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 18
05.09.2024
An epic and dramatic orchestral piece with choir, building to a powerful climax. Perfect for a movie trailer, cinematic underscore or video game.
00:00 / 02:12
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choir
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Arti’s Hit or Miss: Review
Okay, let's talk about "Cinema Blockbuster Trailer 18." From the first moment you are in for some serious drama. Honestly, it’s like the soundtrack to a movie scene where the hero finally confronts the villain—or maybe when the underdog sports team is about to win. You know what I'm talking about? The musical composition works hard.
The initial choir melody is really something. It sounds great and grabs your attention, sets the tone. Then BAM! The big orchestral hits, the choir swells… it's pure cinema. Perfect, you would think.
But here’s the thing: it’s a bit *too* on-the-nose, you know? It’s like the composer watched every blockbuster trailer from the last ten years, took detailed notes, and then said, "Yep, let's do exactly that." There's nothing wrong with that, per se, it's production music after all. I mean, production music is all about giving clients what they expect, what they *know* works.
So the choir starts ethereal, almost sacred. Then it builds. You've got your classic string ostinatos—those repeating rhythmic patterns—driving the tension. And the brass? Oh, the brass is laying it on *thick*. And you cannot have a blockbuster trailer without some serious percussion, right? It’s all there: big, boomy hits, some metallic accents… The whole nine yards.
It's well-produced, no doubt. The mixing is solid, every instrument has its place. There is a good stereo, a good balance. You could drop this straight into a movie trailer and nobody would bat an eye. But that's also part of the problem. It blends in a bit *too* well. It does not have the "je ne sais quoi" that defines the real great ones.
It is not the kind of track that makes you sit up and say, "Wow, what *is* that?" No, this is more like, "Yeah, that's what I expected." And sometimes, that's exactly what you want. For instance, if you're editing a video game trailer and you need that instant epic feel? Boom, this is perfect. School play needing some dramatic backing? Got you covered. Even a corporate video about exceeding sales targets could use this, with tongue firmly in cheek, of course.
Let me explain something else: There are a few subtle production tricks here that I appreciate. Like, the way they layer different choir parts, so it's not just one massive block of sound. You've got the sopranos soaring high, the tenors and basses adding depth. They have used reverb really well. That is great.
But—and here comes the but—it’s missing that one unique element, that signature sound that makes it stand out from the crowd. It’s like a really good cover band: they play all the hits perfectly, but they don’t quite have the magic of the original. Still, for most uses, it’s more than adequate. It’s solid, dependable, professional. Just don't expect it to rewrite the rulebook. I would say, it's that is your bread-and-butter track for when you need 'epic' without any surprises.
The initial choir melody is really something. It sounds great and grabs your attention, sets the tone. Then BAM! The big orchestral hits, the choir swells… it's pure cinema. Perfect, you would think.
But here’s the thing: it’s a bit *too* on-the-nose, you know? It’s like the composer watched every blockbuster trailer from the last ten years, took detailed notes, and then said, "Yep, let's do exactly that." There's nothing wrong with that, per se, it's production music after all. I mean, production music is all about giving clients what they expect, what they *know* works.
So the choir starts ethereal, almost sacred. Then it builds. You've got your classic string ostinatos—those repeating rhythmic patterns—driving the tension. And the brass? Oh, the brass is laying it on *thick*. And you cannot have a blockbuster trailer without some serious percussion, right? It’s all there: big, boomy hits, some metallic accents… The whole nine yards.
It's well-produced, no doubt. The mixing is solid, every instrument has its place. There is a good stereo, a good balance. You could drop this straight into a movie trailer and nobody would bat an eye. But that's also part of the problem. It blends in a bit *too* well. It does not have the "je ne sais quoi" that defines the real great ones.
It is not the kind of track that makes you sit up and say, "Wow, what *is* that?" No, this is more like, "Yeah, that's what I expected." And sometimes, that's exactly what you want. For instance, if you're editing a video game trailer and you need that instant epic feel? Boom, this is perfect. School play needing some dramatic backing? Got you covered. Even a corporate video about exceeding sales targets could use this, with tongue firmly in cheek, of course.
Let me explain something else: There are a few subtle production tricks here that I appreciate. Like, the way they layer different choir parts, so it's not just one massive block of sound. You've got the sopranos soaring high, the tenors and basses adding depth. They have used reverb really well. That is great.
But—and here comes the but—it’s missing that one unique element, that signature sound that makes it stand out from the crowd. It’s like a really good cover band: they play all the hits perfectly, but they don’t quite have the magic of the original. Still, for most uses, it’s more than adequate. It’s solid, dependable, professional. Just don't expect it to rewrite the rulebook. I would say, it's that is your bread-and-butter track for when you need 'epic' without any surprises.
