Elevator Music to elevated music . . . By Director Wayne Hall

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During the past few months it has been really pleasing to see renewed interest in music from businesses that were once the mainstay of the background music market but fell away as music users during the late 80’s.

No research has been done on why this occurred, but I suspect the proliferation of FM Radio and the CD format, together with our own industry’s inability (or lack of interest) to continually educate traditional markets about the benefits of music as a business tool had a lot to do with it. Suddenly using elevator music was very uncool, and decision maker’s in many organisations weren’t equipped with a solid argument as to why they should implement a music strategy, without it becoming personal. Let’s face it, Muzak (or elevator music as it was fondly referred to) was never a personal choice; it was very obviously a business choice, and the decision to use it could be defended as easily as the choice of carpet or colour of the walls – the “it’s practical and does the job” argument.

We tend to forget that up until 25 years ago, “piped music” was extensively used in office buildings, foyers, factories, service counter environments and of course . . . elevators. It’s primary features were to mask other noises, “brighten” the feel of an area, and set up an audio environment that wasn’t too intrusive, allowing people to work, shop and talk without being distracted.

(As an aside, old wax music cylinders were introduced into the first elevators in the U.S. in order mask the mechanical “grinding” noise which was making people feel uncomfortable when using the service. Music helped calm elevator users, and was integral to the acceptance of elevators by many people).

Music programs which are designed to deliver a practical business outcome are not just a bunch of tracks thrown together. They are programs or batches of tracks selected on the basis of criteria (tempo, genre, style, feel and more) which deliver a consistent audio ambience over an extended period of time. If anything, the proliferation of digital music, with it’s clutter and dubious quality at times, has made the art of music programming more relevant then ever.

Businesses are starting to appreciate again that their audio environment is just as important as their other more obvious “physical” environments, such as lighting, floorplan and visual presentations. It is important, though, that we do whatever we can to educate the market, from architects and designers to contractors and music users.

Music has value. It is up to all of us involved in the industry to ensure (i) it is taken to market as a useful product and (ii) we present the case for it’s use, clearly and logically. By doing this, we will recapture some if the “old” markets, win new markets, and increase the value music brings to our business.

A special note: Congratulations to our programming department here at SBA for the fantastic way they have developed our new 'InDiGnation' video program, which highlights Indy artists from around the world. Refer this newsletter for more details.


Wayne Hall
Director

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