This approach requires you to either record your own raw sounds (hitting objects, drum hits, slamming a big door, tapping a wine glass with a knife to create an audible note, playing an old wooden recorder) and processing them into larger than life sounds to use in your trailer music works: braams, drones, sub/low booms, downers, risers, reverse FX, signature sounds, massive trailer hits and more.
This process is really fun, especially once you start processing your own sounds that you have recorded.
However, this can be a little bit tricky when you are first starting out.
If you’re like me when you first started writing trailer music (for me it was hybrid trailer music), the last thing you want to focus on is trying to figure out how to create high quality sounds from scratch before you can even compose & produce music to a professional standard.
It’s only after I got comfortable writing trailer music and producing it that I started to delve into the world of sound design.
And that’s something to remember: sound design is its own world entirely. It is vast and epic.
Now, once you start exploring it, creating your own sounds from scratch is actually really fun. It’s really satisfying when you take a sound that you recorded on your iPhone or other handheld recorder and turned it into a huge trailer hit.
It can be another way of being creative, rather than just composing. You can make a day trip out of it, recording your own sounds outdoors and spending the afternoon processing a few of them in your DAW.
Even now, after learning about sound design for over a year, I’m still not quite at the level where I would exclusively just use my own sounds in my trailer music. Also, I find that I am much better at harmonic sound design at this stage (braams, drones, signature sounds, etc.) rather than percussive sounds like trailer hits and sub booms.
I’m constantly developing this skill, and so I still use other sample libraries/packs alongside my own sounds. That also includes harmonic sounds, especially when I’m on a tight deadline – sometimes there isn’t enough time to create unique sounds from scratch.
That’s when many composers turn to: