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infonewsdramatainment
LC 12350
:
2005-05-25
:
2022-11-07
Informational. Newsy. Dramatic. Like Dan Rather on crank. Good For: News, Drama, Entertainment, Investigations
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VH002901
1:13
Dark investigation. Questioning, gritty cut that asks "could a killer be on the loose?" and "whoa - who ate olive loaf today?" Starting with spare, mid-tempo marimba, huge distorted electric guitar stabs and delayed metallic synth pads, the cut gets fuller, more driving and tense @:11 with gated acoustic drums. After a brief marimba bed @:29, the cut builds again to a full mix. A drum-heavy bed @:51 leads to the climactic end: a series of accelerating final hits starting @1:00. Works for hard news, drama and tense standoffs.
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VH002902
1:12
Pounding, driving cut that lives up to its name: one massive piling-on of drums, drums, more drums, a cymbal, timpani - and more drums. Opens with a big flourish into stop/start action against high percussive "ticking," until :11 when the onslaught begins, not giving up until :29 when The second half slowly builds with low percussion giving the impression of something important/dignified coming, building until :50, when - you're right: more percussion! A bonus roll-to-a-sting @1:07 is provided for those who need a convenient in- or out-point. Useful for hard news, military action and fast-paced cutting.
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VH002903
1:22
Tonight on News 7: Is there urine in your drinking water? Just to be sure, we're NEVER coming over for coffee. Slower-tempoed, stalker-friendly cut that suggests something dangerous is out there, with atmospheric piano/harp stabs against growing, low synth pads, acoustic toms accents, electronic drums and ticking metal percussion. @:08 the percussion coalesces into a clock-like backdrop and the cut builds to a climax @:29. @:33 a reversed piano figure leads into a more spare, drum-driven bed that returns to a darker, more threatening iteration of the main theme @1:03. Great for investigations, tense mysteries and murders.
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VH002904
1:17
Evil technology? Being chased by cyborgs? Use this cut - and some Thorazine, because you're most likely delusional. Angry, fast, driving Techno with organic percussion that builds from the first hit to break-filled, intense beds of frenetic activity. Using acoustic/electric percussion, toms, timpani, gran casas, processed bowed cymbals, synth bass and hi-hats this cut's great for chases, action, violent confrontations and fast cutting. The first big hit starts a power-up amidst delayed metal percussion and hats that eventually explodes into a frenzy @:14. The second half features a lot more stop/start breaks and mixouts. Remember: Thorazine, because after the cyborgs come the brain-eating schnauzers.
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VH002905
1:20
Besieged with urban decay? Street crime? Think HBO's The Wire is a comedy? Dramatic, ominous Hip Hop that sounds like someone's half-uncovered ass is going to get capped. Right from the first note, gritty distorted mid-tempo drums, reverbed ostinato piano and delayed glockenspiel and delayed rap-esque synth lead @:11. A break @:14 brings the cut back a little more dramatically @:19 with dark, looped strings. The second half is slightly more atmospheric with various mixouts with full mix returning @:55.
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VH002906
1:20
Foreboding, movement-filled, "old school" VH investigative music. Percolating, movement-laden bed that suggests complex undercurrents - or that we've completely run out of new ideas. Delayed marimbas/piano, metallic percussion, tons of orchestral percussion, electronic drums and choppy, gated synths create a piece that starts mysterious and kicks into dramatic high gear @:22, with drum section hits leading to a climax @:29. The mix builds again, returning to a faster, more dramatic feel @:38, with a piano break @:52, leading into a more aggressive drum-heavy mix @:59. Works for mysteries, news and investigations.
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VH002907
1:16
Need to suggest that death is currently Googling you? Cinematic, swelling dramatic orchestral chords give the impression of a dark, tense movie trailer being played backwards. Wave-like, almost slow motion drama interspersed with thudding acoustic toms hits, electronic drums, processed shaker, acoustic guitar harmonics, bells and low synth drone. After :30 the cut gets more spare with less melody and larger, more dynamic hits interspersed, with the main mix back @1:01. Works for flashbacks, slow fade-filled montages and when a stream of dissolving titles is all you need to creep people out.
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VH002908
1:18
Tough, tense Reality TV-esque cut that lets your viewers know someone's going to get voted off an island, get fired or be forced to sponge-bathe Jay Mohr. Starting with stop/start percussive celli hits and unsettling reversed piano sound design beds in the background, the cut becomes driving @:12 with climbing string stabs and more insistent toms, flitty processed electronic percussion/drums, radio noise beds and prepared piano hits. After :32 a medicinal, somewhat cold bed with tons of unobtrusive movement starts, featuring drums, delayed piano, delayed sine wave synth and building strings (in @:46), returning to the full mix @:57. Great for investigations, gang fights (except "Kool and the Gang" fights) and medical emergencies.
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VH002909
1:14
Need to suggest that a subject is technically complex? Neutral-to-dramatic, busy (okay, "monotonous") intermingling of piano, synth and electric piano arpeggios that features processed electronic drums/metallic percussion and low, distorted synth bass (all kicking in @:11) suggest intelligent mystery. After a climax @:28, the arpeggios create a sparer mix, punctuated by various hits until a break @:55 invites a hit-filled, angrier full mix that starts @:58 and builds to a dramatic climax @1:10. Good for medical stories, technological drama and implying an undercurrent of frenetic activity.
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VH002910
1:18
Angry, cinematic, Aggro Rock orchestral news intro. Big, pounding, stabbing cut that starts with a delayed bed of electric guitars, stomping feet and big drum hits that suggests impending chaos or upstairs neighbors that insist on wearing wooden shoes. The tension intensifies until a roll @:14 brings us to a hit-filled section (with percussion/string/brass hits) that gets bigger as it nears its climax @:29. The second half starts with a bed of choppy electric guitars and then builds back to the main, pounding "theme" @1:02 - but this time, the cut's huge, more aggressive and violent, which makes it great for conflicts, sports and important events, but horrible as a cat-sitter.
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VH002911
1:14
Light, percolating percussive/synth bass bed horribly assaulted by huge, gated rototom hits (starting @:09), metal pipe hits, ambient kick drums, lo-fi bass guitar breaks (@:10 and :55) and disturbing machine-like noise percussion. Starts deceptively calm, then gets progressively aggressive and filled with drummers. After a climax @:29 the spy-like/sneaking percussive bed returns for a longer time, getting violent again @1:03. Great for investigations or "hard-hitting" news.
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VH002912
1:13
Driving, dripping-with-attitude percussive Rock, electric guitar/bass-based cut that, amazingly, is played entirely using only one note: 'E'. "Amazing" because we're trained as bunny wranglers and shouldn't play anything at all. Packed with energy and attitude, this cut is useful for sports updates, investigations, image spots and "we're right there in the middle of crap" dispatches. Starts with uptempo acoustic drums, distorted bass and electric guitars (in @:08). Gets a little moody after :30, then goes into a series of differing guitar hit/breaks starting @:40 amidst a bed of ticking hi-hats. The full mix returns @1:05 and it cruises straight on to the end.
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VH002913
1:16
Cinematic, percussive cut that explores how tense you can make listeners when you go from quiet/spare to banging and violent. Opening with low brass (Alpen horn) and a huge percussion hit, more drums enter as we approach :29, creating a more dramatic, violent atmosphere, with plenty of hits and loopable sections. After :30 a bed of "ticking" wooden/electronic percussion, various occasional percussive accents and low drone build to a white noise percussion break @:46, then explodes back to the main, violent feel @:56. Good for mysteries, investigations and coverage of tense conflicts.
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VH002914
1:12
Highly disturbing and nightmarish, this hit-filled unnatural journey into negativity is good for getting attention and dark medical stories. Otherworldly, delicate delayed bell-like tones open the piece with various sonic bacteria swimming and swarming in the background. These are joined by a strange mechanical noise @:06 and then by distant distorted drums that start pounding more frequently and build in sonority until bells, noise and drums all climax @:28. From :31 to :36 is a digitally frayed whoosh leading into delicate bells that give way to low frequency, destructive pounding @:42, returning to the main bell-laden theme @:54. Big distorted drums finish off the nightmare.
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VH002915
1:19
Remember Bell-bottoms and Sideburns? They were my pet guinea pigs. Sometimes I miss them. But, hey, they were delicious. This mid-tempo Funk/Techno-Rock-injected 70s rock feels like a cop show theme that would be useful for investigations and attitude-driven sports. Starting with electric guitar stabs and growing filtered guitar riffs amidst noise "ticking" the cut opens up into an acoustic drum loop-driven assault @:09. The cut features plenty of hits, and breaks (most notably @:19, :29, :48 or :57 for example) - and gives you plenty of options for cutting in or out of the remix-like pummeling.
