# Getting Into the Trailer Industry



## leearmbrust (Jun 1, 2021)

Hi everyone!

So my music is reaching the point where I want to start pitching it, but I have no idea where to start. I don't know anyone in the trailer industry, and every site I have read about starting to get into it only discussed what the format and product should be like, but not how to actually start! Also finding the companies I should pitch to/email has been a challenge. Suggestions would be very helpful on where to start! 

Thanks all!


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## muk (Jun 2, 2021)

These articles are a very good starting point:

https://www.soundonsound.com/series/all-about-library-music


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## jcrosby (Jun 2, 2021)

leearmbrust said:


> Hi everyone!
> 
> So my music is reaching the point where I want to start pitching it, but I have no idea where to start. I don't know anyone in the trailer industry, and every site I have read about starting to get into it only discussed what the format and product should be like, but not how to actually start! Also finding the companies I should pitch to/email has been a challenge. Suggestions would be very helpful on where to start!
> 
> Thanks all!


One thing you should understand up front is that many of these labels have pretty stringent critique processes. The really top drawer libraries are all trying to compete for the attention of some of the biggest media companies and studios on the planet. When you find yourself in the middle of a tough critique you need to understand that the 'A&R' is simply doing the best they can to help you get a licensable track across the finish line... If you don't expect these kinds of critiques going in it can be a bit like shell shock...

It's also a good idea to expect rejection early on, especially if you don't have a reel or some credits behind you. You might have serious chops and get lucky, but it's smart to set realistic expectations if you're starting from the ground up... If you find yourself getting rejected a lot early on don't personalize it. Instead channel it into perseverance/motivation, etc..

(When I started approaching trailer libraries I got rejections for about 6 months even though I had a few thousand TV placements behind me and an IMDB to back them up. It's a tough business that takes tenacity and patience. Learning how to let go of any _ego_ tied to your music will ultimately be a huge asset as well...)

I'm not implying any of this about you FYI... I'm just saying it's really important to approach any of these companies with the right attitude, and have realistic expectations going in...


If you prepare music you plan on submitting do your home work on the libraries you approach. If a library specializes in primarily orchestral hybrids curate the tracks you send to fit their niche... If another library seems to do a lot of sound design heavy music try and curate what you send to them as well.... Some run the gamut in which case send a few of your best tracks in whatever genres you feel most comfortable in.

One thing I would not recommend doing is sending something like a "re-score". (I mention this because it sounds like you don't have a reel and are stating from square one...) While a re-score might seem cool or relevant to you it most likely isn't to them. Plus, in many of the re-scores I've seen people upload here I hear a lot of awkward pacing that, while it might totally fit the re-score, it doesn't translate as trailer... Pacing and building energy are critical for a killer trailer track.

By pacing I mean: 

1. The overall length of the track. 
2. the length of each section - (30-45 seconds of intro. 45-60 seconds of build. Possibly a breakdown or midsection that lasts another 30 seconds. 30-60 seconds for the backend. Some labels use a _4 part act _where they close the track with a snippet of the intro; 10-15 seconds...)
3. Tracks typically continually grow in energy and level. You may have a break down where things quiet down a bit, but as a whole, a rendered mix of the track should show a rise in level up to the backend, where the level more or less stays pegged until the backend's over. Having each preceding section being less loud also serves to give the impression that the backend really knocks you over.)
4. Make smart choices about how you move between each section. - (8 out of 10 times it's a good idea to put gaps between each section. This serves a couple purposes... A. The editor can cut as needed. B. It creates drama/suspense by leaving things 'hanging'. C. It gives the next section more emphasis. Overall you shouldn't continually move from section to section with no gaps. The goal is to make it editable since the client is ultimately the editor, not someone buying your album as listening music).

I'd also strongly recommend spending a solid amount of time listening to current trailer tracks. This is perhaps the most important oversight I see people make on here all the time... A track or album you may love from 5 years ago isn't current. Trends in trailer music change over time and you really want to send something that sounds current...

Pay close attention to the editing - listen for gaps, builds/risers/downers, etc; and take note of how they're spaced out... These are sometimes referred to as cut points. They're there to appeal to editors, who for all intensive purposes should always be thought of as the client... Also pay attention to sounds you hear frequently... Especially sounds that grab your attention or stand out as unique. These are the "trends" I'm referring to... ((aka 'signatures'....))


Start below with Trailer Music Weekly... Keep in mind that many of these are tracks that have been placed, but some are generally 'epic' music. I'd focus on the tracks that are identified as being from specific trailers...

Trailer Music Weekly:



https://www.youtube.com/channel/UCZSuaz-H_XnUNeDUbyzQivA/videos




Hopefully that's a good start...

In terms of labels... Most of the tracks on TMW have label info, and 9 out of 10 labels should have some kind of contact info on their site.

Cheers and good luck


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## jcrosby (Jun 2, 2021)

Also here's a good example of just how wide the range can be... I see people constantly mistaking trailer music as 'always epic'... While it's a staple, it's just one niche in an otherwise really diverse umbrella of tons of niche genres. The tracks below range from epic, to sound design, to bordering on avant garde electronic...

EDIT: Apparently the last two won't embed...



















https://www.youtube.com/watch?v=crQ_PJHRPPU


https://www.youtube.com/watch?v=QA6S71gD8pE


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## SamC (Jun 8, 2021)

Phenomenal advice already, but I’d plant a giant flag in the rejection part. Even once you’re “in,” be prepared to have your campaign pitches be rejected A LOT.

Can’t tell you how many pitches I’ve lost, but it’s way more than I’ve won.

Best of luck to you!


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## gsilbers (Jun 14, 2021)

leearmbrust said:


> Hi everyone!
> 
> So my music is reaching the point where I want to start pitching it, but I have no idea where to start. I don't know anyone in the trailer industry, and every site I have read about starting to get into it only discussed what the format and product should be like, but not how to actually start! Also finding the companies I should pitch to/email has been a challenge. Suggestions would be very helpful on where to start!
> 
> Thanks all!



Something I found fascinating was a friend who works in the corporate world, did a short film and submitted to festivals. It was that he had an excel sheet that was HUGE. He wrote down EVERY film festival that exists on planet earth. it had to be 10,000 entries. He was a pro on excel sheets. 

He had a line for each festival and rows of the email, descriptions and dates of submission. And some personal notes of ratings etc. 
And every morning he opened it up, sort by date submitted and had another date for follow up. and a cell for notes about that follow up. And tons of other small little tricks for organizing it. 

So thanks to that im an award winning composer since that short film won several festivals. lol. the power of excel.

There is music library report where you can subscribe for a month or something. get all places that you can submit and start your chart. follow up. have a nice site. update your songs every so often. keep submitting and do it in a proper non spammy way. make connections etc. the above info is also good.


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## wsimpson (Jun 14, 2021)

@jcrosby I find this whole topic of trailer music libraries and your wealth of knowledge fascinating. Thanks you for sharing so much of it with us - I know I really appreciate it.


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## jcrosby (Jun 14, 2021)

wsimpson said:


> @jcrosby I find this whole topic of trailer music libraries and your wealth of knowledge fascinating. Thanks you for sharing so much of it with us - I know I really appreciate it.


Thanks, and you bet! My pleasure for sure.. I'm just happy that people are finding it useful...


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