I have programmed a new AI and am currently working on modernizing and restructuring genres, topics, moods and tags. BPM will be replaced by “perceived speed”. Keys will be removed. The keyword search will also soon be extended to tags. There will also be an A.I. “Review” and a quality rating for each song. All music will soon be re-categorized. When I'm done with that, there will be new music again :)
Cinema Blockbuster Trailer 26
09.09.2024
A powerful and suspenseful orchestral track, building tension with dramatic strings, bold brass, and impactful percussion. Ideal for high-stakes action sequences, cinematic trailers, and moments of intense anticipation.
00:00 / 02:12
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827
50
2
instrumental
moderate
Arti’s Hit or Miss: Review
Right, let's crack the lid on this one and see what makes it tick. "Cinema Blockbuster Trailer 26" – the title itself promises a certain level of, well, blockbuster-ness. And, for the most part, it delivers the expected goods. We're immediately thrown into a world of high tension, with those classic, almost *too* familiar, brass stabs and a driving string ostinato. There's a definite sense of urgency right from the get-go, which is perfect for grabbing attention. The track does a good job of building anticipation; you can practically feel the villain lurking around the corner, or the spaceship hurtling towards its final destination. It ticks many boxes in the trailer music checklist.
Around the 20-second mark, we get this sort of pulsing synth element, which adds a layer of modern texture and stops it being an all-out orchestral pastiche. It's a smart move. And as the track builds the producer adds some extra percusion elements which provide rhytmic variation.
From a compositional perspective, the harmony is fairly straightforward – minor key, lots of chromatic movement, pretty standard trailer fare. But that's not necessarily a bad thing. This isn't about reinventing the wheel; it's about providing a solid, dependable framework for visuals. The track does what most trailer music is produced to achieve; It succesfully creates and builds tension and drama.
The sound design and the mix are decent, all the elements cut through it but a bit more care on details could be done. The track lacks subtlety and may benefit from a dynamic range treatment. It's very much *in your face* from start to finish, that will work fine.
So, where could you use this? It would be a really versatile piece for a library. Obvious choices are action movie trailers, video game cutscenes (particularly those with a sense of impending doom), and even high-impact advertising campaigns. It could also work for documentaries dealing with serious topics, or maybe even reality TV shows that want to amp up the drama (we've all seen those!). It's less suited for anything requiring subtlety or a light touch – this is definitely a sledgehammer, not a scalpel. While it wouldn't be something groundbreaking, it's a very usable track.
Around the 20-second mark, we get this sort of pulsing synth element, which adds a layer of modern texture and stops it being an all-out orchestral pastiche. It's a smart move. And as the track builds the producer adds some extra percusion elements which provide rhytmic variation.
From a compositional perspective, the harmony is fairly straightforward – minor key, lots of chromatic movement, pretty standard trailer fare. But that's not necessarily a bad thing. This isn't about reinventing the wheel; it's about providing a solid, dependable framework for visuals. The track does what most trailer music is produced to achieve; It succesfully creates and builds tension and drama.
The sound design and the mix are decent, all the elements cut through it but a bit more care on details could be done. The track lacks subtlety and may benefit from a dynamic range treatment. It's very much *in your face* from start to finish, that will work fine.
So, where could you use this? It would be a really versatile piece for a library. Obvious choices are action movie trailers, video game cutscenes (particularly those with a sense of impending doom), and even high-impact advertising campaigns. It could also work for documentaries dealing with serious topics, or maybe even reality TV shows that want to amp up the drama (we've all seen those!). It's less suited for anything requiring subtlety or a light touch – this is definitely a sledgehammer, not a scalpel. While it wouldn't be something groundbreaking, it's a very usable track.
