Hi everybody.
In my opinion there is one thing which is very important in this question: The producers (and also directors) are afraid, that some pure situations will not work out emotionaly. That a man and woman having a dialogue at a table will not have a strong emotional size. They do not trust their own pictures and actors (o k, in some TV works they are ricght about the actors, but this is another question).
So they ask for this permanent underscore which you can hear in nearly every production of today. With this music they are on the safe side. They will never get a realy big thing but they will get what they need for a nice little succes on the market.
Of course I can only talk about the scene in germany, because thats the place where I am working. I did two short movies in New York where the working process was much more ambitioned, but I think in the TV business its everywhere more or less the same.
I also agree with Williams, that the sampler (and I know they are one of the greatest gifts we ever got) are a main part of the problem. Everybody who is able to spent some thousand dollar for a good system an a library is abled to do some great sounds which are absolutely great on the first view. He needs no education or even knowledge about what he is doing musically. And I get more and more the feeling that not only everybody is able to do this, no, everybody is doing this.
With this I will not blame any composer, who is learning as an autodidact. I by myself did not studied music. I learned everything by doing, reading and (most important) listening. I will ever accept any music as long as I feel a kind of trueness behind it. A need to write it this way and no other way. But this kind of music seems to be pretty rare in these days.
Best regards, Stephan
In my opinion there is one thing which is very important in this question: The producers (and also directors) are afraid, that some pure situations will not work out emotionaly. That a man and woman having a dialogue at a table will not have a strong emotional size. They do not trust their own pictures and actors (o k, in some TV works they are ricght about the actors, but this is another question).
So they ask for this permanent underscore which you can hear in nearly every production of today. With this music they are on the safe side. They will never get a realy big thing but they will get what they need for a nice little succes on the market.
Of course I can only talk about the scene in germany, because thats the place where I am working. I did two short movies in New York where the working process was much more ambitioned, but I think in the TV business its everywhere more or less the same.
I also agree with Williams, that the sampler (and I know they are one of the greatest gifts we ever got) are a main part of the problem. Everybody who is able to spent some thousand dollar for a good system an a library is abled to do some great sounds which are absolutely great on the first view. He needs no education or even knowledge about what he is doing musically. And I get more and more the feeling that not only everybody is able to do this, no, everybody is doing this.
With this I will not blame any composer, who is learning as an autodidact. I by myself did not studied music. I learned everything by doing, reading and (most important) listening. I will ever accept any music as long as I feel a kind of trueness behind it. A need to write it this way and no other way. But this kind of music seems to be pretty rare in these days.
Best regards, Stephan