Embracing technology is only hope for bespoke music composers
MusicBrief’s Matt Hayward says technology might be the only way to resurrect the (nearly) lost art of bespoke music composition in advertising.
As modern-day advertising production budgets continue to shrink and content producers find themselves under increasing time pressures – producing larger volumes of work on tighter deadlines – we are seeing an amplified use of production library music.
Yet this trend sits at odds with the, often undisputed, opinion that bespoke composition yields more powerful results. So, what does that mean for the future of music in advertising? Most music houses may say, ‘bleak’, but advances in technology mean we might very well be on the crux of something far more exciting.
Other than being an advertorial for MusicBrief, I’m not sure what this article is doing here. The “advances in technology” that Matt refers to have been around for many years and the production of music for television series, for example, moved away from editing a few pre-packaged bits to full “bespoke” composition put together on a laptop at short notice a long time ago (see Notes From The Deadline, a regular in Sound On Sound magazine). Is advertising in Australia really so far behind this trend?