TAXI.com

https://soundcloud.com/john-dale-music/ ... al_sharing

Lots of ACTION TRAILER INSTRUMENTALS (in a wide range of styles) are needed by a Great Music Licensing Company with lots of Film and TV placements.

This Library is looking for a wide range of Instrumentals in the general stylistic ballpark of the following references:

Civil War - Official Trailer HD

https://www.youtube.com/watch?v=aDyQxtg0V2w

Mission: Impossible – Dead Reckoning Part One | Official Trailer

https://www.youtube.com/watch?v=avz06PDqDbM

Twisters - Official Trailer

https://www.youtube.com/watch?v=wdok0rZdmx4

Please submit well-composed Action Trailer-Style instrumentals with an exciting mix of tension and high-powered energy throughout! Your submissions should have powerful and thrilling motifs with three "acts" that build to a climactic crescendo. Please craft your pieces around one central motif and create dynamics, interest, and forward motion by layering instrumentation in and out as the pieces progress. Orchestral instrumentation or Orchestral Hybrid instrumentation that's in the stylistic ballpark of the references will work best for this request. Please make sure that any virtual instruments or samples you use are high-quality, contemporary, and not dated-sounding.

NOTE: Orchestral-based arrangements with a modern edge OR Hybrid/Orchestral arrangements with elements such as synth pads, sub drops, growling bass, etc. could both potentially work. Just make sure there is plenty of exciting, action-packed energy!

Your submissions should be roughly 2.5 to 3 minutes long, give or take. Non-faded, buttoned/stinger endings will work best. Please do NOT copy the referenced artists or songs in any way, shape, or form. Use them only as a guide for tempo, texture, and tone. Do NOT submit any material with unauthorized samples of any other artists’ music, sounds, or any other form of media. Broadcast Quality is needed.

This company offers an EXCLUSIVE deal, so please be sure the Instrumentals you pitch for this opportunity are NOT already signed with any other Companies or Catalogs. Any sync fees will be split 50/50 with the Company. You'll get 100% of the Writer's share, and the Publisher will get 100% of the Publisher's share. You must own or control your Masters and Copyright to submit. Please submit as many Instrumentals as you'd like, online or per CD. All submissions will be screened and critiqued by TAXI. Submissions must be received no later than 11:59 PM (PDT) on Monday, May 20th, 2024. TAXI # S2405020CT

Hey John, what's striking me most about this piece is that you've got a bunch of stellar sounding trailer elements (booms, braams, drops, etc), but intermixed with those pro sounds (am I correct in assuming they are one-shots from a great sample pack? or did you make them yourself?) is a bunch of amateur and fake sounds. The strings, the trumpet fanfares, vocal stabs, all sound pretty flimsy and dated. Remember that a lot of these big trailer guys use real orchestras to record their pieces, or at least they used to. So if you're using virtual instruments, they need to sound competitive with the real thing.

Now, I know you're not gonna shell out $5K to get a one-night recording from the Boston Symphony Orchestra, but you'll definitely need to pony up some cash for better orchestral libraries if you wanna compete with the big boys in this style. Check out 8Dio for some great libraries that will run through Kontakt and see if a couple of those might help you turn the corner with the sonics on pieces like these.

~~Matt

VanderBoegh wrote: ↑

Mon May 13, 2024 7:24 pm

Hey John, what's striking me most about this piece is that you've got a bunch of stellar sounding trailer elements (booms, braams, drops, etc), but intermixed with those pro sounds (am I correct in assuming they are one-shots from a great sample pack? or did you make them yourself?) is a bunch of amateur and fake sounds. The strings, the trumpet fanfares, vocal stabs, all sound pretty flimsy and dated. Remember that a lot of these big trailer guys use real orchestras to record their pieces, or at least they used to. So if you're using virtual instruments, they need to sound competitive with the real thing.

Now, I know you're not gonna shell out $5K to get a one-night recording from the Boston Symphony Orchestra, but you'll definitely need to pony up some cash for better orchestral libraries if you wanna compete with the big boys in this style. Check out 8Dio for some great libraries that will run through Kontakt and see if a couple of those might help you turn the corner with the sonics on pieces like these.

