INTRODUCTION

Since its foundation in the early 1980s, Schertler SA has launched a programme of passionate research that aims to achieve the highest levels of accuracy in the reproduction of acoustic stringed instrument sound. Led by bassist and founder Stephan Schertler, the research and development company initially began to focus on producing high quality tools and innovative technology to replace the technology and imperfections of piezo pickups. Over the years, Schertler’s original approach to harnessing acoustic vibrations has resulted in a number of fundamental innovations, some of which have gained international patents, such as the STAT Series of contact microphones.

In 2003, Schertler launched an original series of compact amplifiers – the Classic Series. Since then, the 3-channel UNICO and 2-channel DAVID have provided musicians with high quality portable solutions for stringed instrument amplification. Suited to virtually any live performance situation, these amplifiers have received unanimous feedback from users around the world, helping to build the reputation that Schertler has gained in the field of acoustic amplification.

The latest note from THE DIARY

Pastel Media

Find the right music for your project with SQUYNC

In June 2018, Pastelle Media in collaboration with Schertler Group will launch SQUYNC, a new online music production library for the synchronization of music in audiovisual projects. Matteo Taheri, CEO and founder of Pastelle Media was recently interviewed about this brand new solution.

How does SQUYNC differ from other music libraries?

MT: SQUYNC is a new music platform that will help many video creators find the right music for their projects. One of the main difficulties for video creators is the choice and synchronization of music within their projects. An additional challenge is to ensure that once music is ed, it can be used in an audiovisual project and distributed with a full peace of mind regarding copyright. SQUYNC introduces a system that allows the direct synchronization of music to video, thus facilitating the whole try-out process. Now, video creators will no longer need to use software and download music demos to run their try-outs. Instead, they will be able to upload videos and run their synchronizations directly on SQUYNC.

Can you tell us a bit more about the music you will offer?

MT: We have worked hard to ensure that the music in our catalogue has great variety and top production quality. The last two years have been spent building up a large network of music authors who have demonstrated an outstanding track record in audiovisual production. You could say that the music has not only been ed using our ears, but also our eyes. This music catalogue is designed for production work, which means that video makers will mostly find music ed or produced to match audiovisual production genre needs. One essential criterion remains our ion of music authors. We don’t only distribute their music works, we also make sure that they are ready to produce original soundtracks whenever requested.

Is SQUYNC also a way for video makers to engage directly with music authors?

MT: Absolutely. Video makers who want to work directly with music authors will have this possibility. In fact we have built a pitch system that allows video makers to authors on the basis of demonstration work. For example, in a feature-length film where the skills and involvement of a music author are highly relevant, film directors and producers will have an opportunity to submit their projects and request music demos from our author network, which already contains over 200 global talents. Based on this ion process, film directors will then be directly connected to their preferred author and will have the possibility to work with them. Our job is to supervise the process and ensure that production work runs smoothly.

It seems an expensive process. Will you be able to offer this to anyone?

MT: Creating new music is clearly more expensive than using existing music but, depending on the needs of the creator, we have different options available. When it comes to single music licensing, our pricing level is actually quite competitive. For production work, we first have to analyse the level, complexity and requirement of the production we are dealing with before we can formulate an offer. Music demos will actually be very advantageous, in line with the budget that video makers are planning to spend for their project. In fact we want to encourage this service, since we think that video makers will profit greatly from having the opportunity to work directly with music authors.

You mentioned that SQUYNC will offer music with full copyright clearance. How will you ensure its application to both music authors and video makers?

MT: Copyrighting is always a major issue. Internet has increased the spread of media content drastically, but it remains difficult for music authors to keep track of the distribution of their works and know if there is money that they have the right to collect. SQUYNC is built using blockchain technology that permits the registration of all the licensing activities and distribution of music in the online space. This is actually a revolutionary method to create transparency in an industry that still suffers from a huge lack of control over ownership. We want to change this by ensuring that authors and publishers are rewarded correctly and quickly, thereby helping the global musical community. Video makers won’t have to worry about music rights any more. Our blockchain capability is also an easy way for platforms such as YouTube or Facebook to detect if published content is legit or not.

Find out more at: www.squync.com