Realistic Orchestration in Trailer Music

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  • #39055 Reply
    abellboy
    Participant

    I recently watched a video of someone constructing a track with a 12 Horn Sample playing 3 note chords…. so…… 36 horn players!!!!

    I have done trailer tracks that have gotten signed by two decent libraries, so I know I’m not THAT crazy, but I always try for realistic orchestra sizes….. I’m just wondering is this type of attention to sizes going to become “too weak” for trailer?

    I must admit, the track the person was creating sounded good…. just, not realistic. I just thought I’d solicit people’s opinion of this practice.

    Sometimes breaking the “rules” is refreshing, just wondering if this is common enough in trailer to not be an error, or are my ears fooling me (wouldn’t be the first time!)

    #39060 Reply
    Dannyc
    Participant

    realism is often not that important in trailer music but it does need to sound big and impactful. how you get there is up to you. whether its layering 4 super saw synths on top of your brass or whatever what matters is the end product. will your track carry the trailer.

    #39073 Reply
    Art Munson
    Keymaster

    I’m posting this for Mark Petrie as he was having a problem replying to this thread.

    There’s no need for realism with trailer music as Danny said. What’s most important is emotional impact, production value authentic to the expected sound of trailers, hooks, and a development / arc that threads a needle from the opening act to the finale.
    I know what you mean though – we’re often told with most other gigs that we should try to create mock ups that closely resemble what a real ensemble would sound like. With trailer music, I’ve been told directly numerous times to break all those rules – as long as it adds power (often adding more ingredients makes things less powerful) throw it in. For example, I used to think it was a no-no to have strings playing long notes at the same time as arpeggio parts. These days I just try to make sure there’s enough room, that every part is compelling on its own (in case editors play with the stems and make something much louder than I intended), and that each part is adding something of value / power.

    #39099 Reply
    rikp
    Participant

    Unless it is going to be recorded by a “real” orchestra I would not worry too much about it.

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