# How much money does a song license for an AAA movie trailer get?



## reborn579 (Nov 11, 2021)

so yes, this is the question: how much money do people ask for the license of a song for a AAA movie trailer?

i know i'm not at that level, but i am curious how much money does someone like audiomachine or two steps from hell etc get for licensing one song for - let's say - a marvel film trailer. is there anyone around here who makes trailer music and can give me some numbers? you can dm me, if you don't want to say the number publicly. i can imagine a license like that is protected under an NDA or something.

so again, how much money?


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## chillbot (Nov 11, 2021)

I don't do trailers. From what I've seen it can be anything from $10k to $50k to license a track depending on the length of use... i.e. sometimes trailers license 4-5 different tracks, some of them for only :10 seconds others for maybe a full 2+ minutes. And then I've heard up to $250k+ to license a hit song or well-known track, depending on the artist and recognition of the track, which is then typically rescored to a different tempo or more cinematically, which then has a different fee to the composer/arranger on top of the license fee. I've also known some people to get "only" $1,000 - $5,000 for just using a brief piece of sound design or drone, others to get $100,000+ to score the entire trailer if it's very specific and depending on the magnitude. And then all these fees are usually split between the publishing/library company and the composer depending on their deal.

What I don't see, is people who write these 3-minute epic library trailer tracks, based upon the typical trailer formula, ever get picked up and used in it's entirety, unless it's super low-budget. The bigger ones are always either scored or cut between a bunch of super hi-quality licensed tracks.

I'm only typing this because no one else has chimed in yet... surely someone who works in trailers can confirm or add to...?



reborn579 said:


> so yes, this is the question: how much money do people ask for the license of a song for a AAA movie trailer?



Does "AAA" mean tops of the tops? I know this is a dumb question... I'm only familiar with "A-list", "B-list", etc. Is AAA better than AA better than A, so it's like minor league baseball?


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## reborn579 (Nov 11, 2021)

chillbot said:


> Does "AAA" mean tops of the tops? I know this is a dumb question... I'm only familiar with "A-list", "B-list", etc. Is AAA better than AA better than A, so it's like minor league baseball?


AAA sounds a bit like "alcoholic anonymous" ) i was referring to big budget movies like the avengers or dc comics etc.


chillbot said:


> What I don't see, is people who write these 3-minute epic library trailer tracks, based upon the typical trailer formula, ever get picked up and used in it's entirety, unless it's super low-budget. The bigger ones are always either scored or cut between a bunch of super hi-quality licensed tracks.


hm. you do make a good point here, although i can think of some examples of popular movies using just one song for the trailer. but a lot do use multiple songs. 
i guess, even if it's just 20 sec of a song, it should still be a pretty good pay day.


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## Trash Panda (Nov 11, 2021)

AAA is more of a video game industry term, referring to the really big budget games like Halo, Call of Duty, Mario, Zelda, etc.


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## reborn579 (Nov 11, 2021)

Trash Panda said:


> AAA is more of a video game industry term, referring to the really big budget games like Halo, Call of Duty, Mario, Zelda, etc.


yeah, that's where i've heard that term before.


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## Markrs (Nov 11, 2021)

Not sure if Alex @Waywyn can help as he is a well established trailer composer.

There is also a Facebook group that should be able to help with an answer.









Trailer Music Composer's Support Group | Facebook


Need a place to vent or get advice? Well, you've come to the right place. Feel free to post your frustrations, suggestions, etc. This page is NOT set up for you to share your latest work. It's a...




www.facebook.com


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## Emmanuel Rousseau (Nov 12, 2021)

As @chillbot said, it's almost always a collage of several tracks - For instance the intro from a track, with mashup of others during the buildup, and the backend from another track. Even when it feels like a whole, it's just that the music supervisor did a good job 

Numbers are also correct, from my experience ! It varies quite a lot depending on the project.

