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“Framework” Sound Design from the Hit House

A new sound design music album known as “Framework” has been released from The Hit House featuring work solely by composer Chad Hughes. Hughes was willing to answer some questions from TMV regarding his work on the album. Check out the interview below as well as the press release that follows.


TMV: What inspired you to begin composing in general?

Hughes: Creating new and interesting sounds for motion picture is truly my passion. I enjoy chadstory telling through the use of sound.

TMV: What did you like the most in composing this album for the Hit House?

Hughes:  There are hundreds of hours of recording and designing that go into the production of a unique library like this. Hearing the various layers and processing and dynamic impact of these sounds together is always the most rewarding part of the process for me.

TMV: Is there any particular aspect of this album that you are especially proud of?

Hughes: When approaching a project like this I usually have a myriad of ideas of how to produce a particular sound I’m hearing in my head. For this collection of design I’m proud of how those ideas I had ended up working so well. Sometimes my ideas don’t translate into the sound I’m hearing and I need to keep pushing through to find the right source or combination of sounds, but in this case a large majority of the sounds I recorded and combined in the design process fit what set out to create.
TMV: How did you feel when you first learned that you’d be composing for the Hit House?

Hughes: Sally and I have been working together for five plus years prior to the creation of this library. We knew there was a gap in fresh new material trailer and picture editors needed to keep their work current and progressive. When she approached me about it I was very excited at the opportunity and we immediately started brainstorming about what we could do to be innovative and fill that void.


From left to right: Scott Miller, Chad J. Hughes, Sally House, Dan Diaz, & William Hunt.

TMV: Are there any additional comments?

Hughes: We plan on continuing to provide top notch and new material on a regular basis for the motion picture trailer industry.




Los Angeles, CA, May 20, 2015 – Top music production company The Hit House is thrilled to introduce “Framework,” its first ever sound design library. This new album was created to fill the very specific needs of the motion picture trailer industry.

“Framework” is an incredible collection of original hits, rises, wooshes, crashes, booms and bangs, and original field recordings written by The Hit House’s three-time Emmy Award nominated sound designer, Chad Hughes. Hughes’ work has recently been featured on the hit TV show “Gotham,” and now he has created these one-of-a-kind sounds exclusively for clients of The Hit House.

Said Sally House, EP/Owner of The Hit House, “The ‘Framework’ project just made sense for us. After all, sound design is also music to our ears. At the Hit House, we’re always striving to deliver every conceivable type of audio that our advertising and trailer clients require. ‘Framework’ is the next step in our growth. Of course, we know there is already a world of sound design out there to choose from. That’s why we wanted to give our clients a unique offering that will help their work stand above the rest.”

About The Hit House:

A premier, multi-award winning, custom music and sound design company in Los Angeles, recent work from The Hit House has also been used in national and global television campaigns for clients such as Netflix, Google, Playstation, Lexus, Jell-O, Porsche, and The Ritz Carlton; in motion picture campaigns for the upcoming films “Pan” and “Ted 2;” and for the recent films “Godzilla,” “Big Hero 6,” “Book of Life,” “Frozen,” “Thor: The Dark World” and “Iron Man 3,” among others.

Hear more at: www.thehithouse.com

And please visit the company’s social media sites:





Hit House Contact:
Sally House

Executive Producer




Media Contact:
Dan Harary

The Asbury PR Agency

Beverly Hills, CA



Out of Epic Score ascends “Earthrise”

esYes, you read the headline correct..a new trailer music album is here from Epic Score. Famously known for its original Epic Action and Adventure series, Earthrise now becomes the second album removed from that association.

This isn’t to say however, that the release lacks any punch or impact that the original albums of Epic Score so strongly resonated throughout. In fact, this album was solely composed by Lasse Enersen and is his debut work with the company.

Not sold on buying the album just yet? Here’s a demo to help you decide!

Referencing the description of this demo, it mentions that this music was recorded and brought to life by over fifty string players. 

Released on May 1st,  Earthrise is now available for purchase on iTunes and Amazon.

Imagine Music – Interview with Alexey Soloviev


Trailer music labels are a dime and dozen these days, so much so that you could say that it is hard to keep track of how many there truly are.  Enter Imagine Music, the first trailer music company ever from Russia. They are partnered with Switch Music Group.  Of the several composers now part of this joint venture, composer Alexey Soloviev volunteered to answer some questions Trailer Music Vibe had about the creation of the company, his involvement in it, and the expectations for the future. So with that being said, I present the interview to you all below.

