AUGUST 2024
Maik, Head of Music Production at Amp.Amsterdam, composer and musician, is dedicated to connecting people through music. He developed his passion for music with eight years of classical percussion study at the Pop Academy.
Over the last 15 years, he has produced music for top labels like Universal and Spinning, achieving chart successes. As a DJ and live performer, he has done over 1500 shows across Europe. In his current role, Maik is focused on composing and supervising and has worked with major brands like Adidas and Samsung. Read on for more…
MASA: How did your awesome career start and reach the point you’re at today??
MAIK: I usually can't answer that quickly, but I'll try. I started as a young musician studying classical percussion through a private program at an orchestra. After a few years, I began playing with the orchestra and writing songs on the side. At 18, I got into DJing and started experimenting with pop and electronic music. This interest grew while I studied music composition at the Pop Academy, where I also landed my first record deal. After graduating, I earned a good living from music and DJing, and I taught music composition at the Pop Academy. After 12 amazing years as a full-time DJ, I felt the need for a change. By chance, I joined Amp four years ago, and I've been having the time of my life ever since!
MASA: Can you give us a rundown of your role on an average day at Amp?
MAIK: There's always a lot happening at once. It's mostly a blend of music production and composition, looking for musical directions that fit certain projects, developing concepts and strategies for brands, mixing tracks, writing lyrics, and being a second pair of eyes and ears for our team and our composers/songwriters.
MASA: Walk us through a memorable project where music became a key player in telling the ad's story?
MAIK: I think music often plays a crucial role in telling a story in ads, especially in conveying what the viewer should feel. The latest campaign for KPN and MEAU was a 'music first' campaign where the song beautifully told the story of the campaign and the film. It was great to work on this project because the client and ad agency treated it as a ‘music first’ campaign, giving MEAU and us the needed freedom.
KPN / MEAU 'Piece Of Me'
Another project is the ‘Warm Memories’ film for The New Originals. This film captures the essence of 'endless days,' where time leads to boredom, creativity, and imagination. We created a warm piece of music that guides viewers closely through the film and its narrative. A different approach to the music would have given the film a completely different feeling.
The New Originals 'Warm Memories'
MASA: Can you tell us about a time where you had to overcome a creative challenge or technical hurdle? How did you navigate it?
MAIK: Well, I love challenges and fixing, or helping to fix things, so musically or technically I usually don't experience moments of "how am I going to do this?". However, in terms of process, the challenges arise when the director or creatives use a popular song they know they can't use or license and then ask us to create something that feels exactly the same. The challenge lies in explaining that it will never feel exactly the same because we can't copy that song, and they are now accustomed to the original track after editing it for a whole week. I think that's probably the biggest challenge for me and likely other music professionals, though it could be so easily resolved - but that's a topic for another day!
MASA: When listening to a brief, what elements do you focus on to translate it into music?
MAIK: Mostly the visuals, the pace of the edit, and what the brand stands for. It's also convenient to know what feeling the film needs to give the viewer.
MASA: On a more personal note, what aspect of your role brings you the most satisfaction?
MAIK: It’s a great feeling when you make the first music delivery and the client is really excited. Music can often be a challenging subject to express oneself in. If the initial music delivery hits the mark, it means you are fully aligned with your client and have fulfilled the brief.
MASA: Beyond catchy melodies, what other sonic elements do you consider when crafting a successful track?
MAIK: I don't think there are specific sonic elements for that, because every film or project has a different sonic palette. I feel that when there is tight synergy with the picture, following its feel, pace, story, and sync points, it's most satisfying. I like a distinctive approach, but sometimes the music doesn't need to stand out; it needs to be well composed and fit the picture. A more generic approach can truly complement the film's narrative or fulfill a specific role. I can enjoy a track when it's well composed and really fits the film, no matter the style or genre.
MASA: The advertising world is fast-paced. How do you stay current with evolving trends and keep your music fresh?
MAIK: Our team, especially the music production team I work in, constantly informs each other about trends we hear or notice. These can be trends in AI, artists, and culture, as well as new software plugins, production techniques, or instruments. It's not easy to keep up with all the developments and trends, but luckily we have each other to stay on the ball.
MASA: Have you ever faced a situation where the client's initial vision clashed with your creative direction? How did you navigate that?
MAIK: Yeah, it happens sometimes. And I always try to convince the client or create alternative music versions apart from their brief. But if the client really wants a certain direction or doesn't choose your alternative music, there isn't much you can do. In the end, we're servicing the brand or agency. So it's not always sex, drugs, and rock and roll ;)
MASA: And lastly, what are you looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
MAIK: For me, that would be one of the following points, or a combination thereof:
When a piece is composed exceptionally well and truly complements the film, taking you on an emotional journey, whether it be happy or sad, it's truly remarkable.
When it stands out with a specific genre you wouldn't expect for a certain film, yet works seamlessly, it showcases an extra creative approach.
When it's something I haven't heard often before, such as unconventional (chord) structures within a specific style or genre, or a distinctive fusion of sounds and/or instruments.
MASA: Thank you so much Maik. This has been great. Your expertise is invaluable to this year’s MASA judging panel and it’s a great pleasure to have you on board.
