History of on hold music

It's a familiar scenario: right when you're about to speak, the person or automated system at places like the doctor's office, tech support, or customer service, promptly places you on hold, and music starts playing.

The primary goal of on-hold music is straightforward: it lets you know that you're still connected and waiting in line. However, this wasn't always there. Who first thought of the idea of using on-hold music?

Alfred Levy, the man behind the concept, owned a factory in 1962. He encountered phone line issues at his building, where a loose wire inadvertently connected with a metal girder. This transformed the entire structure into a massive radio antenna, tuned to a local radio station's frequency. Consequently, whenever someone picked up the phone, music disrupted into the calls, particularly noticeable when callers were placed on hold.

Initially annoyed by the situation, Levy soon recognized its value. He realized that the unexpected music served a beneficial purpose: it kept callers occupied and reassured them that they were still connected to the line.

In 1966, he took action by filing a patent for a device called the "Telephone Hold Program System." This machine automatically played music for callers whenever they were put on hold. It's worth noting that every single on-hold phone device in use today is built upon the foundation laid by that patent.

This innovation has completely transformed customer interactions. I recall seeing a study that revealed at least 70 percent of customers who experience silence while on hold will hang up in frustration within just 60 seconds. They often feel like they've been disconnected or ignored, leading to annoyance and disrespect.This is a significant improvement from the old method, which typically involved a beep every 30 seconds or so. Nowadays, most commercial phone systems include an "M.O.H." input, which stands for "Music On Hold."

Following the widespread adoption of on-hold music, some unexpected developments unfolded. In 1989, a 16-year-old computer enthusiast named Tim Carleton, who happened to be a fan of Yanni, along with his friend Derek Deel, recorded a six-minute piece titled "Opus Number One." They recorded it using a four-track machine in Carleton's parents' garage. This piece was later integrated into a phone system developed by Cisco, then a startup, called Call Manager. This unexpected collaboration catapulted Carleton and Deel into the spotlight of the on-hold music scene.

Despite the progress made, there's still much work to be done, as some companies and governments have yet to fully grasp the importance of thoughtful on-hold music choices. Cisco eventually recognized the need for more variety in their phone systems beyond just "Opus Number One." An example of this oversight was seen in the U.K.'s Department of Work and Pensions, which played a 30-second loop of Vivaldi's "The Four Seasons" for years. It wasn't until complaints from the public, particularly from autistic callers who found the repetition anxiety-inducing, that they decided to change the music selection.

Ultimately, businesses should understand that the on-hold music they select must complement the limited frequency response of telephone lines. Choosing music that doesn't translate well over the phone can frustrate customers. It's essential to pick music that sounds good even with the constraints of phone systems to ensure a positive experience for callers.

The on-hold music industry is more extensive than many people realize. There's a trade group called The On-Hold Message Association, which is now known as OnHold.com. This group organizes conferences and awards programs to recognize the best on-hold music in the industry.