Continue reading

Chop Music Ltd

cA new trailer music project has been out for a while and that is called Chop House Music.Founded by Kyle Robertson who has written quite a bit in the past for Gothic Storm, Liquid Cinema and PP-Music, this is his first venture out his own library.

The first volume consists of 19 tracks spanning Epic Action, Drama & Inspiration, and Risers & Horror . You can check out each set of tracks from the various categories below.

Happy Listening!

News from Switch Music Group!

Here are two big updates from Switch Music Group.

unnamedFirst, Switch Music Group has a new Director of Licensing & Development – Kyle McKinney!!

Kyle has worked in the trailer world for years as a Music Supervisor and Producer for companies Ammo Creative and Green Monster Advertising.
For all licensing requests please contact him at kyle@switchmusicgroup.com


Imagine Music, Russia’s first trailer music company has just launched and is part of thebh Switch Music Group network! Their first album “Black Hole” is a massive epic undertaking composed by Michael Afanasyev, Tapsa Kuusniemi, Zeonium, Vlad Basmanov, Artem Gribov, Alexey Soloviev , Dylan Jones, Dustin Krizan, Sergey Zubarevr ,Kyle Kniceley, Thomas-Adam Habuda, Phillip Lober, and Christian Fernando Perucchi.

The awesome artwork you see is done by the one and only Koke Nunez-Gomez.

The album is available as a pre-order on iTunes now: https://itunes.apple.com/us/album/black-hole/id978887889

And the promo trailer you can view here:

For licensing, email info@switchmusicgroup.com

Fachri Ben Otman -Montage editor from Tunisia

Fachri Ben Otman is 18-old montage-editor from Tunisia, who creates military video on YouTube for 3 years. In projects he uses epic music and inspirational songs. His video is about military equipment: tanks, plains, ships and weapons. Using a usual movie maker, he tries to show all power of arms.

«It’s a bit embarrassing to a video composer like me to use a primitive software like this. I create it for myself, of course, & because I was interested in military stuffs»

He likes to use the soundtracks of many composers & specially Two Steps From Hell and Christian Baczyk.
But Fachri didn’t stop there – recently he begin making the anime music video. Below are some of his videos. Feel free to check them out.

Rise of sky fighters (
Spanish Military Power: El poder militar español ()

The Hit House at Sync Summit




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Los Angeles, CA –  April 1, 2015—Sally House, Executive Producer and Owner of The Hit House, will be a featured guest panelist on a session entitled “Soon to be Heard in a Major Motion Picture – Music and Film,” during the 2015 Sync Summit in London on Thursday, April 8th, from 2-3PM.

The session is described as follows: “Soon to be Heard in a Major Motion Picture: Music and Film – Composition, Sync and Placement.” The right music can make a scene come alive. This panel will compare and contrast the ways and means by which music supervisors, cinematographers and directors successfully blend together music with cinema.

Joining House on the session will be:

** Jessica Ibgui – A&R Creative Manager, Budde Music, France

** Valerie Dobbelaere – Music & Special Projects, Gent Film Fest

** Moderator Mark Frieser – Chair, Sync Exchange/Sync Summit




Sync Summits are high-level, focused networking events held in New York, Hollywood, London and Paris where top music supervisors, heads of music in visual and interactive media (TV, Film, Video Games, Advertising, the Internet and Mobile), label executives, publishers, music libraries, composers, artists, technologists, legal, accounting, brand managers and service providers gather for two days of discussion, networking and dealmaking. Sync Summitconsistently attracts the top music supervisors, label, branding, publishing, management, library, media and technology executives as well as composers and artists in the business of music in visual and interactive media. Sync Summit London runs April 7-9. For more info:  http://syncsummit.com/londonagenda


Sally House is Owner and Executive Producer of top LA-based music production company The Hit House. The Hit House is renowned for bringing creativity to each and every project they touch through custom music and sound design. A premier, multi-award winning company in Los Angeles, recent work from The Hit House has been used in national and global television campaigns for major brand clients and blockbuster motion picture campaigns.


