# Trailer music ! But something seems off...



## TheRealNerevar (Apr 10, 2021)

Hello there, here is a track that i wrote in a few hours, i'm satisfied with some things that are happening in there, but there is something that seems a little weird, and i don't get what it is... If someone could help me, whether it be for composition, or arranging, or mixing or whatever bugs you 😉


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## Hoopyfrood (Apr 10, 2021)

I have to preface this that I'm a total amateur, and this is being said as merely a film watcher and soundtrack listener to, so take it with a shaker or two of salt. But I think the issue is - as you can even see by the SoundCloud visualisation - the track rises in a very linear way. That means that even with the gap in between, once the drop hits, it's expected, so it loses impact.


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## jcrosby (Apr 11, 2021)

The mix quality isn't bad. The main thing that doesn't quite make this a trailer track is the structure and some edits that ultimately serve to create tension and a sense of building intensity. Your track also lacks a 'signature', (more about signatures below...) But this is the kind of track that may not need one necessarily... that said it's an important concept to understand if you're thinking of reaching out to trailer libraries at some point...

Structure: Trailer tracks tend to have a rigid structure which often to conform to blocks of time... Things generally happen in 'acts' and new acts tend to fall on 30 to 60 second intervals... (Roughly..) A classic trailer track has either 3 or 4 acts. (Intro, build, backend; or Intro, build, mid-section, backend). In both cases it's common for something from the intro or a signature to be teased at the end to create a sense of identity and closure. But that can vary depending on the album or library.

Ultimately a trailer track serves the editor/trailer house... If you watch a lot of trailers you'll notice full trailers are typically between 2:00 and 2:30, and musical changes (somewhat) often fall near 30-60 second intervals...

30 seconds of dialogue to set up the story = 30-40 seconds of intro...
30-45 seconds of building action = 30-60 seconds of building musical tension...
30-60 seconds of peak action = 45-60 seconds of backend...
Possibly a small dialogue resolution at the end of the trailer = a short edit of the intro being teased again...

This makes both the trailer and your piece of music easier to cut down to 30 and 60 second versions... In terms of an actual trailer often there's bumper at the end of the trailer where the logo of the film is paired with one of the signatures from a piece of music.

Signatures: These are the ear candy specifically added to grab the interest of an editor or campaign. Great trailer labels are constantly looking to reinvent new signatures. Old ones do stick around and get rinsed to death, but ultimately there's an ever evolving hunt for new unique sounds that stand out.

Ultimately a signature is used like a musical motif. It comes in at a couple key moments and has a repetitive nature to it. It could be anything from unique synth sounds or persistent motifs, to organic unexpected processed sounds of all kinds... (Really... Everything from breaths to screams to foley used as percussion...) The main point is that even if they don't use it in the backend of the actual trailer they'll almost certainly use it somewhere during the trailer, or at the end when they show the logo of the film. (This is branding 101... The goal is to get you to associate the film with a sound that grabs your attention...)

A good trailer composer knows this and will try to find something distinct they can use as a musical motif, even if unconventional... (These are usually defined by the brief that library sends out... Typically the library's keen on new trends and will guide the composer in terms of what's appropriate). If a track doesn't have a strong signature then it almost certainly has a simple but very strong musical motif. (Example below)

Basically there's trailer influenced music (which this is - And I don't mean that in a bad way at all... It's a tricky genre with lots of nuances....) Proper trailer tracks conform to a pretty predictable structure and more often than not have one or several distinct sonic fingerprints that give it its identity... If the piece doesn't use an unconventional musical device as a signature then the theme is going to be simple and yet kind of brilliant in just how effective it is at using just a few repetitive notes that persist through the backend.

This album will give you a good feel for the pacing of a typical trailer track. (The vibe's totally different from what you have FYI!) You'll notice things really do happen in chunks of roughly 30 seconds, (or multiples... 15, 45, 60, etc) And if not familiar with Audiomachine look them up... These guys have been the current undisputed kings of the trailer industry for close to a decade now. They land most of the major film campaigns and have been setting all kinds of signature trends over the past 5-7 years. While these examples are heavily synthetic they have an absolutely incredible range of music with some really beautiful stuff as well... (See below).