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VH002916
1:14
Stab-filled, tense news - like anything "stab filled" would be relaxing. Good for stab-filled stories, bare-knuckled boxing, quick title flashes and important investigations. Tense, moody string pads and distant synth sequence interrupted by convulsive percussive hits throughout. The cut explodes into a driving trap drum-driven beat @:14, with pulsing synth bass, delayed synths and an increasing number of hits as a climactic hit @:29 approaches. After :30, the cut dissolves into spare, almost sad, strings broken up by violent intermittent hits, until :46 when the synth sequence starts again and the mix gets full @:54.
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VH002917
1:03
Alternative Rock meets news. Simple old-school return to rock-based tension with a driving bed of acoustic toms and electric bass. @:08 processed electric guitars enter, upping the tension and chance that viewers will think your news team is going to ride the rapids or snowboard Mt Everest, possibly messing hair-dos beyond simple touch-ups and where the high altitude will cause implants to explode. A longer toms/bass bed returns @:30, returning to the electric guitars @:44. Good for sports, opens and investigations.
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VH002918
1:14
Desolate and mysterious - ike a random New Age pianist left to die on a remote planet. Opens with dark wind noises and spartan, delayed piano notes hanging in thin air. Subtle ticking-like metallic percussion (in @:09) is augmented over the first :30 by low ambient drums, pulsing bass and floaty atmospheric synth pads. Second half begins with very high, softly stroked dissonant piano notes and more wind, building back to a more spare mix of the main "theme" starting @:41. Good for creating a slightly clinical air of tension without going over the top.
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VH002919
1:09
The John LeCarre of promo cuts. Spy/Tech thriller feel that suggests that someone's stealing information or being chased by henchmen - and having an excellent hair day. This fast tempoed track utilizes stop/start string figures and triangles over delayed synth sequences. The piece gets faster @:09 with delayed staccato trings, pulsing synth bass, timpani and driving acoustic/electronic percussion. Added horn swells and twangy guitar notes (in @:11) invite angry calls from the Ian Fleming estate. Various mixouts in the second half provide many loopable intros/outros. Good for espionage, light drama and mysteries.
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VH002920
1:21
Childlike, sterile and dangerous, which pretty much describes everyone I've met on Match.com. Simple, single-digited IQ piano melody rings over a growing bed of electronic percussion, synth bass, feedback and reverbed synth bells that all build in tenor, mix and complexity until a climax @:29. A mechanical bed of electronic drums and noise starts @:31 then slows the solo piano notes to return @:38, building again to a fuller mix with more melodic synth elements (delayed pitched percussion and filtered Fairlight string counter melody). Good for investigations, medical stories and for any episode of CSI:anywhere's rack focus of another magnified hair or carpet fiber. At least that's what I hope they were.
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VH002921
1:28
Ultra-fast, positive information delivery system. Fragments of data stream at you in all directions backed by a speedy dance beat, letting you know that "this computer game rules", "our news team is very muscular", or "I look terrible in a Speedo". Randomly resequenced musical snippets start off the track, with airy synth pads coming in @:11. The second half is comprised of different modular sections made to be looped, including rhythm only @:46. Useful for a wide variety of stories, from financial and technological to medical - even weather.
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VH002922
1:10
Need a mid-tempo bed for your hard news open? Dramatic, authoritative, easy to edit, unflappable and dignified without being stuffy - like news legend Jim Lehrer or Winnie the Pooh with a taser. Timpani, roto toms, metal percussion and a background "glue" of pads create a neutral setting for any important news story, military/police action or event. Good for creating a serious tone without being grave, stereotypically militaristic or alarmist. Builds from the beginning straight through to :30, getting more driven @:21. Second half is by percussion only with some cool rhythmic variations from :37 to :43, followed by a build from a solo Roto tom to the full mix, ending with several hits starting @1:04.
