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Sound Design Trailer Cue Review · 52 Cues - A Production Music and Sync Podcast

• 0:32
  Speaker 1: What is happening everybody.
• 0:33
  Speaker 1: This is Dave Kroff, and welcome back to another Q review where I feature a Q written by a member of the 52Qs community and provide feedback, like you might hear from a music supervisor or a potential library.
• 0:46
  Speaker 1: So we are checking out a sound design, kind of action trailer Q, kind of modern trailer Q written by Topi Yokinen.
• 0:55
  Speaker 1: So we are going to take a listen to this and then talk about it.
• 0:58
  Speaker 1: On the other side, that was Sublime Chaos from Topi Yokinen.
• 2:53
  Speaker 1: Topi, thank you so much for sending this along.
• 2:56
  Speaker 1: This was sent during our week 40 weekly feedback threads and we put weekly feedback threads together every single week.
• 3:03
  Speaker 1: So if you would like your Q featured on the podcast or here on the channel, then join us over there.
• 3:08
  Speaker 1: But I really enjoyed this man and I.
• 3:11
  Speaker 1: These types of trailer Qs are types of Qs that I don't do a ton of and there are a lot of work and and like horror trailers and these kind of action trailers, and this is really where where I feel that modern trailers are going, especially if something feels a little darker sci-fi, horror, that that type of thing.
• 3:39
  Speaker 1: So I think we have really really well defined act structures, that we have Act 1, act 2 and Act 3 plus, and even like in more intense gear of energy, and so that is pretty standard as far as trailers go.
• 3:56
  Speaker 1: I think I would have liked the the rhythmic aspect to settle in a little more obviously here at the beginning, like once we get, once we get to there, I feel nice and settled.
• 4:10
  Speaker 1: But coming out of the intro, which is pretty flowy as far as, as far as rhythm goes like that's, and where the pulse is and where the downbeat is and the phrasing and that's, that's all well and good, but it took me a little bit to kind of get my my rhythmic feet under me.
• 4:27
  Speaker 1: Like I don't know if this is in in 3123 or or yeah, it's just, I call it rhythmic vertigo, where the phrasing and everything kind of obfuscates the pulse.
• 4:46
  Speaker 1: And that might have been a deliberate choice, and if so, then then I say, stand by it.
• 4:50
  Speaker 1: But from a listener perspective it wasn't until where I felt like, oh, here is that that, that the forward momentum of the cue.
• 5:03
  Speaker 1: So I wonder if, like, if you just put a little bit of 16ths, it doesn't have to be as obvious.
• 5:17
  Speaker 1: But let's ground the pulse into something that the music supervisor or the editor, or I mean even the audience, can kind of latch onto, because right now it feels a little little little nebulous, but then Then it really, really really sets in.
• 5:42
  Speaker 1: I think it worked very well.
• 5:45
  Speaker 1: The other thing is these modern trailer cues, even though they don't have a hook, like this is the melody and this is where we're gonna.
• 5:52
  Speaker 1: You know, like you would find in a superhero type of a trailer or a fantasy trailer or an uplifting, dramatic trailer, right, or let me say, in a thematic trailer which you have really clearly defined themes and motifs, we still need some kind of sound design, sonic hook, and and I guess it's the, it's the and I'm just wondering if we need something a little bit more overt, even if it's just a, a signature sound, or it could just be some kind of sonic motif and I'm sure there's another, there's another term for that that these modern trailers have in them.
• 7:03
  Speaker 1: I don't think we necessarily needed it here at the beginning, because I felt it worked really well.
• 7:10
  Speaker 1: I thought maybe we need an extra impact right there, because we're about 15 seconds into the cue before we really kind of bring in a hit and maybe we make that first impact a little, a little more overt.
• 7:32
  Speaker 1: This is all working really really well.
• 7:35
  Speaker 1: Great, stop down here, going into our third act thinking maybe we need a sub-drop or something.
• 7:58
  Speaker 1: This is a great layering here.
• 7:59
  Speaker 1: I love that.
• 8:05
  Speaker 1: I like that top octave there.
• 8:07
  Speaker 1: That's working.
• 8:08
  Speaker 1: I don't like the harmony kind of, or that ascending line kind of moving twice as fast.
• 8:25
  Speaker 1: Here I'm gonna I'm gonna phrase it that.
• 8:30
  Speaker 1: So it feels like we kind of stood or stayed on the one chord a little bit too much, and here I would do straight chops where it cuts to nothing or nearly nothing, feels more stuttery and leave a little little less, or how to say, add a little bit more daylight in between these.
• 9:06
  Speaker 1: And I don't know if I can fake it here.
• 9:12
  Speaker 1: This might be absolutely terrible.
• 9:14
  Speaker 1: I'm just adding just a little bit of this is not great, but all right.
• 9:33
  Speaker 1: But that's the idea.
• 9:34
  Speaker 1: Don't you like really stutter, which you would probably need to do in the either on the master, like automate the master volume so it's cutting up and down, but instead of going just have really clean, clean chops?
• 9:52
  Speaker 1: That final button is really really nice.
• 9:57
  Speaker 1: Great audio tail.
• 9:58
  Speaker 1: But the edits, the edit points here, yeah, editors can really really use that.
• 10:10
  Speaker 1: It just feels a little chompy and can we add a riser energy, some reverse?
• 10:23
  Speaker 1: Yeah, and that could be really cool.
• 10:34
  Speaker 1: Yeah, because we already have earlier in the queue we have that hit.
• 10:42
  Speaker 1: And so what can we do to really differentiate this hit, which comes at the beginning of act three, towards those punches and edits there at the end of act three?
• 10:56
  Speaker 1: It's actually kind of more like in the halfway point of Act 3, these stutter, but you've done a fantastic job of balancing all of the sounds and just how dense these arrangements are.
• 11:17
  Speaker 1: I mean, we're pushing, you know, nine luffs, but that's okay.
• 11:21
  Speaker 1: These trailer cues get away with being really, really loud, so I'm totally down with it.
• 11:27
  Speaker 1: But I think this was absolutely fabulous, really appreciate the work on this that you did.
• 11:33
  Speaker 1: And so this is a cue number nine.
• 11:36
  Speaker 1: And how have the other cues been received?
• 11:37
  Speaker 1: But I think you're well onto something here and, like I said, this was sent along during our week 40 weekly feedback thread and we put threads together every single week and right now we are taking submissions for week 41, where folks leave their cues, give feedback on other cues.
• 11:56
  Speaker 1: It really is a super collaborative, collaborative community and we'd love to have you.
• 12:02
  Speaker 1: Why don't you think about joining us over at 52 cuescom.
• 12:05
  Speaker 1: It is free to join, and if you're looking to really take the next steps into your career as a production music composer, then consider becoming a subscriber.
• 12:15
  Speaker 1: Your friends or family, we would love to have you.
• 12:18
  Speaker 1: That's going to do it for me.
• 12:19
  Speaker 1: I hope you had a fantastic week Until next time, peace.