Sally brings her vast marketing and branding experience to The Hit House. She started her career in advertising at Ogilvy & Mather, before transitioning to the client side as Director of Marketing for Kenwood USA and VP of Marketing for Clarion Corporation.  Sally is responsible for all the ‘Between the Ears’ stuff at The Hit House.


In her role as leader of The Hit House, Sally initiated the creation of the highly successful FUNNY BONE, OFF THE RECORD, RE:ACTION, and SPHERES production music libraries. Tracks from these libraries have been used in a long list of movie trailers, television shows, and commercials.


During the past two years, Sally and The Hit House have also been featured in numerous entertainment and music industry media outlets, including AdWeek, SHOOT, Pro Sound News, Variety, POST, PostPerspective, MIX Magazine, Creative Planet, Digital Pro Sound, Creative Cow, Trailer Music Vibe, Music Supervision Central, and many others. In addition, Sally is a noted panelist and guest speaker, and has appeared at such industry gatherings as the Sync Summits in Los Angeles and London, NAMM, the Music Business Association, and others.




A premier, multi-award winning, custom music and sound design company in Los Angeles, recent work from The Hit House has also been used in national and global television campaigns for clients such as Netflix, Google, Playstation, Lexus, Jell-O, Porsche, and The Ritz Carlton; in motion picture campaigns for the upcoming films “Pan” and “Ted 2;” and for the recent films “Godzilla,” “Big Hero 6,” “Book of Life,” “Frozen,” “Thor: The Dark World” and “Iron Man 3,” among others.


Hear more at: www.thehithouse.com


And please visit the company’s social media sites:








Hit House Contact: 
Sally House

Executive Producer




Media Contact:
Dan Harary

The Asbury PR Agency

Beverly Hills, CA



Interview with Danny Cocke

Danny Cocke, a noted production music composer recently produced an album. But how did he arrive at this stage? Please see the interview TMV did with him recently.

– How did you get into composing?unnamed (1)

I was always writing, playing, and recording music obsessively since I was a kid. I spent over a decade playing in bands, as well as producing/engineering tons of other bands before really diving into composing. My band from 12 years ago was working with Linkin Park and being produced/mentored by Mike Shinoda. Mike bought us a Pro-Tools rig so we could record our own demos to send back and forth to him. This was the start of me really learning to integrate the computer and recording software as a palette for writing, as well as learning to produce and mix. After my cancer experience, that band broke up and I later joined up with a really cool symphonic hybrid electronic rock band. We spent a year making a totally experimental cinematic studio album. This was my first taste of composing orchestral music around rock/electronic music. Soon after I started focusing more on writing my own compositions, being purely inspired by film and game score. After a couple years of writing and building up my catalogue, and realizing I was done with the band life and done producing artists, I jumped full time into composing. It was pretty soon after that decision that I released my first trailer album and have been composing for trailers, film, and games steady for the last 4 years.

– What inspires your themes in your music?

I spend some time playing the piano or guitar, usually noodling around until something inspires me. Sometimes I go through sound banks of samples and find an inspiring sound bed to start off a melody. Lately though I’ve been focusing much more on singing. I began meditating everyday for the last few years and I find melodies will just stream in when I quiet my mind. I’ll sing ideas into my phone or into the computer and build the track around that idea. I also listen to a ton of interviews and independent radio shows about all things unusual or conspiracy throughout the day. Those topics keep me thinking about and searching of what the true story of humanity is, what is going on in this planet, what may be going on with our role in the greater universe, and all the mysteries or glitches in the matrix. Those ideas get channeled directly into my music.

– Are there were any coming music projects that we can look forward to?

Yes, I actually have a few new albums in the works! I’ve been pretty steady busy with trailer customs for the last year or so, as well as some video game and app game work, but the tracks have been accumulating nicely for all 3 albums. My first release later this year will be a big orchestral album, a bit different than my last few albums. Very emotional, less hybrid sounding. I’m very excited about it. I also have a really heavy industrial/noise-design percussive album in the works. As well as a Danger Impact Vol.2 release due out at the end of the year. I’m planning on releasing all 3 this year, but if I get a film or game gig again this year as well that may be a bit over-ambitious;) I’m steadily chipping away though!

