Lipstick on a Musical Pig
It's easy to be seduced by technology, especially when it involves
creating music. After all, almost every new computer comes with some program
for combining sounds into patterns. I can't dispute that fooling around with
sounds is fun, in fact, I've done it all my life. But confusing patterns of
sound with actual music is a mistake that media professionals would do well to
avoid.
We get lots of demos at Omnimusic. There are thousands of people - perhaps tens of thousands - who aspire to write music for film and television, and that number grows with each new computer sold. As a major supplier to the industry and one of the few production music companies that shares royalties with our composers, we are besieged with requests from new composers to include their music in our catalogs.
We listen to everything, of course, because as a composer who started out knocking on doors looking for work, I feel an obligation to give everyone a chance. And we do find some extraordinary talents, as our customers know. But more and more we find ourselves listening to tracks that lack a creative underlying musical idea.
It's that core idea - that musical "seed" or "motif" or "hook" or whatever you want to call it - that's is absolutely essential to make a piece of music work. It's the foundation on which the entire piece is constructed. So if the original idea isn't really that good, no amount of technological wizardry or bells and whistles will make it better, more interesting, or, most important - have any impact on an audience.
We get lots of demos at Omnimusic. There are thousands of people - perhaps tens of thousands - who aspire to write music for film and television, and that number grows with each new computer sold. As a major supplier to the industry and one of the few production music companies that shares royalties with our composers, we are besieged with requests from new composers to include their music in our catalogs.
We listen to everything, of course, because as a composer who started out knocking on doors looking for work, I feel an obligation to give everyone a chance. And we do find some extraordinary talents, as our customers know. But more and more we find ourselves listening to tracks that lack a creative underlying musical idea.
It's that core idea - that musical "seed" or "motif" or "hook" or whatever you want to call it - that's is absolutely essential to make a piece of music work. It's the foundation on which the entire piece is constructed. So if the original idea isn't really that good, no amount of technological wizardry or bells and whistles will make it better, more interesting, or, most important - have any impact on an audience.
And that's where it counts. Great music can make an good video
better. But combinations of beats and sounds that lack a creative underlying
musical idea can make a good video mediocre. It's that simple. Patterns of sounds may fill the spaces
in your voice-over, but you're cheating yourself out of the most powerful and
cost-effective production tools you have: real music that touches your audience.
A note to composers: The easiest test to find out if you've actually
got a piece of music or not is Can you
play it on the piano? If the
answer is no, then it may be premature to put on the musical lipstick.
- Doug Wood
- Doug Wood
Hey Doug,
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