Some signature examples:

At 1:24 The distorted scream that comes in is used as a sonic motif every 2 bars during the build. And, at 2:14 it comes back in higher in pitch. (Also notice that it's almost a minute later from when the 1st version came in...) :



The bends that start at :27 function as a signature here. (30 second mark)... They also get repeated across different instruments, the last of which is low brass doing a response... The bends come back in at 2:07 (Again notice it's almost 1:30 from the 1st time it's introduced...)



This track doesn't have a distinct signature per se but the brass motif that comes in at 2:30 persists through the entire backend... Three notes only, tonic to min 3rd to maj 7th to, repeated over the harmonic progression underneath. It's persistent the way an ostinato is, and it's incredibly simple and incredibly effective... (This track's from the Venom trailer FYI.)



The examples above are pretty generic types of signatures. These are things you hear about as regularly as braams, but it should still get the point across...

For an absolutely killer and current example of signatures the Raised by Wolves trailer from last year is incredible. There are all kinds of voice and breath sounds used as musical motifs and are a solid example of what's currently trending... Right near the 30 second mark there's little splashes of voice based percussion that accompanies the string hits. And at the end there's a bumper where some of the intro synths come back, and the breath percussion is re-used there again as the 'branding' device...



Also... Here's an Audiomachine album that's absolutely beautiful. Totally different from the examples above and probably more relevant to your track and the style you're going after in the track above...



Sorry for the epic post  Hopefully some useful info in there for you....


EDIT: This is a great track btw. Really nice harmony that's simple and yet emotional... Hope it doesn't seem like I'm picking it apart, just giving you the same kind of honest feedback I've received from libraries in the past...


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## jcrosby (Apr 11, 2021)

And speaking of looking at the waveform... Here's one one of their Marvel tracks. It should give you a good visual guide of the structure...


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## davidson (Apr 11, 2021)

@TheRealNerevar You just got a trailer music masterclass for free from @jcrosby. I'd read through it completely, then again twice more, then bookmark it.


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## munician (Apr 11, 2021)

No trailer composer here but this is very interesting stuff, thanks!


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## jbuhler (Apr 11, 2021)

jcrosby said:


> The mix quality isn't bad. The main thing that doesn't quite make this a trailer track is the structure and some edits that ultimately serve to create tension and a sense of building intensity. Your track also lacks a 'signature', (more about signatures below...) But this is the kind of track that may not need one necessarily... that said it's an important concept to understand if you're thinking of reaching out to trailer libraries at some point...
> 
> Structure: Trailer tracks tend to have a rigid structure which often to conform to blocks of time... Things generally happen in 'acts' and new acts tend to fall on 30 to 60 second intervals... (Roughly..) A classic trailer track has either 3 or 4 acts. (Intro, build, backend; or Intro, build, mid-section, backend). In both cases it's common for something from the intro or a signature to be teased at the end to create a sense of identity and closure. But that can vary depending on the album or library.
> 
> ...



I’ve never seen this expressed so clearly and concisely. It’s really great. You should think about posting a version of this as its own thread.


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## jcrosby (Apr 11, 2021)

jbuhler said:


> I’ve never seen this expressed so clearly and concisely. It’s really great. You should think about posting a version of this as its own thread.


That's a great idea actually. Maybe something like "Trailer music vs trailer influenced music"?

@TheRealNerevar it really is a great track so far. Looking forward to hearing where you take it regardless of wherever you feel the arrangement should actually go....
And @davidson thanks for the kind words!


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## jbuhler (Apr 11, 2021)

jcrosby said:


> That's a great idea actually. Maybe something like "Trailer music vs trailer influenced music"?
> 
> @TheRealNerevar it really is a great track. Looking forward to hearing where you take it regardless of wherever you feel the arrangement should actually go....
> And @davidson thanks for the kind words!


Making a separate post would make it easier to assign (for classes I teach), and easier for folks to stumble upon with search. In the context of its own post, it might also elicit some useful responses. The virtue of your account here is that it is detailed while also being concise.