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VH002923
1:10
Need to express informational urgency? Have no clue what "informational urgency" means? Me too. Positive, movement-filled, driving cut using sharp, staccato piano samples arpeggiated into a complex, shimmering web of teletype-esque activity as synth bass, marimba/electronic kick enter @:06 and the mix gets bigger @:18 with a vocal-like synth pad lead and insistent acoustic toms. After the break @:29 an atmospheric, reverbed marimba/piano arpeggio gives the cut a brief introspective/solemn feel. But insistent kick/snare @:35 begins building the cut back to its full mix @:54. Driving cut useful for image spots, hard news, suggesting a fast-changing environment and technology.
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VH002924
1:31
Smart, informational, serious (but not over dramatic), modern take on the teletype-heavy news beds of yesteryear. Drummed processed guitar and bass/cello/tom percussive stabs create a fast tempoed, active bed for an increasingly complex, newsy vibe/glockenspiel/flute melody, getting busier @:16, building with ebowed electric guitar to the climax @:29. The second half features more subtle mixouts of the first half, offering plenty of loopable sections and beds. Returns to the main, full mix @1:13. The intertwined harmonies and subtle off-kilter rhythms suggest complex issues, This neutral-to-positive cut is great for financial news, very light drama and technology and has been known to live dangerously.
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VH002925
1:18
Neutral/slightly tense (later in piece), movement-filled bed that uses delayed bells (real and synthesized), delayed wooden percussion and synth pads accented by reverbed acoustic snare/tom hits. Starts with a complex bed of bells and percussion, thins the mix for a synth pad break @:09 then builds back to a full, driving mix by :23. The second half features longer periods of less intrusive beds (especially @:43). Tension begins to build from :49 as the backbeat gets more aggressive and more drums are added to the mix as the climax @1:12 approaches. Good for hard news, opens, fast cutting and suggesting activity.
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VH002926
1:18
Emotionally ambiguous but always subtly positive/hopeful. Minimal news bed that works for mysteries, bittersweet/reflective moments or conveying a sense of exotic (Asian) cultures due to its instrumentation - or my lack of worldliness. Delayed electric guitar "harmonics" provide a figure that modulates over a changing bed of woodwind/synth pads, electric bass, glockenspiel and electronic/acoustic percussion. After :29 various mixouts slowly grow back to the full mix @:54. Understated and haunting, this Euro news-tinged cut could be used for a variety of spots.
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VH002927
1:14
Light, voice-over-friendly, pulsing cut suggests industriousness and activity. It also suggests I dress like Grover Cleveland when we sleep together - which is we're no longer dating. Cut up synth sequences and clicky electronic percussion provide a background for synth ostinatos, delayed toms, four-on-the-floor electronic kick and synth bass. European-sounding news music with various percussion mixdowns after :30, getting progressively less dense until the full mix returns @1:00. This cut brings to mind news updates, relaxed information backgrounds and muffins, because I'm kind of hungry.
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VH002928
1:10
A traffic bed with a case of road rage. Chopped, processed electric guitars, synth bass, electronic drums and filtered synth effects create a bed for saying things like "There's a whole mess of REALLY free range chickens on the interstate." Starting with horn-like electric guitar accents, a mid-tempo four-on-the-floor kick starts @:07, giving the cut a bit more propulsion towards a climax @:29. The second half is more restrained and bed-like, giving you a variety of submixes and breaks (especially @:51). Good for traffic reports and car-related stories.
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VH002929
1:18
What can we say about a cut whose sole purpose is to say nothing? That it's great for current affairs, medical stuff and hard news because it doesn't editorialize much? That it consists mainly of a bed of marimbas, tom-toms, as well as trace of amounts of hand percussion? Or that it doesn't change dramatically throughout the whole piece - except for that marimba-free subdued section from :31 to :48 - or the hit-filled and dramatic section after @1:02? That this stupid description isn't helping anyone and I deserve to be beaten and then fired?
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VH002930
1:26
Cooler, non-judgmental , fast tempoed, Electro/Organic cut that is another update of the teletype-esque news music that we grew up with. Acoustic guitar harmonics provide an active, driving bed under electric bass (in @:09), delayed snare, electronic kick, woodwind drones and hi-hat. This cut suggests news without being intrusive - especially the second half where the acoustic guitar patterns slow to half-time and the sporadic snare hits function as accents. @1:06 the initial frenetic pace returns. A serious, yet neutral bed that works for financial news, hard news and "hard dues" for those of you with severe head colds.
