- #Capitol hi q production music library license#
- #Capitol hi q production music library professional#
Lew Howard & the "All Stars": America '76 Parts 1 & 2 Bosworth BLP-141 1975 (final cut by the Gary Pacific Group) 3) Bosworth Backgrounds BLP-149 1977 (production e-piano/Moog funk/Moog/space-electronic/mod soul/guitar) The Bernard Ebbinghouse Orchestra: The '77 Sound/The Paolo Zavallone Group: Musical Cocktail (No. The Bernard Ebbinghouse Orchestra: The Big Band Sound/Orchestral Sounds/Rhythmic Moods/In a Quiet Mood Bosworth Backgrounds BLP-147 1976 (production/mod) Ebbinghouse Orchestra: Dramatic Diversions/Romantic Relaxation & Gentle Movement Bosworth BLP-134 1973 Various: Henry's Happy Sound (Heinz Hötter)/Links Electronic (The Leo Hassler Synthesizer)/Easy Listening/Modern Movement (Erwin Lehn) Bosworth BLP-131įrank Gartner: Dramatics Electronic Bosworth BLP-133 1973 Kurt Edelhagen Orchestra: Miscellanea Bosworth BLP-121 Various: Modern Rhythm Bosworth BLP-109 1969 (w/Jonny Teupen & his Swinging Harp Group) Ebbinghouse Orchestra: The Ebbinghouse Sound/In a Swingin' Mood Bosworth BLP-105 1969 Heinz Hoetter/Andrew Maxwell: The Tijuana Sound/Atonal Jazz Structures (Avant Garde) Bosworth BLP-104 1969 The Big Sound: Produced Commercial Intros The Big Sound PCI-3-R The Big Sound: You've Been Lookin' All Around/You Really Should The Big Sound MCB-11-R The Big Sound: Commercial Frames/Commercial Separators The Big Sound MF-1A-R The Big Sound: Big Sound Themes/Non-Tailored Jingles The Big Sound BST-2R-J
Various: BBC Space Themes BBC Records & Tapes REH 324 1978 (space-electronic compilation) Various: Out of This World BBC Records & Tapes REC 225 1976 (space-electronic 58 cuts)
Various: BBC Radiophonic Music BBC Records REC 25M 1968 (space-electronic 31 cuts by John Baker/David Cain/Delia Derbyshire)
#Capitol hi q production music library professional#
Because it can be difficult to judge on sight which are good, it is wise to buy from a reliable source, such as a professional dealer. Other than date, the jacket and liner notess may give no clues. Still, some library LPs are better than others later ones particularly may lack interesting or desirable music (or sounds). But vanity-published records are another type of published music made just by studio musicians (though amateurs composed the lyrics).īuying: Production albums generally are highly desirable because they were never commercially released.
#Capitol hi q production music library license#
These were unavailable both commercially and to anyone seeking a one-time license to use them. And post-1975 or so, as with most regular music, production music generally becomes unbearable.Ĭlosely associated are vanity-published records, particularly records made by companies offering to arrange, perform, record, and press on vinyl any song one wished to send in. But when played consecutively -to excess- their ersatz origins reveal themselves. The anonymity of the composers, tight pop arrangements, and latterday discoveries of these "lost," funky tracks make them very attractive. Library cuts are extremely useful for effects and transitions between styles (as segues between regular records). Production music from the 1960s and early 1970s includes spacey keyboards, funk, bongo bop, and many other desirable instrumental idioms. Vocals are very rare, and the composers and performers are unrecognizable from anything other than production music. A single theme may be restated in various ways and lengths timings often are under a minute. Whether used with an advertising company's presentation or a home-movie screening, production music has the generic qualities presumed suitable for industrial applications. Production (also called "sound library") music generally is canned background for visual-media applications.
0 kommentar(er)
