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Lately I am focusing on cues with an epic orchestral sound for trailers, video games, film, etc… Hoping to submit these to some of the higher end libraries when I feel they are ready.
I have several questions on this topic but I will ask just one to start. Specifically trailer cues, is there a set accepted length they should be that libraries are looking for?
I would listen to the cues at the bigger, exclusive libraries and compare my music to those cues.
Honestly, I do not know. I do not create that type of music. I have tried, but I do not have that skill set. I have listened to a lot of that music at exclusive libraries. The people who create that sort of music and do it well definitely have a gift.
I would love to hear some of your music if you do not mind sharing.
Yes, I think 1:40-2:30 is the best range to go for. No less then 1:30 for sure as Rob said.
While most trailer tracks are 1:40 – 2:30, I don’t think length is particularly important to getting licensed in trailers (libraries might insist on a minimum length though). Some of my most licensed tracks are less than 1:30. Anything over 2:30 is probably a waste – trailers don’t run longer than that.
What matters most is that you have a solid 3 act structure:
Act 1 the brooding beginning for when the audience knows nothing about what the movie is or what’s about.
Act 2 being the part where things start to ramp up and we learn what the conflict is, but the music is still usually underneath dialog.
Act 3 is the ‘balls to the wall’ fortissimo last 15-30 seconds that gives the trailer its climax, where the music is often out in front with no dialog on top.The hardest part to produce by far is the 3rd act – it requires coming up with thematic and production material that is strong enough carry from a small beginning to explode out in all its glory. It tests a composer’s skills in arranging, production and mixing to the extreme.
A unique and evocative opening 1st act and a well produced, exciting and original 2nd act might get licensed on their own, so those are still important. However, those are the ‘easy’ bits…very few composers can produce a solid kick-ass 3rd act and ending. Get that part right and you’ll be invaluable to trailer libraries and editors.
FWIW I’ve been doing trailer music for 7+ years, and I’ve still got miles to go, every day learning new ways to improve my 3rd act production and composition.
Thanks for the great info Mark. I thought the 3 acts was usually made up from several different cues and not just one unless custom composed?
I thought the 3 acts was usually made up from several different cues and not just one unless custom composed?
You’ll find that most trailer music companies want a composer to give them a 3 act piece, in the hopes that it will get used in its entirety for a trailer. When that happens, they can charge their top rate.
But you’re right, usually there are several tracks used in a trailer.
Mark thanks for the info. Do you also provide alt mixes for those companies?
And one more question if you don’t mind and its a little off topic, but what do you noticed the licence fee is after the split with the library you get most of the times?Thanks.
Do you also provide alt mixes for those companies?
Some of the companies I’ve worked with ask for very deep stems, i.e. practically every instrument on its own audio track, so that a top notch mixer can give it a pro mix. As you can imagine, it’s hours of work (listening back to each stem, naming it using a specific naming system for that client or mixer). Others that don’t hire a mixer still ask for each section stemmed out (strings, brass, synths, drums etc) in case years down the road a change is requested by an editor. I also provide alt mixes to these clients, like no choir, no drums, etc.
And one more question if you don’t mind and its a little off topic, but what do you noticed the licence fee is after the split with the library you get most of the times?
There’s a huge range in trailer music licensing, anywhere from $2K for a very short amount of music in a TV spot to $30K+ for a full length license for all media. It also depends on the company – they all have their own rates (at least in the US – the UK does things differently).
Libraries that don’t pay their composers upfront typically give 40-60% (50% is most common) of the license fees.
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