It's also good to keep in mind that a lot of these big trailers use custom music, with dozens of composers in competition, often all with the same briefing. In some cases, you can have stems from one of your track on top of stems from another. No limit at all!


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## reborn579 (Nov 12, 2021)

Markrs said:


> Not sure if Alex @Waywyn can help as he is a well established trailer composer.


oh, i follow him on youtube. he's great!


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## reborn579 (Nov 12, 2021)

Emmanuel Rousseau said:


> It's also good to keep in mind that a lot of these big trailers use custom music, with dozens of composers in competition, often all with the same briefing. In some cases, you can have stems from one of your track on top of stems from another. No limit at all!


wow, i didn't know about this. stems on top of other stems. i guess it makes sense if you think about it


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## Alchemedia (Nov 12, 2021)

Microsoft paid Brian Eno $35,000 for the Windows 95 startup sound.


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## Richard Wilkinson (Nov 12, 2021)

I think you're getting confused with songs and tracks/instrumental pieces.

Songs can command *huge* fees when licensed for advertising. 6 or even 7 figures.

Trailer tracks which are either 'trailerizing' licensed songs, or original spec-composed pitches, are a separate thing. The fee depends on the usage (web only, restricted territory vs worldwide, timescale etc) but varies from low thousands to high tens-of-thousands. What often happens is there's a final trailer which has a composite of 3 or 4 different pitches, so that final fee gets split four ways. Still nice when one lands, though!


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## reborn579 (Nov 12, 2021)

Alchemedia said:


> Microsoft paid Brian Eno $35,000 for the Windows 95 startup sound.


man that's a good gig right there )


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## reborn579 (Nov 12, 2021)

Richard Wilkinson said:


> I think you're getting confused with songs and tracks/instrumental pieces.


oh, i understand the difference. it's the language barier, i guess. in romanian there's just one word for both types.

but i am refering here to _trailer pieces._so, stuff like what audiomachine does. 

thanks for the answer. it seems like this is the consensus - that it's usually more than one track in a trailer. so i guess it really is a good job from the editors, because many times you really can't tell.


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## doctoremmet (Nov 12, 2021)

Alchemedia said:


> Microsoft paid Brian Eno $35,000 for the Windows 95 startup sound.


Which is one of his finest little pieces of music ever. The 800% slowdown version is very cool as well.


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## doctoremmet (Nov 12, 2021)

@Emmanuel Rousseau No joke


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## Emmanuel Rousseau (Nov 12, 2021)

doctoremmet said:


> @Emmanuel Rousseau No joke


I laughed because I agreed :D


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## gsilbers (Nov 12, 2021)

Alchemedia said:


> Microsoft paid Brian Eno $35,000 for the Windows 95 startup sound.



he worked with Erik Gavriluk founder of bomb factory studios/plugins doing that sound

I worked at the same bomb factory building in burbank. a studio next to it. for 5 years and the studios was a full on commercial studio that was empty.. for 5 years. 
Every day at lunch i would go walk around and admire the amazing gear it had. full on expensive neumans, trident console etc. a bunch of soviet era equipment. very rare stuff and also room about the size of half a basketball court filled with all types of keyboards and synth. 

I think he might of gotten more money or roaylties maybe?

anyways. fun hollywood story. I saw him when he finally closed the studio and he was taking out bomb factory t shirts for donation and i asked him if i could take some.. he said yes.. and for about 15 years thats all i wore because i took so many lol


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## Zanshin (Nov 12, 2021)

Emmanuel Rousseau said:


> I laughed because I agreed :D


Just came to say - I love Brian Eno too. That is all, carry on.


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## gsilbers (Nov 12, 2021)

reborn579 said:


> oh, i understand the difference. it's the language barier, i guess. in romanian there's just one word for both types.
> 
> but i am refering here to _trailer pieces._so, stuff like what audiomachine does.
> 
> thanks for the answer. it seems like this is the consensus - that it's usually more than one track in a trailer. so i guess it really is a good job from the editors, because many times you really can't tell.