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VH002931
1:23
Question: Why do Eskimos wash their clothing in Tide? You have sixty seconds. Neutral, dignified, newsy bed that waits patiently with warm woodwind beds, electric bass, shimmering synth pads, shakers and, @:07, steady clock-like mid-tempo driven by a four-on-the-floor electronic kick, hand percussion and triangles, building slightly to a climax @:29. A spare percussion bed begins @:30, slowly building back to the full mix @:59. Good for news, suggesting progress, environmental issues and conveying the passage of time. The answer: Because it's too cold "out tide." Get it? Out-tide? Hmm. Our genius is obviously too intimidating.
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VH002932
1:13
PBS, are you listening? Laid-back, neutral-to-positive, downtempo track featuring environmentally sound instrumentation (marimbas, woodwind pads, synth bass, cello, triangle, shakers, toms). Opens with a marimba sequence that suggests a slightly scientific, informational vibe. More instruments (fullest mix starts @:20) enter as we approach :29. After which, we have a spare percussion breakdown (with pads entering @:41). More questioning, stop/start section with staccato cello and marimba, starts @:50. Good for nature programming, light informational stuff and highly sedated news.
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VH002933
1:05
Newsy, grand, positive and important. Big four note open "tag" leads into a highly useful string bed section perfect for almost any story. @:13 heraldic/fanfare-ish horns come in, making the piece much more positive and grand, helping the track build all the way to the end, which features a reiteration of the "Tag". Great for big events, news opens, or athletic triumphs, like the way I kicked ass in tetherball when I was 9. Beginning @:33 a loopable variation on the string bed sets a more neutral tone, useful for show opens and news beds - until subdued brass comes back again @:50.
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VH002934
1:20
The politest, low-key news cut ever. Catchy, positive, light, friendly and European-sounding cut that asks "What if I took Lithium and then wrote a news theme?" Hook is electric bass harmonics doubled with synth accompanied by electronic drums, and bubbly synth pads, later augmented (@:14) by acoustic brushed drums and atmospheric slide guitar. Second half features smaller versions of main theme, including brushed/electronic drum bed starting @:44 providing an unobtrusive bed. Great for lite news, weather and industrials.
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VH002935
1:10
Trouble containing your ego? This larger-than-life orchestral piece practically screams pride, grandiosity and importance - then goes to your competition's house and marks it as its territory. Delayed trumpet calls amidst a busy string bed open the cut, exploding into a positive full-orchestral piece that gets even more triumphant/percussive @:19. After a climax @:29, a percolating bed slowly climbs in tone and pitch from :38 - and returns to the main, percussive theme @:45 until the end. Great for image spots, triumphant sports and celebrations.
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VH002936
1:06
Decisively urgent, this cut lends significance and compulsion to any production. This inbred cousin to "News, News, News" (Disc 22) and "Big News" (Disc 8), offers tons of insistent string players ("where's my latte?") and militant percussionists ("Triangle Power Now!") playing their angry little hearts out. Begins with a sharp bell strike, letting the world know that whatever comes next could mean their death if they don't pay attention. Snare drum and timpani breakdown @:34 are perfect for martial intros, and the following snare-less string breakdown @:41 is perfect if you want 50% less conflict.
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VH002937
1:31
Airy, uplifting, slow-to-mid-tempo cut that reminds us that we're all free, unless you work for this company, as I failed to properly read my contract when I was hired and am now an indentured servant. Starts with delayed, dignified string "hits" and electric bass - then slowly adds elements: hi-hats and slow electric guitar arpeggios @:05 and full drums/strummed acoustic guitars @:14. The second half features a more questioning/sadder feel with sparer mixes, an acoustic guitar-driven feel @:39 and an Ambient break @:50 - returning to the full, triumphant mix@1:03. The expansive, open vibe of this cut makes it great for stories on/beauty shots of the American West, warm reunions or commercials for very expensive cars.
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VH002938
1:12
The bluster, hyped pageantry and famous un-subtlety of promoting the American elections. Proud, slightly tense open featuring huge percussion hits, fast strings and horn accents, explodes both @:09 and @:19 as more instruments come in and try to deafen the musicians sitting in the row in front of them. The second half features a slightly more dignified build to the main theme with a bed of strings that features more percussive accents, mix-downs and breaks than the first :30. The main theme/mix returns @:58 to let your viewers know that you, metaphorically, are their daddy. Good for politics, dignified sports (horse racing, frog tossing) and triumphant celebrations. (Are there non-triumphant celebrations?)
