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I just started dipping a toe into Trailer Music. I found some great info here at MLR so far. I must say a few Mark Petrie posts were invaluable!
My questions are,
Is there a standard length for trailer cues? 1:30 – 2:00?
And should each “act” be similar in length or longer in the finale?
Also when submitting trailer music to libraries, are different versions, lengths, stems, etc. usually required?Any info is appreciated.
Is there a standard length for trailer cues? 1:30 – 2:00?
Most libraries prefer 2:00 – 3:00
But it shouldn’t matter – one library I work with just says make the track as long as it needs to be, i.e. if the idea doesn’t need to be longer, it’s ok to have a sub 2:00 track.
The big prize in trailer licensing is to have a trailer use your entire track end to end, as that commands a big license fee. So it pays to have a track long enough to cover a whole trailer, just in case.And should each “act” be similar in length or longer in the finale?
I would suggest watching recent trailers that used instrumental music (a lot are using songs at the moment).
You’ll probably find that act 1 is around 40 seconds long, act 2 is about the same, act 3 and the finale is about 30. There’s often a cool down at the end too.
Your big 2nd act and massive / ridiculous 3rd act is more likely than the ambient 1st act to get used on TV spots (which usually use energetic music throughout), so I like to make those parts longer than necessary. You never know what a trailer editor will latch on to, so it’s a good idea to give them more than they need.Also when submitting trailer music to libraries, are different versions, lengths, stems, etc. usually required?
I wouldn’t do any of that until you send them the full version and get feedback. A successful trailer music company will likely have revisions for you – they usually do for me!
Every company is different, but I almost never make edits for trailer companies. If you’re delivering final files, it’s a good idea to make sub-mixes like no choir etc, and even mastered stems that can be summed together.
If the trailer music company is mixing your music, they’ll often want your unmastered stems. I prefer to give them basic, grouped stems to preserve the sound I’ve carefully created, but some companies like full control over your mix and need detailed tracks.Mark,
That’s great info. Thanks for sharing!
Although you don’t do edits, do you use stingers, hits, etc as edit points in your trailers?
Cheers guys!
Although you don’t do edits, do you use stingers, hits, etc as edit points in your trailers?
Yeah, if it’s an action track, it’s a really good idea to separate your crazy finale with some space, and even big final hits, so the editor can easily cut them out and use them as needed.
Mark,
I’m brand new to production music and I haven’t determined my directions yet, so I don’t actually know at the moment if I’ll be trying to place trailers, but I just want to join the others here in thanking you for being willing to share and taking the time to give detailed answers to these questions. Much appreciated!
Danny
Cheers guys!
Hey Danny, I don’t want to discourage you from doing anything you have your heart set on, but I thought I should emphasize that the trailer side of things is very competitive, and generally the production value has to be top notch. It’s taken me years to get to point where SOME of my work gets placed. Lots of people think that they can write trailer music because it sounds easy – musically it’s usually very basic, but where you earn your money is in the production… creating a huge sounding yet not squished track, and musically something familiar and authentic to the trailer ‘sound’ but not a cheesy knock off.
My advice is to spend some time going after lower hanging fruit, like TV performance royalties and royalty free sales, just because it could be hard to chase after trailer placements if you’re just starting out, especially with no residual income streams set up. If you’re writing for a music company that mostly targets trailers, then you’re probably not getting paid upfront, and will have to wait months (if not years!) to see income from it.
That all said, if you really have the chops to compete with what you hear on trailers today, go for it!
Hi, Mark,
I don’t have my heart set on any particular aspect of production music. I was just complimenting you on the obvious quality of your advice and for taking the time to give it.
I’ve been trying to write for the commercial song market for many years and quite honestly–even though I’ve had limited success–I’m having difficulty giving that up. I’m just beginning to look into and learn about production music. Believe me, I fully understand what I would be up against in producing a product that would be considered for a commercial movie trailer, but I’ve been facing pretty much the same thing in the songwriting market. If I do jump in, I will definitely go after the “low-hanging fruit” first. Thank you again for more excellent advice. You speak the truth.
Danny