Tag Archives: music library

Alibi targets trailer editors with Sorcery music collection

Alibi Music Library has released Sorcery, the newest collection in its recently launched ATX catalog for high-end theatrical trailers and TV series. From epic magical quests and enchanted journeys to fantastic family adventures and whimsical mysteries, Sorcery is a collection of orchestral trailer cues that embody the unique sensibilities of such films designed to create an instant emotional link among viewers. Users can sample the new album here.

René Osmanczyk

ATX’s Sorcery, which features 10 tracks along with numerous stems and alternative mixes, was composed by long-time Alibi partner René Osmanczyk of DosComp, whose goal was to write a family-friendly, adventure-steeped album inspired by the soundtracks to Avatar and the Harry Potter franchise. Each of the 10 tracks has five different mix versions as well as stems for every instrument group so that clients can create their own custom mix versions.

“I wanted melodies that take you on a musical journey through each track, plus the classical trailer build that every cue has,” Osmanczyk explains. “I started composing this album in June, a process that took a bit longer since it was written for full orchestra.”

In terms of tools, he used the Steinberg Cubase 10 DAW and Native Instruments Kontakt 6 as the main sampler. “When it comes to libraries, I used things like Cinematic Studio Strings, Cinematic Studio Solo Strings, Cinematic Studio Brass, Berlin Strings, Orchestral Tools harps, various Hans Zimmer Percussion, Trailer Percussion and also self-crafted hits, etc. … Oceania choir, Berlin Woodwinds and many other things.”

Alibi VP/creative production Sam Wale adds, “What René ultimately delivered will provide trailer editors with some pretty amazing options. I would describe Sorcery as majestic and magical, epic and emotional, haunting and heartwarming.”

Alibi’s music and sound design has been used to promote projects such as the film Once Upon A Time… In Hollywood and the TV series American Horror Story.

Tips for music sourcing and usage

By Yannick Ireland

1. Music Genre vs. Video Theme
Although there are no restrictions, nor an exact science when choosing a music genre for your video content, there are some reliable genres of music for certain video themes.

For example, you may have a classic cinematic scene of lovers meeting for the first time. These visuals could be well complemented by a more orchestral, classical production, as generally there is a lot of emotive expression in this sort of music.

Another example would be sports video paired with electronic music. The high-adrenaline nature of electronic genres are a match made in heaven for extreme sports content. However, I would like to echo my first sentiment about there being no restriction —you may well choose to use something so unconventional that it creates a shock reaction, which may indeed be the desired effect.

But if you want subconscious acceptance from your viewers that the music really suits your imagery and that they were meant to be together, do some research of successfully similar content and from there you will be able to analyze the genre and attempt to replicate the successful marriage yourself.

2. Instruments for Feelings
Now let’s go a little deeper with the first tip and single out the instruments themselves. Two tracks of the same genre may have completely different instrumentation within their construction, and this could be relevant to your production.

If a filmmaker is working on something cinematic, then pieces of music with an instrumental solo could be invaluable for the feeling you are trying to convey. There have been scholarly articles on this subject with a more psychological investigation for the reasoning behind how certain emotions are triggered by certain instruments… but let’s keep it simple for now. For instance, music box sounds, xylophones and bells have always invoked the feeling of youth or enforced a child-like context in a production, especially as single instruments.

But remember, just because you have decided on a genre for your theme does not mean any good quality track will do. Listen to its makeup and content. Does it fulfill your intention?

3. Keep it Simple
A relatively easy, yet extremely important tip: don’t get an overly congested or epic-sounding track. Going orchestral and epic is fine for a similarly grand moment in your film, but when pairing any audio to video there is always a great danger of drawing the viewer away from the production itself due to overly intrusive music or audio.

Music is supposed to aid and complement your production, not draw you away from it. So even if the track sounds amazing and full at first listen, be aware of its potential to ultimately be detrimental overall.

4. Does the Track Change With Your Content?
Video productions generally change throughout their linear journey, and maybe your music should too. The obvious example of this would be the audio and video both reaching a crescendo together at the production’s conclusion.

In music, there is not always the formula of starting at “A” and finishing at “B,” because modern electronic and instrumental productions have very different middle eights or bridges. The fact that the music may switch up somewhere within the middle may be ideal for your video’s timeline, so perhaps you want to break the mold and change the vibe or content somewhere in the middle of the project. Certain tracks could help you do that seamlessly.

I would like just to suggest you think past the ideal genre and instrumentation, and that you really think about how the track is executed and if it is the best option for your production. The right music can enhance a video project more than anticipated and filmmakers should really get the most out of their audio.

