Pitch Hammer Music
1. How did Pitch Hammer Music get started?
We (Brian and Veigar) have known each other for quite some time, and our paths have crossed on different projects throughout the years. We’ve always found it easy and enjoyable to work together, and we have certain similarities, but more importantly we really do compliment each other in each others’ weaknesses. Early last year we were both at a crossroads with our careers and it was an ideal time to make a change, and Pitch Hammer was born.
2. Pitch Hammer Music is a relatively new music library in the trailer music arena yet it looks like there have already been many high-profile lot of placements for your trailer music cues in various media advertising campaigns and so forth. What do you think accounts for all of this?
The main reason is probably that we have both been in the business for over a decade each, and we have very strong relationships with key players in the trailer world. On top of that we like to believe that we truly have an outstanding product. We know the market and the clients’ needs well, and we really work hard at creating top notch tracks.
3. Veigar Margeirsson has composed some top-notch tracks for other trailer music libraries in the past. Could you describe what the inclusion of him at Pitch Hammer Music brings to the table?
Brian: In addition to writing tracks for Pitch Hammer, he is in charge of all production aspects, and uses his “super ears” to guide and produce our team of composers and sound designers. Veigar is primarily a composer, but he is very much enjoying the change of pace and spending more time in production.
Veigar: Brian’s musical background along with his expertise in licensing and marketing perfectly compliments my composing and production background. Brian happens to be a great musician who possesses outstanding business and communication skills. A rare trait I have to say. His good ol’ southern charm doesn’t hurt either 🙂
4. A few tracks that I have heard from Pitch Hammer and am absolutely in love with are Rebirth of Desire and Prepare for War. The first is a riveting and powerful orchestral score while the second combines orchestra with that rocking guitar sound. Could you describe the composition process behind these cues?
With “Rebirth of Desire” we were trying to create something epic and hopeful, with a sense of a hero being “broken”, and needing to “rise” again. Instrumentation is orchestral with somewhat of a classic approach. I (Veigar) love the orchestra and tend to rely more on the orchestral palette than sound design, but obviously it varies from cue to cue.
“Prepare for War” was written by two of our top writers, and they were going for a hard hitting hybrid track. Guitars and synths play the main role with very aggressive hits. The orchestra plays a secondary role and is mixed in the background intentionally. We were going for more of a gritty rock approach.
5. Are there any upcoming projects or albums on the horizon?
There are many exciting things in the pipeline, and we constantly try and keep our finger on the pulse, working closely with our clients to consistently meet their needs. Our writers are absolute trailer fanatics, so we give them a lot of creative freedom to create some unique and amazing tracks.
6. Do you have any additional comments?
Our first year has been amazing, and we’re fortunate to have had a lot of placements in many amazing campaigns, such as Iron Man 3, Evil Dead, The Call, Olympus Has Fallen, The Hobbit and many others. We are looking forward to another great year ahead in trailers!