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## ashX (Apr 11, 2021)

Wanna mention what I noticed: if you want to make a trailer track, you should consider having more stops/changes. For instance when you think people should speak with no music. And usually in trailer music every part ends with that stop/downer thingy.
Every part should have some tension rising.
Also dont forget signature sounds. Modern trailer music has a lot of synth benders (pitch bending synths), braaams.
In Trailer music every part is usually different so think of it like glueing a lof of different songs together, every part should differ.
Also 1:48 when you have loads of strings playing everything sorta clashes.
Overall your track is more of a soundtracky not a trailer track what I think. But idea is good and I personally like it.


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## TheRealNerevar (Apr 11, 2021)

Thank you very much @jcrosby for this wonderful explanation, full of knowledge and experience. It is very useful for me, and i take the fact that you like my track as it is, with pride. 

Also thank you everyone else for giving me advices who will push me forward in the path that i took a few days ago (trailer is a good way for me to move on from the boring things i used to do).

Justin, i will take everything you said in deep consideration, and with the good feeling of a new little challenge to take on, so i've decided to rework this whole track in a suitable way to bring it closer to a trailer track.

Excuse me if this post is a little too formal, but i'm feeling a new energy, my heart speaks 😉

I'll work hard, and when it will be perfect, i'll re-post, so stay tuned 🙂🔥


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## dzilizzi (Apr 11, 2021)

I really know nothing. My only thought is the choir is too loud at the beginning in comparison to the music. At the end fits being loud, but I would prefer more of build up.


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## TheRealNerevar (Apr 12, 2021)

dzilizzi said:


> I really know nothing. My only thought is the choir is too loud at the beginning in comparison to the music. At the end fits being loud, but I would prefer more of build up.


You say that you know nothing, that's perfect (even if i guess you know a lot more than you would admit 😉)
Because you are the one why i'm making music, you are one of many people, the guys i must convince.

In the end, people watching trailers or movies might not know a lot about music or how it is made, but it has to work with them, it has to make them feel "wooaa, how amazing !".

So you have definitely your word to say, and i will take it in consideration above all 🙂

Thank you 🙏


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## SupremeFist (Apr 12, 2021)

I don't know anything about trailer music but I am loving how @jcrosby is explaining it to us, and I really like this piece which had me literally going 🤘🏻by the end. My only thoughts were in terms of mix, the brass sounds a little too distant/quiet, while by contrast the solo vocal could use a bit more reverb?


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## lux (Apr 13, 2021)

I like the track, it's musical.

on a strictly personal standpoint, I would work on the overall sound, to me sounds like it's been squashed to death before defining the mix, it sounds overcompressed and focused on mids, at times almost hipassed. While I understand your aim to get it as loud as some of the references I would get there by steps, first by having a smoother and more balanced mix to squeeze without sucking the life out of it. As Supremefist pointed out looks like some of the elements sounds they have not been coherently reverberated, expecially the vocals, which sound pretty upclose to my ears. I can also hear some weirdness in the stereo image and depth.

I would be curious to hear an unprocessed version of this track. Like virtual instruments with a little bit of high rolloff to let em sit in the mix and a send to a reverb with the right amount of bandpass on it. A barebones mix shaped with simple reverberation and basic panning to define at best your starting point. That would help you taking the right decisions about the bass/mid/high ranges, stereo field and depth by small changes.

At least thats what I would do, the track is cool and deserves the effort.


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## TheRealNerevar (Apr 13, 2021)

lux said:


> I like the track, it's musical.
> 
> on a strictly personal standpoint, I would work on the overall sound, to me sounds like it's been squashed to death before defining the mix, it sounds overcompressed and focused on mids, at times almost hipassed. While I understand your aim to get it as loud as some of the references I would get there by steps, first by having a smoother and more balanced mix to squeeze without sucking the life out of it. As Supremefist pointed out looks like some of the elements sounds they have not been coherently reverberated, expecially the vocals, which sound pretty upclose to my ears. I can also hear some weirdness in the stereo image and depth.
> 
> ...


