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When I start to create a piece of music I decide what type of instrumentation I will use first.
I find it is the best tool for creating unusual sounds that you might not even think of off the top of your head. Much of my sound design these days is composed in SLAYER which is an instrument in REAKTOR by Native Instruments. I LOVE Native Instruments, everything they do is amazing!
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I also use Pro Tools of course mostly for recording. I generally always stay updated to the latest version of that. Usually this will inspire me to start working on a new composition. I watch tons of trailers and I always pay close attention to music in films and on television. SP: My creative process begins by listening to as much music as I can.
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What software do you use? How do you begin planning and creating the piece? What’s your basic process for creating a new music cue. Also during this period I contributed to a number of worldwide music libraries most notably APM who has placed my work in many feature films, television shows and advertisements.įEP: Let’s dive into the craft of music and sound design creation. I was extremely excited to have my sound design featured on a Terminator Salvation TV Spot. SP: I started cataloging my sound design hits and soon had enough to start sending the collection to various trailer houses and begin licensing them. What do you specialize in? What types of projects have you been a part of? I quickly made friends in the film advertising industry and began growing my business.įEP: Tell us a bit about your company. I found that working to picture was very inspiring. I scored my first trailer The Covenant for Sony and I was immediately hooked. I moved to Los Angeles in 1999 and continued to freelance produce music for various artists. From there I started engineering and programming for Ichiban Records in their Hip Hop division, Wrap Records.
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My professional career started in the early nineties playing bass for Tony Cook (legendary James Brown Drummer.) He taught me the basics of analog recording. I was even creating overdub recordings and other audio manipulations on my dual cassette boom box at the age of ten. SP: I live in Atlanta with my wife Julie, 2 year old son Samuel and a brand new baby boy named Hank! I have been playing music and tinkering with sound for as long as I can remember. What’s your background? How’d you get into music and sound composition? Meet StevenįEP: Tell us a bit about yourself. Now, let’s get to know the composer a bit. You can learn more about trailer music and sound design editing techniques in this free 3-part video training series. If you are interested in the duty free cues Steven references at the beginning of his tutorial, click here. Now, let’s head into Steven’s production studio and have a look over his shoulder as he creates this cue from scratch. Pretty cool stuff huh? Lots of sonic variety and a well-defined beat - perfect for an aggressive trailer cut.
Here is the final version of the cue he’ll be composing.
Steven was generous enough to create a video lesson where you’ll get an inside look at his exact process for creating a professional trailer drum cue from the ground up.
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How to Compose a Trailer Music Cue: The Creative Process Steven is the founder and owner of Sonic Intuition, a custom music production studio that focuses on creating handcrafted music, atmospheres and sounds for motion pictures, television and visual media. Today we’re going behind-the-scenes with music composer and sound design artist, Steven Phillips. Every editor knows that music and sound design are the lifeblood of any good trailer - but have you ever seen exactly how it’s made?
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