# Trailer music structure unnecessary?



## Wibben (Jul 13, 2014)

I've been watching a billion trailers recently and it seems like most trailers mix and match a whole bunch of different tracks to fit their needs, which made me wonder, how important is the "standard howevermany-act" structure of a typical trailer track? Do you stay firmly within the 30 sec intro/1 minute instensity switch etc, or do you use it as a loose guide? 

I really have no idea - never written a trailer track - but I'm quite curious how it works


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## JohnG (Jul 13, 2014)

It does seem that trailers have changed substantially in the past year. 

I always have thought that the thing to do is write something really compelling and cool and the structure is just not that crucial. I think that's even more true today with, as I think I'm seeing it, only a very short part of the track devoted to more-traditional score (not strictly orchestral, but I mean "non-song" music), with the remainder a collage of songs.

But I think it's all over the place at the moment.


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## Jdiggity1 (Jul 13, 2014)

Generally, stick to the structure. The trailer houses pick what section they want from yours, and they match it with a section or two from another.
Keeping the structure makes it easier for the editors to know what to cut and include.


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## gsilbers (Jul 13, 2014)

^^^^true^^^

go to ninjatracks and see how they mentioned their tracks on specific times on of those youtube video examples. 
the start , mellow part is from someone else, then its theirs and so on. 

but still go by the regular structure with 3 levels of intensity with some sort of break in between . (for easy editing)


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## Dean (Jul 17, 2014)

Wibben @ Sun Jul 13 said:


> I've been watching a billion trailers recently and it seems like most trailers mix and match a whole bunch of different tracks to fit their needs, which made me wonder, how important is the "standard howevermany-act" structure of a typical trailer track? Do you stay firmly within the 30 sec intro/1 minute instensity switch etc, or do you use it as a loose guide?
> 
> I really have no idea - never written a trailer track - but I'm quite curious how it works



Re structure: I always put the track first,if it feels right at 8 mins or 2 mins so be it.I stopped worrying about exact structures a while back and let the track decide,..ie; ,.slowburner that continously builds,..loud/quiet,..explosive with lots of stopdowns,..etc,..music editors will take the sections they want anyway.

But I do think the structure/execution of the track as a whole is important to catch the attention of the client or trailer house,..its important to have a cohesive track that resonates with them,..a well written and structured track could reel em in and catch their attention,.but if you've managed to create the right tone and a 'moment' or section that gives them goosbumps then thats all that really matters!


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## Wibben (Jul 18, 2014)

Thanks, everyone, for the info!

I listened to some of your tracks, Dean and John, and holy %¤&¤% it's good :D

I'm gonna make a brave guess that both of you write for some pretty serious libs/people, and your productions are just amazing. I'm really curious to know how much you rely on samples vs real orchestra? I think I've heard that some libraries, like Immediate, only want real instruments and so on.


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## Cruciform (Jul 18, 2014)

Wibben @ Fri Jul 18 said:


> I think I've heard that some libraries, like Immediate, only want real instruments and so on.



If your work is what they want, they'll pay to record the orchestra (recoupable of course). A lot of the top end libs do that.

Rob.


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## Wibben (Jul 18, 2014)

Interesting. Seeing as there are such a varied pool of composers writing for libraries, do the big libraries have contact with orchestrators/arrangers etc to help the composer, who might not be comfortable working with a full orchestra, or not have that much experience? I would imagine so, since there's such a wide range of skill level in music 

Cruciform: What did you mean with recoupable?


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## Cruciform (Jul 18, 2014)

Wibben @ Fri Jul 18 said:


> do the big libraries have contact with orchestrators/arrangers etc to help the composer, who might not be comfortable working with a full orchestra, or not have that much experience?


Possibly. On the few occasions I've had cues recorded, I just commissioned an orchestrator directly.



> What did you mean with recoupable?


Before you see any share of sync fees the publisher will recover their costs by deducting it from incoming licensing fees.


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## Dean (Jul 18, 2014)

Wibben @ Fri Jul 18 said:


> Thanks, everyone, for the info!
> 
> I listened to some of your tracks, Dean and John, and holy %¤&¤% it's good :D
> 
> I'm gonna make a brave guess that both of you write for some pretty serious libs/people, and your productions are just amazing. I'm really curious to know how much you rely on samples vs real orchestra? I think I've heard that some libraries, like Immediate, only want real instruments and so on.



Hey Wibben,firstly thanks alot for the great compliment!

99% my music is all sample based at the moment, but I always record real solo voices and any solos instruments then mix them in with the samples,.but usually everything you've heard is all samples. D


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## JohnG (Jul 18, 2014)

Hi Dean,

I have done a fair amount with Immediate, and they do use real orchestra for that kind of material. Like others, however, they have plenty of electronic / sound design stuff that might have some real elements but is deliberately synthetic.

Most of the tracks on my website include real instruments / orchestras, plus the added contribution of real engineers, mastering experts, lots of solid hardware, and all that.


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## Dean (Jul 18, 2014)

JohnG @ Fri Jul 18 said:


> Hi Dean,
> 
> I have done a fair amount with Immediate, and they do use real orchestra for that kind of material. Like others, however, they have plenty of electronic / sound design stuff that might have some real elements but is deliberately synthetic.
> 
> Most of the tracks on my website include real instruments / orchestras, plus the added contribution of real engineers, mastering experts, lots of solid hardware, and all that.



Hey John,

I dont think I explained myself properly, I meant that the music of mine that Wibben had heard is mainly all orchestral samples but I also mix in live solo players,..I was'nt referring to your music or Immediates catalogue 

ps: they're all orchestral cues,..not electronic or synthetic/sound design,..clients are'nt paying me for live orchestras just yet,..I wish.  D


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## JohnG (Jul 18, 2014)

Sorry Dean -- what a goof I am! I meant to address my comment to Wibben, not to you. I apologise for what must have seemed like some weird, touchy scolding.

Just a blunder.


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## Dean (Jul 18, 2014)

Hey John, not at all,..the written word is a tricky business sometimes.

'weird touchy scolding',..love that description! 

ps:Cant wait to record a full cue with live orchestra,..soon my pretty soon. D


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## Wibben (Jul 18, 2014)

Haha, I was confused for a bit 

Interesting to hear. Somehow, when it comes to library music, I've never really imagined the full treatment, like a full movie production score session etc. I always picture talented individuals on their own, doing everything. But it makes a lot of sense that some of the bigger players would opt for the "real deal", so to speak.
Very impressive music, anyways. Hearing music like you guys' always inspires me a lot to write more, and at the same time, throw all of my equipment out the window and go de-bone fish for a living in norway, somewhere...


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## JohnG (Jul 18, 2014)

Wibben @ 18th July 2014 said:


> ...throw all of my equipment out the window and go de-bone fish for a living in norway, somewhere...



But the fish like their bones where they are, thank you.


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