Bingo ! You told everything that is currently freaking me out, since i've started to rework the track, i'm really struggling to get my template to sound closer to Audiomachine's trailers and i can't figure out what is right to do EQ wise with the orchestra (strings mainly CSS, Brass CineBrass). I know that it should be processed by a good amount (it already was for this track, eq ed and saturated and compressed ad nauseum), but that frequency curve on these already released trailer tracks by Audiomachine and others has been haunting me night and day ever since, following mr Crosby post. Anyone have any clue on what Eq and processing would be suitable ?


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## lux (Apr 13, 2021)

Its definitely a complicated topic, there's plenty of videos and tutorials out there to start with. As a general rule there's no swiss knife EQ settings, it all starts by analyzing the raw sound that comes out of the single instance of Kontakt or whatever instrument you're using. This is important as by just applying a "Strings 2" preset on your material can kill everything and transform your strings in the worst synth ever. Each library has an own sound and carries a few frequencies overload. Also, orchestration changes everything. So I would at first check your orchestration and how everything sounds without any processing. I always start from there, my track needs to sound at least decently balanced in an unprocessed context. Then I can start thinking as an audio engineer (which I'm not).

There are quite a few classic reasons why you should consider EQing your orchestra, one is an excess of bass range (which prevents your master to get loud unless you squeeze it like a toothpaste tube) and the other is an excess of mid-highs. I often tend to tame the high range with a large high shelf and a very subtle cut. Also tape plugins can give a bit of additional warmth-glue reducing harshness and a chirurgical sound.

That said is just a matter of analyzing the sound you hear. You should keep in mind that every frequency range of your orchestra may have a competitor in a synth, voice, even percussions frequency wise. Thats something you should figure out before applying any processing. Also keep compression for the end, applying a compressor to a virtual instrument before having the full picture is like wearing the hottest shirt before knowing if its summer or cold winter. It just doesnt make sense. Compression serves the scope of reducing the dynamics where an excess of dynamic range prevents you from having a balanced mix. Often is used also to add color to the mix. But definitely it's not something I turn on before I start mixing.

I say let your orchestra sound decently without processing working on arrangement and volume balancement. Then you can start accomodating instruments eachother by small eq scoops, small coloring steps (tape, compression with almost no gain reduction or console emulations), and eventually compression/limiting.

Once you get there you can start creating your mixbus/mastering chain.


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## lux (Apr 13, 2021)

Also, consider using a bus reverberation, otherwise your balancement will be heavily influenced by a plethora of reverb instances kept open on your single tracks. Make sure your reverb is bandpassed (again lots of tutorial about reverb processing on YT). Make sure to not use any stereo ehnancing until youre working on your mastering chain (at least that's what I do) and keep working on pan until there. 

Please consider that trailer music needs a slightly more narrow approach and that having a hugely panned orchestra can be an issue, so find a good balancement with that by hearing lots of references


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## TheRealNerevar (Apr 13, 2021)

Thanks for the answer, but maybe my question wasn't clear enough : i was asking for this particular genre.
I know pretty much how to handle the usual orchestra, doing the least harm possible while taking care of unwanted frequencies, and sweeten some elements with tape saturation and so on... This time for this genre it seems it asks for a little more i guess... But what is it ? My bet is everything is carved in a way that the master can be pushed as hard as possible, and by looking currently at the spectrum analysis of some tracks, their frequency response are absolutely flat (with a 4.5dB tilt ), while mine are not


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## lux (Apr 13, 2021)

understood, it's not magic trick. A mix is a mix, in your case to my ears it sounds like it has issues before any mastering stage. No magic can make it sound like your references without starting from scratch again and mixing the whole again.

At least that's what happens to me most the times. While it may sound a pita at the end of the process I'm always happy I did.

That said if you like you may post your unmastered version so we could hear how many of the oddities come out of mastering and how many are just in the mix.


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## TheRealNerevar (Apr 14, 2021)

@lux Here it is, as you requested. 

Thank's a lot for your help :D


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## lux (Apr 14, 2021)

thank you. It's definitely more pleasant to me than the mastered version. Just a couple of (very generical) thoughts on the fly.

I would at first get rid of the high frequencies redundances/sibilances starting with the lead singer. I would scoop the "s" range above 5k or so. Then I would also apply a nice bandpassed reverb on it to get the lead back smoothly into the mix. Once you smoothened out the lead singer I would also tame highs on the hats like sequence in the second half. I love giving shakers and hihats a "taming" treatment using a LP filter (I use a lot Softube Abbey Road). If it was me, I would also try using a more classic hihats sound (more compact and less focused in the white noise area). But that's personal of course.

The strings and horns also have a bit of a sibilant feel to me, I dunno what library you used here but I would smoothen out a bit high mids as well. Perhaps applying also a bit of tape to smoothen out the sound. Small actions.

Keeping the mid/high range under control in my experience helps a lot when you're going to limit/maximize in the mastering (which is most likely for the specific style), as most often limiters and loudness maximizers tend to emphatize the mid/high range in order to raise the perceived loudness, thus creating additional harshness if the mix isn't balanced enough.

Your bass range isn't over emphatized which is a good thing, as it leaves headroom space for some slight low-end ehnancing in the mastering chain, perhaps using a pultec like eq.

One final note about the big percussion in the second half. Sounds definitely dry to me.

Of course these are just generic thoughts on a quick listening, but I bet if you just start limiting/compressing again after balancing mid/highs and getting a few elements back in the mix by reverberation you'll feel more satisfied of the result than you are now.

Please take my generic impressions with a grain of salt, as mixing/mastering is such a complex beast and I'm definitely not Dennis Sands, unfortunately  .


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## TheRealNerevar (Apr 15, 2021)

Thank you, it will help me rebuilding my template 🙏
I feel like i'm going back to school 😛
For the better 😉


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## jcrosby (Apr 17, 2021)

TheRealNerevar said:


> Bingo ! You told everything that is currently freaking me out, since i've started to rework the track, i'm really struggling to get my template to sound closer to Audiomachine's trailers and i can't figure out what is right to do EQ wise with the orchestra (strings mainly CSS, Brass CineBrass). I know that it should be processed by a good amount (it already was for this track, eq ed and saturated and compressed ad nauseum), but that frequency curve on these already released trailer tracks by Audiomachine and others has been haunting me night and day ever since, following mr Crosby post. Anyone have any clue on what Eq and processing would be suitable ?


I've had time to give this a proper listen and compare your latest version to some of AM's references here's what I notice...

EQ-wise...

You have a little bit too much high end above 10k. The high end would work in a track with some risers and noise fx, but without those elements in there you might want to tame the top end above 10k bit. probably just a few dB, and instead of using a LP try a shelf (non-resonant).

There's also a lot of low ringing and/or buildup between 70 and 150 Hz. Sounds like it's a combination of percussion and maybe some synth bass?

Seems like there's a little boxiness around 500-600 Hz. It's mainly the choirs, and or a combination of choirs and voice. Choirs can mask your orchestra, and if you're going for that polished/AM-style sound they tend need some fairly aggressive EQing. Get your orchestra mix sounding really great 1st, then when you add choirs ask yourself it feels like it's fogging up the mix. Start sweeping around 400 and see where it starts to sound really boxy or harsh. It could be boxiness around 500, it could be harshness around 1k or 2k. Choir libraries all have their own quirks, and unless your going for a classical mix you'll probably find yourself needing to be fairly aggressive...

Lux has some great overall advice, that said the one place we differ is the sub. Hopefully this doesn't come across as snippy or snide! Boosting 6 dB (or more) is when a mastering engineer _should_ recommend you fix the mix instead of mastering it as is... With a library this isn't even a question. They simply wouldn't accept it until the mix was sorted out.

One of the libraries I write for has all of their mastering done out of house. Their facility is mastering hundreds of files at a time. Their releases are done as albums, each album has anywhere form 15-50 tracks. Each track also has cut downs, and anywhere from of 8 stems to 12 stems per track.... All of which get mastered... Their albums average 300-400 mastered tracks at a time, a mastering facility doing this kind of volume doesn't have time to do surgical work. (Proper mastering engineers also tend and avoid this scenario in general... It's basically treating a knife wound with a band aid..)