Maybe i can chime in. 

There are several trailer per AAA movie. AAA refering to mostly a MPAA rating for secrecy/piracy/high end movie. clearing mpaa AAA is quite a feat. FBI background checks etc. I feel now the FBI nows me pretty well sincei worked in high end stuff. i think just wrting this might get me fine like 250k lol. some crazy rules. 

anyways. big trailer houses work with the marketing team of the big studios. normally its Trailer Park in LA. 
IF there is a specific thing with the music then theyll get composers demo and do a unique piece tailored for that release. 
If its a normal trailer then they do work with trailer music libraries using the latest releases. The releases are specific for them and later they do those albums. They try to get new and hot tracks to the music supervisors at Trailer park. 
Sometimes they use just a chunk, other times they use the whole thing. mostly depends on the brief of the styles of the trailer. But it still pays very well. sandly its the same deal as custom. the trailer music houses reach out to specific composers to make specific stuff for upcoming releases. 
And it all happens because they know the music supervisors and prodcuers at trailer park since they do parties and events, work together etc. they ask them what they like or what they dont like. they also trust those music libraries that the music is original, no issues with license and will charge the right amount. Telling the wrong price for your music will inmedialty disqualify you. asking too much or too little i mean. 

Also AAA movies have about 6-10 trailers. then another 6-10 trailer for international release. These are called Trailer A, trailer b, c, d etc. they show a little or more at time. each one paying a little different. 

it pays well. but its really hard to get in that circle. i think i got about $2000 for a couple of sfx hits on one of those big trailers. and it wasnt even like amazing stuff. plenty of sample libraries have similar stuff but they needed something somewhat specific. 

then there are network or streaming trailers. sometimes they use the theatrical or use parts of the theatrical or they hire a different trailer team to do custom stuff for their network. those are normally regular library tracks. i dont think it pays that well as aaa trailers. 

always, pricing in los angeles is extremely closed held secret. specially for high end and network stuff. Thats where sales people live. they live and breath this stuff and make sure no one else knows.


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## paularthur (Nov 12, 2021)

Dan Graham wrote a book about the biz that's, he's very helpful, especially if you're in the beginning of your career or just get started. 
Mark Petrie is also another gentleman you could look up, he's written about his experience. He's one of the best in the game.


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## reborn579 (Nov 12, 2021)

gsilbers said:


> Maybe i can chime in.
> 
> There are several trailer per AAA movie. AAA refering to mostly a MPAA rating for secrecy/piracy/high end movie. clearing mpaa AAA is quite a feat. FBI background checks etc. I feel now the FBI nows me pretty well sincei worked in high end stuff. i think just wrting this might get me fine like 250k lol. some crazy rules.
> 
> ...


a lot of insight here. thanks a lot! i can imagine it's quite an elite club and hard to get in, especially for someone from romania - like me.



paularthur said:


> Dan Graham wrote a book about the biz that's, he's very helpful, especially if you're in the beginning of your career or just get started.
> Mark Petrie is also another gentleman you could look up, he's written about his experience. He's one of the best in the game.


i will check out these two names and see what i find. thanks so much!


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## Emmanuel Rousseau (Nov 12, 2021)

reborn579 said:


> i can imagine it's quite an elite club and hard to get in, especially for someone from romania - like me.


The trailer music industry is quite different and accessible in that matter, people are working from all over the world. If you can make high end stuff at a spectacular speed, you can work in the trailer music business.


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## gsilbers (Nov 12, 2021)

reborn579 said:


> a lot of insight here. thanks a lot! i can imagine it's quite an elite club and hard to get in, especially for someone from romania - like me.
> 
> 
> i will check out these two names and see what i find. thanks so much!



well, the music libraries are the one who reach out to anyone in the world with talent. Normally its someone who has a track record of placements. Like anything in hollywood, its a catch 22. you gotta have placements to get placements.

so keep reaching out companies (small and medium and large) with placements and pitch your music and get in there. with every placement u get update your website and portfolio and every time you have new music write that u got placement in the email pitch about your new music.
rinse and repeat


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## Markrs (Nov 12, 2021)

reborn579 said:


> a lot of insight here. thanks a lot! i can imagine it's quite an elite club and hard to get in, especially for someone from romania - like me.
> 
> 
> i will check out these two names and see what i find. thanks so much!