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VH002939
1:00
Positive, movement-filled orchestral cut that celebrates the achievements of mankind, the triumph of good - and Purim, because its Mom's Jewish. Starting with a uptempo bed of driving strings, orchestral bells/glockenspiel and snares, it feels like a stereotypical network news bed (only bigger and more cinematic) until a build starting @:19that resolves by :27 is guaranteed to give chills and minor dizziness. It could also be the flu. The second half starts again with a newsy bed and starts a build @:53, but ends more subtly than the first half. This cut's great for celebrations, the Prozac News Hour theme or triumphant sports moments.
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VH002940
1:22
Intimate, friendlier bed of positive activity that combines Rock, corn syrup (it's in EVERYTHING these days) and Synth Pop. Starting with uptempo, rolling, delayed electric guitar mutes over pulsing synths, synth bass, acoustic drum accents and an electronic four-on-the-floor kick. @:13, a distant electric guitar solo breaks out with fast, delayed electric guitar strums and carries the cut into even happier territory. The second half features the burbling, happy guitar/synth beds with multiple variations of the mix, each featuring percussive accents. The main mix returns @1:00. Good for positive human interest, corporate/industrials and just giving the impression of a unified, global village.
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VH002941
1:16
World pride and celebration. Simple, positive and surprisingly dignified cut that uses a simple string figure over a building percussive bed that eventually builds into a full pride-fest by :19, adding delayed marimbas, more drums and strings. After the climax @:29, various mix-outs of the string/marimba beds build into a huge orchestral treatment of the "theme" @:54 featuring horns, trumpets, winds and a buttload of snare drums and gran casas. Great for celebrations, image spots, coronations and just being proud, dammit.
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VH002942
1:14
No better way to say "this is news." Authoritative, positive and dignified orchestral cut with a hint of adventure. Rhythmic first :30 automatically instills dignified feeling with horns/marcato strings + timpani & snares = instant big news cut. Has good 'climbing' section from :31 that builds in both tenor and fullness until :48 when it reaches its prideful "orgasm" and gets all majestic and happy. Useful for anything even remotely important, news themes and political coverage. Get James Earl Jones to say "this is (your region's) local news" over this cut. See? It passes the newsy litmus test.
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VH002943
1:18
Intimate, emotionally uplifting, organic cut that makes people feel all warm and squishy inside - like necrotizing fasciitis. From the delicate, spare, reverbed piano "dewdrops" against a pulsating delayed acoustic guitar/synth pad backdrop you know that this cut will be touching. @:09 electronic drums enter and by :18 strings and woodwinds enter, making the cut fuller and build towards a positive, things-are-getting-better climax @:29. The second half features breakdowns of the various elements (acoustic guitar bed @:30, piano "drops" @:38), returning to the positive main mix @:55. Works for reunions, lost kittens or slow montages of heart-touching photos of lost-kitten reunions.
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VH002944
1:17
Dignified, intelligent and active. Imagine a modern classical music openingtheme for a financial show. Uptempo, heavily processed string quartet figures, looped and played against a growing percussive bed (triangle, acoustic toms, congas, shaker) and reverbed English Horn providing an ethereal melody behind them. A drum/percussion break @:30 leads into a slightly more aggressive feel, eventually adding strings and horn, pausing again for a trippier string break @:47, returning to the fullest mix of the main theme @1:00. Informational, neutral cut that suggests industriousness and urgency.
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VH002945
1:21
Modern Indie Electro/Folk/Pop useful for morning news, lighter domestic stories or anything positive - but too cool to smile or even admit that it's having fun. Uses acoustic guitars and Rhodes electric piano paired with sterile sine waves and thin 80s drums machine sounds. Provides motion and a glossy sheen without getting in the way. Acoustic drums, in @:59, add another level of energy, making the cut seem faster.
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VH002946
1:16
Elegant, newsy, neutral-to-positive cut with a world/global bent. Opening with percussive hits, delayed/reversed sine waves, strings and a processed sample from disc 8's "Enya's Head Trauma," the cut immediately creates an atmosphere of futuristic news - with a heavy dose of humanity. @:17 the percussion gets more driving, propelling the cut more, using subtle brass pads and oboe to add a bit of dignity and warmth. The second half is more spare with the main melody/mix back @1:00. Good for expressing the wonder and beauty of nature, childlike innocence or just updating a National Geographic special on Slender-Tailed Meercats, "nature's ?Lil pimps."