I digress!! ... You're missing a bunch of sub weight below 50 Hz. With a trailer track this is where all of the excitement is, the visceral intensity of the music lives in the sub... It's what makes the booms and bass drops shake your trousers  A really killer theatre has incredible sub bass, and it's super important to get this area of the mix right. Checking what's going on in the sub with analyzer can make all the difference, especially if you have a hard time working with low end in your room, and/or your headphones have hyped or rolled off low end... I have a great room but I still check to see where things sit... A bunch of rumble at 30 Hz you might not be able to hear can ruin a track from mastering correctly....

Last thing... Seems like there's a some low mid rumble around 200. Acoustic percussion can get get muddy in this area, especially if layering. (There was also a hole in your mix around here... Maybe you cut too much in other instruments instead of the percussion? Not sure...) Either way it's generally a good idea to see what's going on in the low mids with percussion libraries.

Percussion fills the entire spectrum, it has long tails, and when you mix different libraries from different spaces, all of the acoustic issues baked into those reverb tails compounds... I generally check anywhere between 100 and 300. I'll also see if there's any boxiness between 400 and 600. (Lower mids are where most of the issues tend to be...) You don't need to go nuts, but at the same time don't be surprised if every once in a while you find that cutting as much as 6 dB somewhere in the low mid of one or more of your percussion tracks suddenly opens up the mix.

Take all of this with a grain of salt. Not everything needs EQ. The frequency ranges are a ball park, and arrangement and level are the foundation of any mix... Key also plays a big role - different rooms have different modes and resonate at different keys and harmonics...

You'd be surprised just how much of that "produced"/"processed" sound comes mainly from careful EQ choices...

Level wise...

The percussion seems a bit shy. I bet once you clean up some low mud in your percussion you'll find you can push it up in the mix and it doesn't step on the other instruments...



You might want to check Alex Pfeffer's YT channel. He's a great example of just someone who gets a massive sound with a lot less processing than you'd think...

This should give you a great jump off point...


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## jcrosby (Apr 17, 2021)

Last thing for now... You might want to pickup a few tracks from _Another Sky_ and _Belle Epoque. _The 1st track on Another Sky for example starts with bare strings, you couldn't ask for a more perfect reference


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## TheRealNerevar (Apr 17, 2021)

Whoaaa, Justin... I don't know what to say man, this is just incredible to have you giving such a masterclass ! Not sure if deserve it haha, but anyways, this is sooo helpful for anyone reading this thread, i want to say thank you, you're bringing me to a whole new level.

You got me into liking Audiomachine's stuff, i'm listening carefuly to all of their recent trailers, and i'm realizing that i already know how a whole bunch of their sounds are made, that's very promising, i wanna risk things and try to make more "proper" trailer tracks, without sacrificing my love for the more lyrical things though.

I've spent this week trying to get the right tonal balance in my orchestra, it really shines more than ever, i've even invented some new techniques and randomization scripts to get my short strings to play more randomized length of samples, the result is it behaves more like a real string section, it's less boring 😛.

For the Eq side, i've started mixing anew from ground up, and used a lot of multiband as well to have everything under control, i am satisfied so far, and was excited to try my new setup in context, so i've written about a minute and a half of trailer in almost no time, it sounds convincing to me so far 🙏

Getting back to work 😈


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## TheRealNerevar (Apr 23, 2021)

So, i've been reworking my template from ground up and had the opportunity to get some trailer percs and some other stuff.
I wrote this, following the various advices given in this topic.
It is only 1m30 long, but i am satisfied 



What do you think ? 

PS: (If you are reading this and you are new into Trailer music, don't be shy to share your track)
PS2: (I have no idea if i'm breaking this forum rules by writing the above 😅)
PS3: far better console than ps4 and ps5 😁 thanks to sony for excessive pruning.


