production Music ( in Santa Monica, CA, has launched Re|Covered, a new label featuring artfully reimagined cover versions of classic hits and hidden gems from the vaults of popular music. The launch entails 40 newly-produced songs, including unique interpretations of such iconic songs as "Vertigo", "Born to Be Wild", "Achy Breaky Heart", "Sweet Home Alabama" and "I Will Survive", with plans to re- Top filmmakers will agree that the soundtrack is just as important as the im- agery in telling a story. The same can be said for advertising, where brands are looking to capture the audience's attention and often evoke an emotional con- nection. But for those who can't afford a custom score, or to license a popular song, there's still hope. Sound library providers make it their business to stay on top of trends, and are continually updating their catalogues with music created by top musicians, often using authentic instrumentation. Whatever your needs, there's a good chance there's a track that will work perfectly with your project, be it a film, television show, Web short or commer- cial. Collections can be immense, so knowing how to navigate them is a talent that many providers take pride in. They encourage you to reach out to them — to take advantage of their knowledge — and want to serve as a creative partner. For those who want to browse on their own, many Websites offer fine-tuned search functionality that can also provide quick results. This month, Post looks at a number of sound library providers and their latest offerings. MUSIC LIBRARIES The perfect track is out there, and more affordable than you might think BY MARC LOFTUS

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