Trailer sound design cues

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    Hi guys,
    I’m a sync composer for television and have been used to the protocol of submission to various publishers.
    Lately I’ve been recording instruments and sfx but would like to pitch it to trailer music publishers, either just the raw sound or designed textures.
    I’m not sure what the submission process is like or if this side of the Industry only goes through agents.
    Many thanks for any sort of insight you could hand me ?

    Art Munson



    I’m far from an expert, but I have had trailer tracks signed to some reputable libraries with placements.

    In pursuit of this I have submitted to lots of trailer houses and only recall one having an “elements” or “effects” type of album and they were done by “staff” composers.

    If I were in your position I would:

    1) Think about turning your raw sounds into a Kontakt sample library under the adage of “selling mining pans and shovels during a gold rush”.

    2) Just submit to the “contact me” sections of trailer libraries with a private streaming link to your sounds. State that you have these effects and textures available for license.

    Honestly I would lean toward option 1 because when we submit any track to these houses, we are always submitting stems. These stems have pads/atmospheres and textures as well as a variety of percussion and FX tracks.

    Just my thoughts


    Hi Anthony,

    Really appreciate it, thanks so much, that gives me alot to consider and arm myself with.
    If I could enquire further…

    1) when you say creating a Kontakt library, is this to pitch to a trailer library as well or to market something separately on a samplepack publisher.
    I’m currently with BigFishAudio and A Sound Effect, and I release music samplepacks with them, things I’ve recorded, edited, designed, looped but leaning more towards music production.
    My desire to approach trailer libraries is with sound effects, just interesting pings, clicks, booms and nothing really musical.

    2) Of what I’ve understood, it sounds like only designed effects and Textures are to be pitched, and not at all raw recorded cleaned audio?






    Hi Rishhad,

    So sorry this took so long to get back to you.

    1) Yes. You are essentially doing what I was suggesting with he samplepack stuff with Bigfish. Perhaps (if they aren’t already) turn the sample packs into Kontakt instruments that are playable so they are less “samplepack” and more “instrument”.

    2) You are correct. I should have been more clear. When I say “submit” I was referring to after the track was accepted and they are ingesting the track. At that point usually the final mix as well as stems are submitted.
    The tracks are pitched in thier final mixed and mastered form. Then, when accepted the companies I work with tend to want unmastered final mix, a few alts (ie. Final Mix minus Choir), and the stems or raw tracks.

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