Dan Graham's website is:



The Composer's Guide to Library Music



There is also a Facebook forum as well.

A Composer’s Guide To Library Music Discussion


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## reborn579 (Nov 12, 2021)

Emmanuel Rousseau said:


> The trailer music industry is quite different and accessible in that matter, people are working from all over the world. If you can make high end stuff at a spectacular speed, you can work in the trailer music business.


that's a fair point, yes 




gsilbers said:


> well, the music libraries are the one who reach out to anyone in the world with talent. Normally its someone who has a track record of placements. Like anything in hollywood, its a catch 22. you gotta have placements to get placements.
> 
> so keep reaching out companies (small and medium and large) with placements and pitch your music and get in there. with every placement u get update your website and portfolio and every time you have new music write that u got placement in the email pitch about your new music.
> rinse and repeat


yes, that's the plan.




Markrs said:


> Dan Graham's website is:
> 
> 
> 
> ...


i'll check these out! thanks so much again!


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## JohnG (Nov 15, 2021)

chillbot said:


> From what I've seen it can be anything from $10k to $50k to license a track depending on the length of use... i.e. sometimes trailers license 4-5 different tracks, some of them for only :10 seconds others for maybe a full 2+ minutes. And then I've heard up to $250k+ to license a hit song or well-known track, depending on...


This is also what I've seen ^^


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## josephwmorgan (Dec 13, 2021)

There’s some good info here, and then some general info that’s close but not entirely accurate. 

Without getting too specific I’ll say $40-60k is a pretty common price point for AAA games and movies. It really varies on the studio and how much $$ they’re putting into the marketing campaign. Lowest I’ve personally seen is prob $15k and highest is $100k


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## reborn579 (Dec 14, 2021)

the problem is actually getting the music in front of the right people.


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## jcrosby (Dec 14, 2021)

reborn579 said:


> the problem is actually getting the music in front of the right people.


Just start emailing companies. With the amount of streaming, on top of films and games The trailer market has become quite competitive, but at the same time full of opportunity. Many libraries are willing listen even if you don't have an impressive list of placements currently...

No you're not going to land a gig writing for Audiomachine, Position Music, or any of the 'household name' libraries we all know, but do some searching and reach out to some of the more niche/bespoke trailer libraries.

The one thing I'd recommend is really listen to any tracks you can find by a library, then ask yourself if your tracks are up to par...

If the library follows a particular arrangement style (many do), think about writing or adapting one or two tracks to fit the arrangement style you notice. Especially pay attention to tracks/labels where the music has a 3 or 4 act _story_ arrangement. These can easily be some of the hardest tracks to write, it seems deceptively simple, but building tension/excitement, and pacing things effectively so the track continually grows, evolves and builds to a climax is a lot more nuanced than it seems.

If you do reach out send no more than 3 tracks, and make sure you really feel they're the 3 strongest tracks that really stand up to the genre, and/or vibe of the library... Even if you get rejected they'll most likely write back with feedback about your track, (as long as you're not sending them hip hop  - and yes - this **really* *does** happen often enough. I've gotten pretty friendly with someone who screens a lot of tracks for one of the libraries I write for, and they get submissions like this all of the time; submissions that just make no logical sense... Both form the library's and composer's perspective.)

TL;DR vet the library. If you send them something in the wheelhouse and they reject it, be humble take their feedback to heart, consider even trying to adapt the changes they suggest and listen to it with an open mind. Over the past few years I've really come to appreciate just how much more self aware critiques have made me about the quality of anything I send in as a 1st draft...


