Hey everyone, I've been building a desktop app called AEVUM. It's a time tracker built specifically for music producers. It runs in the background, detects your DAW automatically, and tracks how long you spend on each project. No manual timers, no clicking start/stop. Right now I'm looking for people to stress test it. The app is completely free to download and use. ⚠️ Fair warning: you will probably run into bugs. ⚠️ This is still early and that's exactly why I need real people using it. The more eyes on it, the faster I can fix things. If you find something weird, broken, or just off, I'd really appreciate it if you let me know. Drop a comment here or shoot me a DM. Download: https://aevum-time-tracker.netlify.app/ Enter an email to activate the free version. Thanks for helping me make this thing solid. Cheerio, Alex

Hi all, I have started composing orchestral music and want to produce an album of 10 songs. I have finished 2 songs with Cubase 15 Pro, the EastWestwood library (with Beyond the Storm template), and used plugins like Neutron, Ozone and Aurora reverb to create the modern trailer sound. I heard that my song sounded very orchestral, which is good, but I wanted to make it more "modern trailer like". However, I realized that this is hard and I have no experience as music engineer. So I need advice on how the setup all the usually plug ins, so that I can focus on "composing music", which is my strength and less on "mixing", which just is not my focus. I saw that Alex is offering a template for Cubase 14, which has all the plugins established. Is this template like very well organized so that I can focus on composing music, or is it a start and it would need a lot of tweaking per song? Would the plug ins from the template work with my available tools? Thanks a lot. Luka

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! 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 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!