Hey everyone! I'm trying something new here. I want to give you a quick recap of what we cover in our live coaching calls, so you can get the key insights even if you couldn't make it. Think of these posts as your cheat sheet for each session. Let me know in the comments if you find this helpful! If you're not part of Audio Artist Rise yet and posts like this make you curious about what we do in the live calls, check out the program. We do multiple live coaching sessions every week covering everything from trailer music production to game music careers, business strategy, and more. You can find all the details on the Audio Artist Rise page. Now let's get into it! 🎬 TRACK REVIEWS, HYBRID SCORING AND CHOIR LIBRARIES Here's your detailed breakdown of the February 10th coaching call. We covered a ton of ground on trailer music structure, layering techniques, choir libraries, game music workflows, and more. Whether you're working on epic hybrid tracks or ambient game scores, there's something here for you. 🎵 TRAILER MUSIC STRUCTURE AND TRANSITIONS The Empty Bar Problem One of the biggest structural issues in trailer music is how you handle transitions between sections. If you build tension with risers and then leave an empty bar with just a fade out, you're killing the momentum you worked so hard to create. The goal is always to build tension toward the next part. Solutions for strong transitions: - Add a proper riser that builds all the way to maximum dynamics - Use a full crescendo that actually resolves into the next section - If you want a gap or breathing space, make it intentional and brief (one beat, not multiple bars) - Let hits ring out naturally, but make sure the build before them is massive - Consider adding taiko rolls or other percussive elements to drive the build Three Act Structure (Actually Four) Technically, trailer tracks follow a three act structure, but in practice it's really four sections:

Hey! Welcome to the Audio Artist Rise Community! This community helps music composers improve, optimize, and inspire themselves as they enter or progress in the audio industry. Step #01: Introduce yourself in THIS thread below! (✄ copy/paste template 👇) What are your goals? What is your current demo reel? What immediate help do you need? **Please DO NOT make a new post, as those clog up the feed (they will be removed). ------------------------------------------------------------------ Best practices in this community: • Level up by posting insights and thoughtful comments. • Help others level up by liking 👍 good posts and comments. • Be kind • If you want to reply to a post, make sure to use REPLY instead of creating a new post • If you need quick help, you can also ask the community 🤝

Hey Everyone! One thing I've noticed in my own trailer track creation for libraries is that I struggle to naturally think of a good way to end the final act of a cue. I generally go down the route of finishing up with a suspended chord that resolves, held over a long count and constant driving percussion. But it often takes me a while to think up the exact detail to execute that. I'm wondering, do you guys have any 'go-to' methods/tricks/endings that you use frequently in your tracks? If you have any references, I'd love to hear them! I'm really trying to make track endings second nature, but also to discover new variations to try out. Thanks!

Happy Birthday, Alex! 🙌🥳 I wish you a very happy birthday, great health, success, and everything your heart desires! Thank you for everything you’ve done for us composers! 🙌

I have a zoom meeting scheduled with a film director this week. This will be my first ever meeting with a director, so I don't want to mess it up. Are there any things that directors are looking for in the initial meeting with a composer or is it just a meet and greet to get to know each other? I don't want to end up losing a potential gig because I didn't say something. I know the genre and the title of the film she is directing.