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## Pier (Dec 14, 2021)

Alchemedia said:


> Microsoft paid Brian Eno $35,000 for the Windows 95 startup sound.


One hell of a marketing job!

Edit:

What I mean is that that sound is probably one of the most recognizable audio branding of all time. Up there with Netflix's ta dum, the Mac's startup, and the Nokia melody.


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## reborn579 (Dec 16, 2021)

jcrosby said:


> Just start emailing companies. With the amount of streaming, on top of films and games The trailer market has become quite competitive, but at the same time full of opportunity. Many libraries are willing listen even if you don't have an impressive list of placements currently...
> 
> No you're not going to land a gig writing for Audiomachine, Position Music, or any of the 'household name' libraries we all know, but do some searching and reach out to some of the more niche/bespoke trailer libraries.
> 
> ...


thanks for the generous feedback!

yes, i did send out quite a lot of emails to companies. it's just that i found it's quite difficult to get a response from cold emails. even if i write them in a professional manner (so i'm not spamming everyone). 

don't want to turn this into a complaining thread, but it really is quite difficult to get your stuff out there. but i guess everyone on this forum knows this - it comes with being an artist, really 

thanks again!


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## FrozenIcicle (Dec 22, 2021)

jcrosby said:


> Just start emailing companies. With the amount of streaming, on top of films and games The trailer market has become quite competitive, but at the same time full of opportunity. Many libraries are willing listen even if you don't have an impressive list of placements currently...
> 
> No you're not going to land a gig writing for Audiomachine, Position Music, or any of the 'household name' libraries we all know, but do some searching and reach out to some of the more niche/bespoke trailer libraries.
> 
> ...


Any companies you recommend?


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## MeloKeyz (Dec 26, 2021)

It took Mark Petrie 7 years to just get to the level where he was ready to start producing for trailers. These are his words, not mine. Go read his soundcloud's bio. https://soundcloud.com/mark-22

Trailer music isn't easy and takes time. Your tracks MUST be of insane quality, not just high. And forget Audiomachine, Dos Brains and the like as these guys already have their own in-house writers. I emailed them dozens of times with no response at all. I gave up with them, I just listen to their music, nothing more.


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## BenG (Dec 26, 2021)

reborn579 said:


> thanks for the generous feedback!
> 
> yes, i did send out quite a lot of emails to companies. it's just that i found it's quite difficult to get a response from cold emails. even if i write them in a professional manner (so i'm not spamming everyone).
> 
> ...


Everything takes time and I only got 2-3 responses after 100 emails when starting out. Some things that helped me;

1. Hone your craft and emulate AAA trailer music. Your tracks should be at the same level as to who your pitching! 

2. Stick to the standard trailer form. Make sure your track has the intro - build - climax 1/2 - outro

3. Read Dan and Emmetts book on trailer music. A clear how-to guide on breaking into the industry and making a career out of it

4. Join that ‘Trailer Music Composers Support Group and make friends! It’s a small community and that’s how I got into some great relationships with publishers.

4. Try starting out with production music which is easier to get into and can even rate more income over time.

5. Patience! It takes on average 3-5 years to begin making a living from trailer music for the best of them. There’s no rush and you can work other things in the meantime  

As for fees, it’s all over the map like others have said and it ranges between $5k to +$100k for customs. 

God speed!


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## Virtuoso (Dec 26, 2021)

Alchemedia said:


> Microsoft paid Brian Eno $35,000 for the Windows 95 startup sound.


See, it's all about who you know. Franz Schubert got jack shit for the Samsung washing machine end of cycle melody.


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## MeloKeyz (Dec 27, 2021)

Virtuoso said:


> See, it's all about who you know. Franz Schubert got jack shit for the Samsung washing machine end of cycle melody.


Are you serious?
I thought that end of cycle melody was done by some Kindergarten kid.

