copyright © 2019 Ron James

production Music for TV

Since I started in this business composing for motion picture advertising, a lot of my TV licenses come from either promos or dark tension.

Lots of promos for shows like CSI, Criminal Minds but even The Bachelor (a comedy cue) and in-show from cable TV like Deadly Women, Beauty Queen Murders, Primer Impacto.  After I published a bunch of older material with Immediate Music's 1 Rev, I started licensing in places like Lizard Lick Towing, Joan & Melissa: Joan Knows Best, Obsessed with the Dress, Impractical Jokers, Judge Judy, Mythbusters and many others.

I also have placements on Tonight Show with Jay Leno, Entertainment Tonight, Burn Notice, Adam Ruins Everything, Chelsea, CBS NFL Football, Jersey Shore: Family Vacation, Jimmy Kimmel Live, NCIS New Orleans, etc.

Dig It Music is an eclectic library created with editors in mind.

Below is a brief tour of the library (1 cue per album) with a synopsis of the album motivation that will take a few seconds to read as you jump quickly through the examples.  (don't stop listening at the first few cuts; I'm starting furthest from my wheelhouse)

classic Rock__ created specifically for TV and instrumental use, this album has a vocal cut but began as rock screams to be edited in as accents.  The back half of the album are utility cues, same ensemble, as intros, segues and endings.

country__ I did this album thinking gator hunter TV.  Maybe Duck Dynasty, American Hoggers.

percussion Bumpers__ All of my percussion albums will offer quality new options for those dramatic moments in any type of show.

percussion__ While this album was created as "percussion," I added score to each as an option .  This album came out great for almost any of the dramatic reality TV shows.

minimalist__ I avoid copying like the plague.  However, I do like to get inspired.  After inspiration, I stay away from listening to chord progressions, ensemble choice or even listening again.  In this album you'll find the inspiration of John Adams, Steve Reich and that gang.

piano Stories__ This album goes from solo piano through piano with orch to piano in a jazz setting.  Lots of piano stories told within.  The one I've chosen feels like it belongs with snowflakes in a scientific setting.

super•heroes__ I've always stayed away from "epic," because everyone was doing it.  This album comes close but my orchestral style makes this possibly better for a WWII historical piece than a modern movie trailer. Captain America?

american Century__ Along the same lines regarding orchestral style; my love for Copland inspired this album.

orchestral Quirk__ This album is all orchestral pizzicato comedy.  Like Leah Remini, Its All Relative.  All of my albums, all of my music is built with extreme attention to transitions, interesting edits and well written endings.

Towards illuminating my specialty...percussive, sFx, sound design based cues.

OMEN__ Designed for short segments of use like the investigative type shows.  The cues on this album crescendo from a sparse intro section and build till the walls are shaking down. 

 drone__ The cues on this album are singular in their intent while providing different intensities so that a story can evolve even though the textures are just an underscore element.  Extremely useful as a bridging element hence their category, Utility Cues.

  

 angst & action__ Sound design meets percussion meets textural space.  This cue leans towards percussion while others on the album learn towards textural space.

  

 cutting Edges__Another cue from the percussion side of sFx.  This is my first Dig It album and many of these cues have seen quotes and licenses in trailers.  This one quoted for a Mission Impossible movie trailer.

  

 drama Queen__Not what the music sups would call my specialty, I've always leaned toward trying to make art and to stay away from fads and current style.  This was my 2nd album where I combined a lot of sound design with orchestra and a soloist with a beautiful voice singing in a foreign language (that we made up at my studio).

  

So, there is a slight glance at 14 albums.  I have 48 albums at BMG PM.  I hope that you'll be intrigued enough to familiarize yourself with more of my work.  Music supervision, to me, is a black art.  I can't even imagine how anyone ever finds my material in the vast, vast world of production music.  And even if I have the perfect cue, it has to be found before another that will work just as well.