Issue Number Three
Although the music in major motion pictures has always held an important role in the telling of the story, it hasn't always been that way for video production. Travelogues, promotional videos, and even the coveted corporate/industrial market, have all suffered from the infiltration of cheesy background music.
Two Decades In The Same Elevator
Back in the late '60s when I entered the field of radio broadcasting, I had my first taste of production music. The station had two libraries - both on vinyl. Remember vinyl? 12" black discs with a tiny hole in the center. Does 33 & 1/3 RPM ring a bell? Yes, THAT far back in time�
These production libraries were the lifeblood of the program director, and extreme care was stipulated when handling such a coveted collection. One station I worked at had the MARS Production Library and a complete set of Pepper/Tanner albums containing timed music clips and melodies for all occasions, including gems like "You're With The Winner!" and "Weatherwaaaaaaaatch". For me, these represented the beginning of "jingle music" history.
Competition in the field, and perhaps boredom, forced musicians to start moving away from overused Muzak style "elevator" music. Younger composers were sought after in hopes of attaining a more youthful, contemporary sound. Still, music libraries were very expensive - mostly due to the cost of musicians, production, recording, and duplication of sets averaging 10-50 volumes.
Production standards remained pretty much the same right through to the '80s, when several advances in technology would drastically affect the production music business. This included the introduction of the compact disc, and a flood of high quality, low cost, recording gear/media and synthesizers.
The business of production music was no longer limited to established professional recording studios or boutique production suites with access to large, costly orchestras. Now, gifted composers could create unique compositions in their homes and at their own pace - licensing their efforts directly to any number of music library production companies. With most of the middlemen out of the picture, artists could make more money, too.
CD mass duplication techniques insured a further reduction in production costs, leading to a much lower price tag for the client. The result is more affordable music libraries, with a greater selection of styles and mood, and a variety of access options.
Any Way You Buy It
Some companies offer a buy-out package. When you purchase this kind of library, you are entitled and licensed to use it for any type project you wish, without time constraints. The downside to buy-out libraries is that they tend to be more expensive.
Other packages can be leased, and there are varieties of ways this is done. One approach is the total library lease, where you pay monthly for access to an entire set of CDs. It's usually the cheapest way to get into a large music library, but these sets often bulge with tracks that will be inappropriate for most of your needs. Another variation on the theme is customer-selected libraries. Although typically more expensive (per CD), this method allows you to choose CDs suitable for your particular needs.
Up until a few years ago, your only other option was to be or become a musician, somehow acquire the necessary instruments and recording gear, learn to use it, and compose your own custom music tracks. Obviously, this method leaves a lot to be desired by those of you who do not have the extra time in your busy lives to commit to something on such a grand scale. You had better REALLY want to do it!
Production Music Comes of Age
Recent developments in music software have made it possible for the musically challenged to create music without knowing the basics of music theory, or even owning a musical instrument. My favorite composition application is Sonic Foundry's ACID Pro. See: proView: ACID Pro 3.0, newtekpro, July/August 2001. ACID lets you easily sequence audio files called loops, and manipulate them in a variety of ways to create an infinite number of musical styles and atmospheric soundtracks. By stringing sounds together on a timeline you can create custom, adjustable length, music soundtracks for all kinds of projects.
For those seeking out high-quality sound loops, Sonic Foundry offers an ever-growing collection of ready-to-go, license-free sound libraries. These can be purchased individually, as multi-volume sets such as the Producer's Pack or Orchestral Series, or through a Loop Subscription service (which gets you a new loop library every month for a much-reduced price). Currently there are 66 libraries to choose from, with more added regularly, covering just about every genre you can imagine. More details and numerous audio samples can be found on the Sonic Foundry website at: www.sonicfoundry.com, or on each of the library CDs.
ACID users will find each library contains one or more sample project files specifically for ACID, but all sounds are in standard WAV format and can therefore be used with any software that supports this format.
Although many of the loop libraries can be considered self-contained, particularly the Construction Kits, those seeking more unique and multi-directional compositions will want to explore combining elements from various libraries. Many of the sounds, in context with the particular collection the sound is included with, inspire a very particular mood; but, when you mix and match elements from different collections, they take on a completely new feeling.
Production music, regardless of the application, has come a long way. The producer is no longer forced to succumb to the power of those that would decide musical tastes for you. Now, even the musically declined producer can have much greater creative influence over the musical atmosphere that makes a project whole.
REVIEWS OF INDIVIDUAL LOOP LIBRARIES:
Genres: Dance, Electronica, Groove
Sounds: Ambient FX: 47, Basses: 114, Dialog: 47, Drums: 400, FX: 50, Guitars: 15, Keyboards: 181, Movie Bits: 32.
ACID Projects: 4
Comments: Contains many elements for a variety of styles of production work, with a slant towards upbeat tracks
Genres: Ambient, Soundscapes
Sounds: Clean Flutes: 26, Drones & Abstract: 38, Ethnic Percussion: 105, Melodic: 149, Metal: 57, Synthetic Pulses: 68, Twinkles: 38.
ACID Projects: 2
Comments: Terrific for creating emotional, spacious, and moody pieces.
Genres: Ambient, Post-Industrial, Soundscapes
Sounds: Atmospherica: 236, Bells: 4, Ethnic Instruments: 121, Percussive: 103
String Things: 22, Synthia: 18, Voices: 86.
ACID Projects: 7
Comments: Great for exploring the "dark side", most suitable for expansive music.
(Bob Ketchum, The Lord of Loops, continues on having a love affair with ACID.)
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