I’ve seen so many articles and pieces of advice on how to write a “production track”.
They all start with laying a beat down with some percussion and adding to it, in various orders depending on the writer, until the track is “finished”.
That’s all well and good if you want to churn out the same old stuff as everyone else.
But it doesn’t work for me.
Music to me is much more emotive than that. It doesn’t have to have a regular beat and it certainly doesn’t have to have percussion. I like my music to have feeling, to be beautiful or to be funny or to be dark and scary, to set a scene or tell a story.
Check out " As A Flower Blooms ", for example.
Or " Stillness ".
No hint of regular beat, and no percussion. But it's still music.
I might have an idea of the structure in my head, but I like to feel my way into the music, experimenting with ideas and harmony and arrangements as I go. That’s the great thing about writing library music (i.e. not writing to a brief), you can let the music lead you astray! Similarly not writing to a timescale means that I can be relaxed about the recording and editing sessions and use everyone’s time efficiently.
More about that later.
Click Here to check out my catalogue on the Cinephonix library >>
Bob Good has around 250 tracks available exclusively on half a dozen libraries, including Cinephonixin the UK and Music For Productionsin Canada. He prides himself on producing high quality music, always recorded using real instruments.
Bob’s recent library placements include BBC
’s Masterchef, Autumn Watch, The One Show, Absolute Genius with Dick and Dom, James Martin Home Comforts, ITV
's This Morning, Channel 4
’s A Place In The Sun, Netflix
’s Al Hayba, Finnish Film
’s Spandex Sapiens, Discovery
’s British Treasure, American Gold, France 3
's Au Fil De La Durance, Canal Vie
’s Ex Au Defi and many more.