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## LordOfTheStrings (Apr 25, 2021)

TheRealNerevar said:


> So, i've been reworking my template from ground up and had the opportunity to get some trailer percs and some other stuff.
> I wrote this, following the various advices given in this topic.
> It is only 1m30 long, but i am satisfied
> 
> ...



That gave me chills. 
Good job (from a person still waiting for kontakt to go on sale, so no experience xD)
Also PS2 is the winner :D


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## TheRealNerevar (Apr 26, 2021)

Haha, thanks @LordOfTheStrings !
You'll see, when you get Kontakt for the first time, it is an infinite new world opening to you.
Be sure to check a lot of library showcase videos, to find what are the ones the most suitable for the sound and playability you're after, and if you have great taste, everything will be easier 🙂


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## jcrosby (Apr 27, 2021)

TheRealNerevar said:


> So, i've been reworking my template from ground up and had the opportunity to get some trailer percs and some other stuff.
> I wrote this, following the various advices given in this topic.
> It is only 1m30 long, but i am satisfied
> 
> ...



Huge improvement! The transitions are also solid which is the one other key aspect I didn't touch on in my initial post... It's really important to realize that the single most important _audience_ for your track (at least from a library perspective) is the editor... 1 and 2 bar gaps give the editor/trailer house flexibility in how they can make sections of your track fit a trailer which increases the appeal of a track... Sounding really solid


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## TheRealNerevar (Apr 28, 2021)

Thank you Justin ! 
I'll stick more to this model, with gaps making it easier for the editor as you said.
Now i'm going to make 9 more tracks like this one, will send the whole bunch to a lot of people and crossing fingers 😁
Oh BTW, i have another way to know if my music is working these days : when my 9 months old son run in my room with an eager face hands in the air, it's a win 😃


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## Jacob Fanto (May 27, 2021)

TheRealNerevar said:


> So, i've been reworking my template from ground up and had the opportunity to get some trailer percs and some other stuff.
> I wrote this, following the various advices given in this topic.
> It is only 1m30 long, but i am satisfied
> 
> ...



Great track! Do you mind if I ask what libraries you used?


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## TheRealNerevar (May 29, 2021)

@Jacob Fanto Sure ! 

For strings its a layering between CSS + CSSS + Fluid Shorts
For Brass it's CineBrass Core and Pro, and a Trailer brass patch for low end
Choirs it's complicated as i use almost every librairy available on the market as layers for the main sound
Synths are a mess of Diva, ZebraHZ, Repro 1 and 5, the legend and other analog emulation synths
Percs : almost anything that will do, i even record salt and pepper for shakers, and my voice for signature sounds, or other samples 🙂👍


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## jcrosby (Jun 5, 2021)

TheRealNerevar said:


> Thank you Justin !
> I'll stick more to this model, with gaps making it easier for the editor as you said.
> Now i'm going to make 9 more tracks like this one, will send the whole bunch to a lot of people and crossing fingers 😁
> Oh BTW, i have another way to know if my music is working these days : when my 9 months old son run in my room with an eager face hands in the air, it's a win 😃


Sorry for not getting back about this. I had a brief that started right around the time this thread kicked off and lost track of the thread...

You're welcome! And I've got to say I'm still impressed how you went from point A to point B in less than a week. You've got the chops for the genre, and more importantly the adaptability. Being able to make big changes in a short time means you can handle a list of revisions, which is key... Even if you faff your way through the 1st brief or two, or they make comments about elements of the mix, it's pretty clear you'd get up to speed quickly... 

If you haven't started to reach out to libraries you should whenever you feel ready.


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## TheRealNerevar (Jun 5, 2021)

Thanks again Justin, i promise i'll do reach out to libraries once i'm done writing my tenth Trailer cue, so i can have a good selection and starting point 🙂💯


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## jcrosby (Jun 5, 2021)

TheRealNerevar said:


> Thanks again Justin, i promise i'll do reach out to libraries once i'm done writing my tenth Trailer cue, so i can have a good selection and starting point 🙂💯


Good luck!!! Looking forward to hearing other stuff you might post


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## TheRealNerevar (Jun 5, 2021)

Here is another one


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