The first time I discovered “production music” was when I was working for a company that owned a music library. As an executive of that company, though unrelated to that product, I was sent a very nice bound CD booklet containing a few samplers of this music.
I ran a division of the company that signed writers and got their songs cut by recording artists. I thought, “This is nice. I’m not sure why I got this package, and don’t know what I’ll do with it, but it’s nice ‘background music.'” That was more than 20 years ago.
In the interim, I’ve had the opportunity to work inside of three different production music companies and have learned what I called “background music” is really all about.
In virtually every genre and sub genre that I’m aware of (and many that I’m not), I am continually blown away by the depth of writing and production that goes into a good music library. Many of these composers are award winners in their own right, and understand the value of a piece of music that won’t necessarily be front and center as some of their other compositions will, but instead enhance a story or visual element. It would be conspicuous by its absence if it wasn’t there, yet not necessarily one you’d remember hearing.
In a recent preview of upcoming releases for Megatrax, I realized how this unique type of music has evolved through the few years I’ve been aware of it. Just as music styles in general may grow into different types, this “sub culture” of production music has done the same in a remarkable way. Yes, it can not only emulate certain elements of its more well known sibling in commercial music, but it can also take its own path; one that almost subconsciously gives you a soundtrack you’re not even aware of.
– Randy Hart, Creative Services Director for Aircast