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wow I didn’t have time to listen to an hour of this, but skimming through, here’s my rebuttal:
A lot of the criticism is directed at trailer music. Actual TRAILER MUSIC (as in, the music in trailers) is far more innovative than most people think. We’re not talking about the stuff playing behind Cake Boss – that ‘epic’ sound is cheapened by overuse in everything from sausage ads to reality TV shows. It sometimes creeps into TV spots (the short TV ads for movies) but generally there’s a demand for innovation and something a little different in most trailers.
Secondly, trailer music doesn’t usually use construction kit style loops. Maybe the odd Damage loop makes its way into a TV spot, but that’s rare too these days.
I think it’s generally lazy thinking to throw trailer music under the bus, to consider it as braams and slams. That’s more what people put together when they’re attempting to make ‘epic trailer music’.
Check out some of the latest trailers for examples of innovation, especially ones for films made by artistic studios like A24. There’s much less ‘playing it safe’ than this discussion would make you believe.
In fact, I’d go as far as to say a lot of trailer music is more innovative than a lot of blockbuster film scores. Definitely more innovative than most TV scores.
The biggest problem in my opinion is aggressive price dumping by writers. It’s writers undercutting writers with ridiculously low prices. When you see highly skilled music producers who are the top selling artists on certain sights dumping their prices down to $5…well….that’s just pretty pathetic, and problematic. Again revisit “artists themselves destroy our business” thread. Composers are their own worst enemies.
A lot of the criticism is directed at trailer music. Actual TRAILER MUSIC (as in, the music in trailers) is far more innovative than most people think. We’re not talking about the stuff playing behind Cake Boss – that ‘epic’ sound is cheapened by overuse in everything from sausage ads to reality TV shows. It sometimes creeps into TV spots (the short TV ads for movies) but generally there’s a demand for innovation and something a little different in most trailers.
Mark, I have heard your work, and “Your Stuff is innovative”; but for the most part the genre/style is pretty-much cookie cutter right now..
I haven’t heard the whole webinar yet, but so far it just sounded like a bunch of griping.
Yes, The Cream will Rise to The Top. As well, it seems that the “majority” of the loop-based, and Fast-Food Beatmakers are getting stuck somewhere around the Lower-mid & Mid Tiers.
This type of saturation is not happening in the top-tier, and I’m literally turning down Libraries right now..
I think trailer music was just picked for conversation sake. And many of the callers were initially talking about sample libraries rather than music libraries. When the conversation redirected to music libraries the callers tended to be more unsure.
i think it was a bit insulting to trailer composers and music sups that they think that damage loops banging out on a keyboard is anywhere close to proper trailer music. trailer music more than anything is about nailing a feeling and a tension. you often find those who criticize it just cant do it very well. Daniel would be very much of the school of Thomas Bergersen which is far more thematic and melodic as a style and is very dated these days hardly ever placing in trailers. TSFH will always be legends but its moved on since then.
i think it was a bit insulting to trailer composers and music sups that they think that damage loops banging out on a keyboard is anywhere close to proper trailer music.
I COMPLETELY understand!
I feel like this.. If you don’t know a Genre, leave it alone. Don’t make Insipid, Dumbed-Down Music; and then make excuses as to the genre being basic, mindless, or rudimentary.Tons of crud out here from people that have no respect for genres outside of their scope, but love collecting the check..
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