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VH002947
1:18
Starts sad. Gets hopeful. Gets sad again. Ends redemptive and positive. Starts with questioning, atmospheric, distant electric guitar and old upright piano/synths. @:12 the piece gets some forward momentum with mid-tempo acoustic drums, arpeggiated synths, synth bass and string pads. @:30 the synths and crappy piano provide a brief quiet moment of introspection. @:42 the mood begins to build to the uplifting climax @:54 when the main theme repeats, adding thick, distorted electric guitar chords. Good for human stories, finding hope and for suggesting split personalities.
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VH002948
1:08
An empty playground. A lost toy. The set of "Alf." Slow-tempoed, Folk/Rock feel suggests haunting black and white footage of displaced people, races, or civilizations. An acoustic guitar figure echoes over a faster, more active 12-string acoustic guitar arpeggio (in @:04) as we hear the faintest suggestion of a wind-like pad beneath it. Brushed drums and reversed electric guitar melody @:12 lighten the mood, but too late - I'm despondent. The cut begins again @:31 with the guitar arpeggio, allowing the melody to be carried by a strumming guitar and acoustic bass @:46, lifting the mood slightly.
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VH002949
1:15
Have a story that starts sad and gets triumphant? How about an emotionally touching story that requires swells of positive emotion? The 15th cut on this disc to start with "spare, reverbed acoustic piano arpeggio," this cut slowly starts building (@:08) to a full, triumphant brassladen pride-fest @:18 with processed snare sections lending gravity to the positive feel. The second half features subtle, swelling brass and choir pads (huge swell @:44) that would work under slow montages of proud moments, fallen heroes or the three times our President actually pronounced "nuclear" correctly.
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VH002950
1:17
Subtle, atmospheric, South American-tinged way of conveying the passage of time, implying a dream-like experience or lulling angry animals to sleep. Starts spare with neutral, clock-like nylon guitar arpeggios, accented by edited frame drum/bongo and wooden percussion hits (which coalesce into a steady beat @:10). The piece also uses pads of reversed reverb trails, cuattro, electric guitar/Chapman stick volume swells and fretless bass. The second half builds again from the solo nylon guitar, the full mix returning @1:04 with a subtle faster, double-time feel.
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VH002951
1:08
Romantic death, anyone? Slow, somber but transcendent orchestral elegy inspired by the death of my will to live. A distant bell toll and ephemeral violins set a mournful tone with a hint of hope. The emotion intensifies from :41 as the strings seem to twirl around each other in a climbing helix, until they flatten out and swell to the final hit @1:00. Good for memorials or anything needing a sad, spare serenity. I'll miss me.
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VH002952
1:11
Wiseass-ish, musically sarcastic cut that uses processed electric guitars, processed acoustic drum loops, hand percussion (udus, congas) and harmonica to create a stop/start cut that works for entertainment news, NASCAR news, Southern drama and political "affairs." Starting with a halting hi-hat beat (suitable for stripteases) the piece builds, element-by-element until it pauses @:22 and :29. The second half features a slap bass-driven section that builds by adding a synth arpeggio @:44, building in tension to the final guitar hit @1:04. Useful for re-electing Clinton - Roger Clinton.
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VH002953
1:23
Intimate, organic, feel-good cut that is a sister cut to this disc's "Earn Trust," but pains your heart more than an entire side of fatty beef. Delicate acoustic piano over pulsing sine waves, string pads, timpani and arpeggiated acoustic guitar that gets fuller and more emotionally positive @:14 when acoustic drums enter. The second half provides a sparer version of the piano and sine wave open - returning to the full, not-as-likely-to-kill-itself mix @:49 with a trippy reversed piano figure. Great for slow dissolves of black and white photos, memories of bittersweet times or the pain of having one's young heart ripped out by a failed romance or by an actual damn eagle if you're Prometheus. (Yes, I know his liver was ripped out, but still sounds plenty painful.)
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VH002954
1:17
Ever just want to just hug and cry? We've probably dated. Simple, sad, elegiac cut that maintains its dignity in the face of adversity. Starting spare with solo piano and string swells, it gets progressively fuller as a tender string section comes in @:06, removes the will to live and replaces it by :29. The second half starts with a longer spare solo piano section, then uses pulsing, marcato strings, horns and woodwinds @:49 to build tension to a major key "everything's alright" ending @1:07. Good for deaths of famous people, lost love, remembering war veterans and remembering those unfortunates who had to listen to this damn song as it was played over and over while being written.