Where can I find these easy jobs please? lol


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## davidson (Dec 27, 2021)

BenG said:


> 3. Read Dan and Emmetts book on trailer music. A clear how-to guide on breaking into the industry and making a career out of it


Which Emmett book is that?


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## Living Fossil (Dec 27, 2021)

MeloKeyz said:


> Are you serious?
> I thought that end of cycle melody was done by some Kindergarten kid.
> 
> Where can I find these easy jobs please? lol


If you create something that has around 0.002% of the quality of Schubert's Forelle in your lifetime, then you are really, really good. But it's unrealistic that you will reach that level (of 0.002%-Forelle).
No offense.


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## MeloKeyz (Dec 27, 2021)

Living Fossil said:


> If you create something that has around 0.002% of the quality of Schubert's Forelle in your lifetime, then you are really, really good. But it's unrealistic that you will reach that level (of 0.002%-Forelle).
> No offense.



You misunderstood me @Living Fossil !
I didn't say what I said to offend such a genius composer like Schubert. Who am I to do that? I just thought that someone else (who is normal not so talented person) came up with easy melodies in washing machines. After all, we spend most of our times creating even more advanced melodies than in washing machines. In fact, the end of cycle tone in a washing machines is actually a MOTIF not even a melody. If LG or Samsung asks me to do that, I have hundreds of ideas for their machines


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## Living Fossil (Dec 27, 2021)

MeloKeyz said:


> If LG or Samsung asks me to do that, I have hundreds of ideas for their machines


Honestly, i think it's extremely difficult to write a melody that is in the same time as simple, as beautiful, as memorable and well crafted as the tune of the Forelle.
Simplicity is often quite the opposite of banality; it's sometimes rather the pinnacle of complexity.
Maybe you can post some examples of melodies you think are comparable in their simplicity yet memorability but don't sound clichéed, i'd be genuinely interested to hear them.


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## BenG (Dec 27, 2021)

davidson said:


> Which Emmett book is that?


Ah, sorry! It is called ‘The Business of Music Licensing’. A fantastic read


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## MeloKeyz (Dec 27, 2021)

Living Fossil said:


> Maybe you can post some examples of melodies you think are comparable in their simplicity yet memorability but don't sound clichéed, i'd be genuinely interested to hear them.


I can't promise you to post melodies like Forelle but I promise you to post melodies like the end of cycle in a washing machine


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## creativeforge (May 27, 2022)

Pier said:


> One hell of a marketing job!
> 
> Edit:
> 
> What I mean is that that sound is probably one of the most recognizable audio branding of all time. Up there with Netflix's ta dum, the Mac's startup, and the Nokia melody.


And the main TED theme...


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## AlterNate (Jul 16, 2022)

I know I'm probably late to the party, but here are my 2 cents since trailer music is something I've been doing for the last decade. I too, like yourself, were on VO Control trying to find intonation about it back in the 2010 and trying to find out how much you get paid, how do you get in, how to pitch it to the publishers and get accepted.

Since I'm also a publisher, I'm going to respond to you also from publishers viewpoint.

Back when I started, the market wasn't that much saturated. There were few big names libraries you dreamed of working for them and a few of those just starting out. The entry point regarding quality wasn't that high as it is today. I've started working for Colossal Trailer Music when they just started out (albeit they've had different name then) and did a good amount of tracks for them. Of course, now they are powerhouse.
I also finally got some placements, but by that time I've spent over 3 years composing and my music still didn't sound as professional as those big name composers out there.

So I've spent around a year working like crazy trying to figure out trailer format, sound design, structure of the track and stuff like that. Fast-forward, I've worked for all those big name companies people pointed out in this topic. And I've had a lot of success and got some pretty big placements.