5. Get a Second Opinion
Even working under certain guidelines and being prompted to think a certain way when sourcing music, it is always worth getting a second opinion to see if your experiences with the music are shared. Odds are that with a little extra time, you will find something much better than you may have done choosing something that sounded “good enough.” But never devalue a quick opinion check with your peers.

So, What’s Next?
Now that you know what to consider when browsing music and what potential
attributes to look for (and what to avoid), the next question is, “Where do you get your audio?”

So let’s say you have an ideal, familiar track in your head that would perfectly suit your production. The problem is maybe that’s a famous artist’s track that would cost thousands of dollars to license. So that’s a non-starter. But don’t you fret. Fortunately, there are now affordable and quality alternatives thanks to royalty free music libraries — essentially stock music.

Video editors, filmmakers and content creators of all kinds can visit these libraries to not only buy the track they need, but also get an automated license provided to them immediately with the purchase. There is no contacting artists or record labels, no complications on royalty split or composition and recording terms – it’s simple and consolidated.

The good news is there are plenty of these libraries around, but do your due diligence – and make sure the audio is high-quality and the pricing structure is simple.

High-quality music is incredibly important for all creative video productions. Now it is abundantly available and, not at extreme costs.

Yannick Ireland (@ArtisoundYan) is a musician, music producer and founder of Artisound, which is based in London.

Killer Tracks launches production music label for promos, trailers and more

Killer Tracks, an online resource offering pre-cleared music, has started a new label, called Icon, featuring music for movie trailers, television promos, advertising, sports, games and other media.

Frederik Wiedmann

The initial release includes 16 albums created and produced by award-winning composers Frederik Wiedmann and Joel Goodman, the founders of independent music producer Icon Trailer Music. The collection runs the gamut from orchestral scores to electronica.

After initially focusing on orchestral trailer music, Wiedmann and Goodman have recently been expanding beyond that niche, creatively and conceptually. “We spend a lot of time researching trends and market demands,” says Wiedmann. “We anticipate where the market is headed and are working with edgier and more contemporary styles.”

Joel Goodman

Whenever possible, Icon records with live orchestras, choirs and musicians. It also produces music with editorial in mind, creating tracks with numerous edit points, creating alternate mixes, and providing stems and musical toolkits. “We deliver lots of components that are useful to picture editors,” Goodman notes.

Wiedmann won an Emmy Award for the animated series All Hail King Julien. His credits also include the series Miles from Tomorrowland (Disney) and Green Lantern: The Animated Series (Cartoon Network), as well as the films Justice League: Flashpoint Paradox, Hostel: Part III, Mirrors II and Hellraiser: Revelations.

Goodman has more than 140 film and television credits, including the acclaimed PBS documentary series American Experience, for which he wrote the main theme. He has also scored more than 30 films for HBO, including Saving Pelican #895, for which he won an Emmy Award.

Megatrax offers new music catalog for TV shows and spots

Megatrax Production Music’s new original music catalog, Track Distillery, offers a variety of genres with musical elements designed for underscore and background in TV shows and commercials.

Each 2:00 cue has edit points at :60, :30, :15… all the way to :05. Track Distillery tracks come with a full mix and a stem for every musical element within each cue, ready to remix, rearrange, or take back to basics.

Producer Derek Jones says, “Track Distillery responds quickly to trends, requests and changes within the industry.  As one example, we have a full album of Nortec. Nortec is an emerging style of hard techno that fuses elements of Norteño, Tambora and Banda, and we have 12 full tracks (63 total tracks) of it out before the trend has peaked.”

Track Distillery offers “stripped down” productions, for use in reality TV show underscore and TV commercials. All of the music in Track Distillery is designed with builds, stops, breaks and sting endings. None of the tracks feature melodies or melodic instruments; all the cues are designed as beds to support scenes instead of overwhelming them. The catalog features music from veteran and emerging composers, including Peter Bateman, Sunna Wehrmeijer, Eddie Wohl, Mike Plas, Ivan Virijevic, Michael “Nomad” Ripoll and David Sparkman, among others.

“Every album in Track Distillery has 12 cues,” says Jones. “All of them are in the same genre and the same specific direction. They vary in tempo, key and musical composition, but the palette of sounds within an album are the same because I am purposefully limiting the composers to using only the core musical elements specific to the style they are writing. The concept is, if you love one track but it doesn’t quite work for your spot, you’ll have 11 others on that album with that same sound and style to choose from.”

Track Distillery is available now and features 30 albums and a total of 1,524 tracks.

Behind the Title: Composer Peter Brown

NAME: Peter Brown

COMPANY: Proctor, Vermont-based Trakhause

It’s an original instrumental music library for videos, film and multimedia.


Composition, instrumental performances, recording/mixing and engineering of every detail Continue reading