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VH002955
1:30
Sweet, delicate and hopeful track for medical miracles, triumph over adversity and positive technology stories. A musical interpretation of the composer's first anatomical ultrasound of his first child - a much more pleasant subject than his last colonoscopy (Disc 25 1/2's "Large, Cold Fingers"). Arpeggiated, delayed acoustic guitar harmonics open the cut, allowing other instruments to join in (piano @:05, electric guitar @:08, etc) until a driving electronic beat @:16 propels the cut to a more positive mood, climaxing briefly @:29. The second half features a more halting, fragile feel (with more pauses and breaks), returning @1:01 to the fuller (more electric guitars, more percussion) positive theme from the first half.
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VH002956
1:26
Ever accidentally unplug someone's respirator? Slow, lonely acoustic instruments juxtaposed against cold, inhuman electronic elements and programming. Spare, reverbed piano and low surdo hits create a sober atmosphere against clock-like wooden "ticking" (in @:09), creating an undercurrent of dark, technological tension. The second half is decidedly more machine/computerlike in nature, with the electronic elements taking the forefront and providing a variety of breaks/intros. But things get a bit more human again by :54 as the piano returns. Useful for tragedy, Internet sadness and reading 98% of the blogs out there.
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VH002957
1:15
Is your spot's first line of copy "This week on Lifetime?" Starting with a bed of busy arpeggiated acoustic guitars, glockenspiel and dulcimers, a straightforward bed of metal percussive ticking starts @:08 with piano chords and arpeggios. @:18 the ticking becomes double-time, more acoustic hand percussion/drums enter and an gothic, ethereal women's choir lets you know that some B-grade actress made an incredibly poor choice of mate. The 2nd half features various mixouts of the first half, returning to the full mix @1:00 and ending with three editable hits. Has elements of sadness, loneliness and danger.
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VH002958
1:22
Indecisive producers: Have a sad story that needs a sadder ending - AND a happy ending? This cut starts both halves with delayed piano over strummed, minor acoustic guitar chords and suspended string pads that gets more strident and dramatic @:11, building with pounding acoustic toms and timpani until we KNOW that someone is going to die/get beaten/marry J-Lo. @:30 the cut starts slightly dark and sad again, only this time, @:48, an overwhelmingly major-key feeling provides a pants-wetting joyful experience with strings, glockenspiel, e-bowed electric guitar, acoustic trap drums and strummed acoustic guitars, with a big positive end hit @1:11. A pasteable, minor key final hit is included @1:16 for you sad-ending types.
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VH002959
1:13
Neutral-to-sad cut that works for minor loss, family crises, and photos of our environment being slowly poisoned by illegal dumping, oil spills and tons and tons of fish poop. Sad, mid-tempo Folktronica that starts with solo acoustic guitar and ambient synth percussion hits that adds layers @:09 (electronic percussion, wooden percussion) and :15 (cello) and :19 (full mix with digital synth lead and more complex drum loops). After an atmospheric powerdown (useful for starting/stopping the cut) @:31, cello and drums create a brief break @:38 that return to the main mix @:57.
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VH002960
1:12
No, not Cameron Crowe, but a touching piece built around intimate piano and heartfelt strings. A delicate solo piano figure begins the piece, with the emotion furthered by strings & soft vocal swells in @:11. Becomes more intimate after :30, slowly building to a subtle, but emotional climax @:56 with an accented piano run, followed by a calm resolution. Great for poignant reunions, moving remembrances, tear-jerking separations - basically any story that firmly ties a winch to your heartstrings, drops the clutch and floors it. Good for memorials and slow dissolve-laden reminisces.
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VH002961
1:17
Warm, intimate cut that uses two acoustic guitars (6- and 12-string), subtle synth pads and a renegade ride cymbal (@:29 and 1:13) to create an air of reflectiveness with tinges of uncertainty and hope. The second half is played in a lower register, giving it a softer, more mature feel, returning to the higher registered main theme @:48, but this time excluding the lead melody. Good for sad stories, douche commercials, bittersweet memories and voiceovers that start "I'll never forget that summer... it changed my life forever."