– I enjoyed Verge of Total Chaos album and we had done a piece on a breakdown of that album and possible meanings for the track titles. Could you talk about the creation process and the production flow etc.? Your take on the meanings we presented?

I was definitely in a certain zone of consciousness while making that album. Song titles were coming to me based on realizations I was having and from the subjects I was studying. The music felt very channeled as well, like it was coming from somewhere else outside of me. I still look back and wonder how the hell that album came to be haha. I probably couldn’t do anything like it again! The meanings you deciphered were highly intuitive and pretty spot on! I was really impressed and honored you took the time to write that article and dig deeper into the music and get that much out of a 2 or 3 word song title.

– What’s your view on the epic music genre?

It’s funny, even though I write epic music, I don’t listen to the genre at all! I have met a lot of talented composers in the genre over the years that I have massive amounts of respect and admiration of though. It is quite cool to see the genre growing a lot in the last 5 years, from fans to artists. It has become its own niche genre! It will be cool to see where it goes from here.

– Any final comments?

I would like to share a little bit about my current quest in sound. I’ve been taking kundalini yoga teacher training over the last year with my fiancé, and learning quite a lot about the healing power of sound. I’m also highly fascinated with cymatics (youtube search that word if you don’t know what it is, it will blow your mind!) So my spare time is spent learning about ancient solfeggios, resonance therapy, ancient mantras, and tones that can affect our bodies and consciousness. I’m hoping to sneak a lot of that into my music as my studying deepens. Then eventually take a short hiatus from trailer/game music to work on an album of healing sounds.

I’d like to thank Danny Cocke for allowing TMV to interview him. Hope you enjoyed the interview.

Follow him on Facebook , Twitter and SoundCloud  and his website to keep up-to-date with him!

Jennifer Knight – Epic EDM Artist in Production Music

It is not uncommon for trailer music and production music to overlap with one another. As trailer music is in essence a branch under the tree of the aforementioned field. Therefore, some music that may not necessarily fall into the ‘epic genre’ contains that epic tone. A case in point is music from an artist that I’ve had the privilege to know thus far in Jennifer Knight.

She is a rising music artist who certainly has the potential to set the stage for her genre of what can be termed ‘pop music.’ Originally from Merrill, Wisconsin she has been working diligently yetIMG_20150306_231931 passionately to bring her work into the public eye over the last few years.

Her specific music genre’s she’s in are pop, electronica, and dance.

So what songs out of her repertoire thus far contain the epic tone ? Well look no further than the single ‘Starlight’.  This song contains a clear electronic tone and is also known as eDM (short for electronic dance music). It was produced by AJ Afterparty, a DJ in L.A.

Her other single is ‘Twinkle and Shine’. tw

Her songs are also selling on iTunes and other digital media outlets. Follow her on Facebook and on her official music site here.

Robert Etoll & the Q-Factory are at it again

qSome months ago, we did a feature on Q-Factory. Well in recent times, they most certainly haven’t been silent.

No but rather come a new host of trailer music albums. Pulses 2

Pulses 2 (http://robertetoll.com/catalog?mode=album&album=57) is the sequel to Pulses 1 (http://robertetoll.com/catalog?mode=album&album=21), which was a huge success for us. Because of the high demand from editors & supervisors for the first release (everyone honestly kept asking us when we were going to release more!), we came up with twenty-five sound design / tonal compositions that truly make your heart race. Pulses 2 (http://robertetoll.com/catalog?mode=album&album=57) is perfect for all styles, especially the following: Thriller, Suspense, Action, Horror, Sci-Fi, etc…


Singles (http://robertetoll.com/catalog?mode=album&album=56) is a new thing we’re trying out for pieces that don’t yet have a home — it’s kind of our version of a holding pattern until the full releases are completed. Most of the tracks on Singles (http://robertetoll.com/catalog?mode=album&album=56) are in the emotional & inspiring styles. Robert Etoll (https://www.facebook.com/robertetollproductions) and his team of composers recorded live strings and live brass for this compilation at Firehouse Recording Studios (http://www.firehouserecordingstudios.com) in Pasadena, CA.

Industrial Rage
The second installment of our “Rage” series, these 10 compositions in the Electronic/Industrial/Electro-Rock style have broken the sound barrier, so get ready for some new and unique noise.
Feel free to follow this music group on social media via Facebook.