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Camiolo, who has written orchestral scores for History Channel’s “Banned from the Bible” and “The Ten Commandments Part 1, as well as spots for Pepsi and US Airways, describes the creative brief for “Need to Talk” as calling for music that evokes the spirit and cultural heritage of Native Americans, but which has a modern feel which teens can also relate to. “We wanted to reinforce the message of the campaign-- that teens should take pride in their rich and dignified Native American heritage, “explains Camiolo, who produced the music and also played all the instruments on the spots. “By using elements from their traditional music blended with contemporary sounds and styling, we evoked the best of both worlds.” Camiolo incorporated tribal drums, flutes--even the sound of a hawk soaring in the sky, into the tracks. Subsequently, by adding an electric guitar and modern drum rhythms, he arrived at a wholly original and relevant sound, one that was contemporary and upbeat but redolent of Native American music. The two 30-second spots were mixed in-house by audioEngine West engineer Bob Giammarco. The campaign was created by Alternative Marketing Solutions, a Native-owned communications agency in Phoenix, and produced and directed by Harry Karidis of Karidis Productions, Phoenix. The ads, which were funded and sponsored by The National Congress of American Indians (NCAI), the Partnership for a Drug-Free America, the Office of National Drug Control Policy, and the U.S. Department of the Interior, are aimed at parents and teens, and communicate the message of empowerment through education and community involvement, with the goal of preventing meth abuse and trafficking in Indian Country. The spots were editing in house by Karidis Productions, who also handled the visual effects. According to research conducted by the Native Wellness Institute, identity struggles specific to being a Native American can increase teenagers’ vulnerability to meth abuse. These historic advertisements were developed through comprehensive research and testing conducted in several American Indian and Alaska Native communities. The focus group testing and research was conducted on Indian lands in Alaska, Arizona, New Mexico and South Dakota over a period of several months. About audioEngine West: In 2003, Bob Giammarco, sound mixer and founding partner of audioEngine, NYC, packed up his highly respected ears and moved to Phoenix to launch audioEngine West. In the six years since, his customer-centric work ethos and easy going manner have made him a valued member of the advertising and film community. Staff composer Jason Camiolo creates custom scores and sound design for TV, film, and new media. He works with a wide array of clients including The History Channel, Cramer-Krasselt, TracyLocke and Reister. Currently, Camiolo and Giammarco are scoring and mixing a feature film, which will be screened at Cannes in May. About audioEngine – Since opening its flagship facility in New York City in 2001, followed by audioEngine West in Phoenix in 2004, audioEngine has earned its reputation as a leader in the audio postproduction market. The magic formula for this success – the ability to deliver a full range of superlative creative services to the advertising, broadcast, and film industries. Featuring eight show place mixing rooms, and an all-star roster of award-winning mixers, sound designers, and composers, audioEngine prides itself on delivering topnotch creative audio in a relaxed, client-centric atmosphere. The flagship facility at 817 Broadway in New York City spans two floors totaling a generous 12,000 square feet of studio space and six studios. Capabilities include mixing for all Dolby formats, complete radio production, custom music, and sound design. audioEngine is led by partners Bob Giammarco, Tom Goldblatt, Rex Recker, and Brian Wick. The roster of senior mixer/sound designers features Rob DiFondi, Kelly Harnett, Carl Mandelbaum, Hillary Kew Martell, and composer Jason Camiolo.
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