3+ Hours, MUSIC FOR TRAILERS 3+ Hours

10 lessons. 20 minutes average per lesson.


Cyrus and his team speak English. Subtitles available in Spanish.

In any device, MUSIC FOR TRAILERS In any device

Streaming directly from your browser and favorite devices.

Cyrus Reynolds


From Los Angeles, Cyrus Reynolds invites us to experience his creative process of creating music for trailers, as well as sound design and vocal production Creating music for trailer from scratch, recording of vocal tracks along with special guests, creating massive percussion, the use of orchestra, and much more.

ABOUT Cyrus Reynolds

Cyrus Reynolds is one of the most demanded producers and sound designers in LA. His music has been used in trailers of movies such as Vikings, Little Women, The Americans, Good Kill or the video game Assassin's Creed, and his sound design and vocal production by artists such as Rhianna, Coldplay, Justin Timberlake or Kanye West.

MÚSICA PARA TRAILERS Teacher's projects 1
MÚSICA PARA TRAILERS Teacher's projects 2
MÚSICA PARA TRAILERS Teacher's projects 3
MÚSICA PARA TRAILERS Teacher's projects 4
MÚSICA PARA TRAILERS Teacher's projects 5
MÚSICA PARA TRAILERS Teacher's projects 6

Lesson plan

  • 01 INTRODUCTION Cyrus talks about his origins, his music journey and about how you can shape your sound and career based on your personal experience. Cyrus details the program of his masterclass from composing and producing music for a trailer from scratch, to recording and editing vocal tracks, as well as mixing and adjusting the music to work with the image.
  • 02 PRODUCING A NEW TRAILER TRACK PART 1 Cyrus begins the production of new trailer music from scratch. In order to do so, he looks for the first seed, the first sound to start from. He creates a chord progression and defines a sound identifier that provides a unique identity to the tune. Cyrus also talks about the structure and sections of music for trailers, and finally explains how to enrich the sound with your favourite plugins.
  • 03 PRODUCING A NEW TRAILER TRACK PART 2 Cyrus explains the reasons for selecting a particular key and talks about the use of parallel chords. Then he adds an immersive atmosphere while detailing how to get an original sound on the piano track using reverb and compression. Finally, Cyrus explains how to create transitions that clearly delimit the different sections.
  • 04 PRODUCING NEW TRAILER TRACK PART 3 Adding several layers of epic percussion to the track, Cyrus explains what are his favorite percussive sounds and how to use them in an original way. He also uses synthesis to add another rhythmic element and explains how to treat it to make it sound more organic. Lastly, Cyrus adds the lead track, even bigger percussion, and a very subdivided last rhythmic element.
  • 05 WORKING WITH VOCALS PART 1 Accompanied by his collaborator Flynn Hase, Cyrus records the voice of the singer Keeley Bumford in a unique vocal tracking session for a new track. In addition to lead vocals, Cyrus records doubles of the melody and harmonies, while talking to Keeley about the ins and outs of a multitrack vocal recording. Both allow us a first person experience observing the professional relationship between a producer and a vocalist.
  • 06 WORKING WITH VOCALS PART 2 Cyrus and Flynn edit Keeley's vocals. Using a great variety of plugins and creative techniques, both producers manage to create a special vocal sound in the first section of the tune. Then they work on the equalization, de-esser, and tuning of the lead voice and the opening of the voices in the chorus, and finally they use various equalization tricks, amplifiers and distortion among others, in order to take the vocal tracks to the highest level.
  • 07 PRODUCING A NEW TRAILER TRACK PART 4 From the Output Studio, Cyrus explains how to make trailer music attractive to editors and then picks up his new track to add an epic orchestral break. Using string and brass instruments with different types of articulations and mixing tricks, Cyrus manages to complete the theme section creating an imposing sound in the orchestra.
  • 08 PRODUCING A NEW TRAILER TRACK PART 5 Cyrus works on the final section of his trailer track explaining for reference purposes the previous material to generate a sense of unity. After the track is finished, he talks about how to export the orchestral part to record it with real musicians. Followingly he details the way he compares his mix with other existing mixes. Finally, Cyrus explains how he uses multiband compression and limiting to prepare the music for the final delivery, and he checks that the track works when used in a pre-existing trailer.
  • 09 ANALYSIS OF THE TRAILER OF “THELMA” Cyrus analyzes his track “The Wolves”, which also features Keeley's voice, and he explains how it was used in the trailer for the award-winning Norwegian triller “Thelma”. Section by section, Cyrus details how the editors used the different parts of the track to make it work with the image. In addition, he discusses sound design techniques, mixing vintage hardware with modern plugins, which he used to create the most characteristic sound of the track.
  • 10 MUSIC BUSINESS How to release your music for the first time? How to find a record label? Cyrus talks about some of the biggest issues facing the industry. In addition, he explains what type of royalties are generated when publishing music and how to collect your royalties. Cyrus also talks about new trends: Do I really need a label, or can I do my production and releases completely independently? Finally he talks about the trailer music industry and the types of rights it generates. Cyrus says goodbye encouraging us to be creative and enjoy every step of our music journey.

What happens to you and the things that you do, form and shape the musician that you become, and that is a beautiful thing.

Cyrus Reynolds

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