~~Matt

What he said!

I have found that as competitive as the sync market is, the trailer end of the sync market is 100 times more competitive! I'm digging the composition (although I'm a bit scared that it might be too non formulaic - unless you find a specific publisher that wants that type of thing), but the sounds almost remind me of some of Joe Harnell's Incredible Hulk scores from the 80s. (These are excellent scores for their time, and Harnell was vastly underrated IMO), but unless you're asked to write something that sounds like 1979-1982, you'll be in trouble.

8Dio is a great place to look (and not that expensive compared to others)... a few others that come to mind for specifically that trailer sound include Audio Imperia and East West. And many times mixing and matching sections and articulations can yield vastly more realistic sounding pieces.

I wish you the best with it.
- Mark

VanderBoegh wrote: ↑

Mon May 13, 2024 7:24 pm

Hey John, what's striking me most about this piece is that you've got a bunch of stellar sounding trailer elements (booms, braams, drops, etc), but intermixed with those pro sounds (am I correct in assuming they are one-shots from a great sample pack? or did you make them yourself?) is a bunch of amateur and fake sounds. The strings, the trumpet fanfares, vocal stabs, all sound pretty flimsy and dated. Remember that a lot of these big trailer guys use real orchestras to record their pieces, or at least they used to. So if you're using virtual instruments, they need to sound competitive with the real thing.

Now, I know you're not gonna shell out $5K to get a one-night recording from the Boston Symphony Orchestra, but you'll definitely need to pony up some cash for better orchestral libraries if you wanna compete with the big boys in this style. Check out 8Dio for some great libraries that will run through Kontakt and see if a couple of those might help you turn the corner with the sonics on pieces like these.

~~Matt

Thanks, Matt. I appreciate you taking the time to comment and help. I will review 8Dio as you suggest. BTW, I used Spitfire Symphonic Brass (Pro Edition) and Cinematic Studio Strings plus Albion One. Best, John

macomposer wrote: ↑

Tue May 14, 2024 12:15 pm

VanderBoegh wrote: ↑

Mon May 13, 2024 7:24 pm

Hey John, what's striking me most about this piece is that you've got a bunch of stellar sounding trailer elements (booms, braams, drops, etc), but intermixed with those pro sounds (am I correct in assuming they are one-shots from a great sample pack? or did you make them yourself?) is a bunch of amateur and fake sounds. The strings, the trumpet fanfares, vocal stabs, all sound pretty flimsy and dated. Remember that a lot of these big trailer guys use real orchestras to record their pieces, or at least they used to. So if you're using virtual instruments, they need to sound competitive with the real thing.

Now, I know you're not gonna shell out $5K to get a one-night recording from the Boston Symphony Orchestra, but you'll definitely need to pony up some cash for better orchestral libraries if you wanna compete with the big boys in this style. Check out 8Dio for some great libraries that will run through Kontakt and see if a couple of those might help you turn the corner with the sonics on pieces like these.

~~Matt

What he said!

I have found that as competitive as the sync market is, the trailer end of the sync market is 100 times more competitive! I'm digging the composition (although I'm a bit scared that it might be too non formulaic - unless you find a specific publisher that wants that type of thing), but the sounds almost remind me of some of Joe Harnell's Incredible Hulk scores from the 80s. (These are excellent scores for their time, and Harnell was vastly underrated IMO), but unless you're asked to write something that sounds like 1979-1982, you'll be in trouble.

8Dio is a great place to look (and not that expensive compared to others)... a few others that come to mind for specifically that trailer sound include Audio Imperia and East West. And many times mixing and matching sections and articulations can yield vastly more realistic sounding pieces.

I wish you the best with it.
- Mark

Thank you, Mark for the encouragement and recommendations. Hopefully we all continually aspire to improve. I agree the trailer market is tough, but it's what I find myself drawn to do. All the best, John. Thanks again!