Now I own publishing business and I get at least 3 or more new composers submissions daily. Few things I've noticed submissions were having problems with (and these ones are in order of importance):

- Structure: Orchestral songs, hybrid ones and also sound design - they all had problems with the structure. Trailer music has a certain set of rules regarding structure. Of course, rules are there to be broken sometimes, but generally - these rules are there to help editors with cutting points and to make their lives easier. I would suggest watching A LOT of trailers and just focus on music. How does it build? Where are the stopdowns?
There is a lot of "trailer music" on YouTube which actually isn't trailer music. It doesn't follow trailer music format and it's mostly dramatic orchestral songs trying to pass as trailer music.

- Production: 90 % of the tracks I receive don't have a really good mix. The problem is - to do trailer music, your production side has to be really, really good. Even though we are one of the few publishers out there that do mixing and mastering in house for our albums, I can't make shit smell like a pie (excuse my French). We all aim for that main trailers that will end up playing in cinema on those huge speakers. If the production is bad, there's no way they'll even consider your music for the trailer, even if it's the best sounding thing ever.

- General approach: all of trailer music publishers like to work with people that are easy going and do not create problems. Doing trailer music is a lot of WIP (work in progress). The final version you hear on album can range from WIP05 to WIP15. Good publisher will make you work like crazy to achieve that final version and get your song on the album which is not a bad thing. You definitely become better by doing those reworks and next tracks won't have a lot of WIP. The problem is that there are a lot of TV libraries out there trying to pass as "trailer music" and they'll accept just about anything without small to none inputs. When you move on from them (since you don't get any placements, of course) and contact other publishers and realize how much they are pushing you, some people don't like that. They get attached to their songs or something like that or they are thinking you are butchering their tracks. Even after decades of work, it doesn't happen often for me that I do WIP01 and immediately get accepted.

- This is a business: ...and I'm continuing what I've written above. Doing trailer music with all those rules and formats, it sometimes feel like it's a trapped box and we are all trying to figure out and do something unique and fresh in that box of rules. Doing trailer music albums, good publisher is there not just to pitch your music, but to nurture your songs and to try to get them as close to that perfection while having business side of things in mind. You are doing music for client. You are creating something for them and trying to make their life easier by having the most amazing track with stopdowns that are spot on and the backend (large epic part) that melts faces. 
If you are searching for a business that will fill your creative need, this is not business for that. Yes, you compose and sometimes you might think you've created amazing harmonies and sweeping legato lines and feel good about it just to have publisher send you input that says: "It is too busy, it moved out of trailer music, make the melody less busy...", or something like that. It can be disheartening, but like I've said - this is business and publisher is trying to make the track fit that format and, after years of working with clients, they know what those clients want or not.


With all of this being written, if you still find yourself wanting to do trailer music, it is a blast to do it. It's one of those genres where you can cobine everything into anything and you can test yourself at the highest level. 
If I was starting out today, I would try and find the owners of publishing labels and make them notice you. Not become friends with them, but like their status, comment a bit on them, be a good human being. After a while, when you contact them, they'll know who you are.
I've ended up working with people a lot of times just because they were cool and easy going human beings, not so much because of music. If there is passion and will to improve, the music can always be improved. If you are an asshile, that's something that's hard to change.

This is the longer path than sending music directly to their inboxes, but it is a much better way for sure. We are all super busy, cursing that day has only 24 hours and are always searching for people we can rely on. If I need a track in 3 days and I know that, if I tell you that, I'll get that track in 3 days, that makes my life so much easier. It's a marathon, not a race.

Well, that's about it what I've wanted to write. Hope this helps. Like always, we are all searching for amazing music. If you have amazing track, everyone will sign you. But if you are just starting out, doing what I've written above has worked wonders for me.


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## FrozenIcicle (Jul 18, 2022)

AlterNate said:


> I know I'm probably late to the party, but here are my 2 cents since trailer music is something I've been doing for the last decade. I too, like yourself, were on VO Control trying to find intonation about it back in the 2010 and trying to find out how much you get paid, how do you get in, how to pitch it to the publishers and get accepted.
> 
> Since I'm also a publisher, I'm going to respond to you also from publishers viewpoint.
> 
> ...


Soooo how much?

Jks thanks for the post


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