AI Trailer Music Generator — Score The Cut, Not The Genre
A teaser and a theatrical trailer are opposite jobs. One withholds everything and one sells the whole story, and asking for epic trailer music gets you the last thirty seconds of the second one every time.
It writes original trailer music from a description. The thing worth knowing is that trailer music is advertising rather than score, so the format decides the music far more than the genre does. Theatrical trailers are capped at two minutes thirty by the Motion Picture Association and campaigns get cut to a fixed set of lengths, commonly a thirty, a sixty, a ninety and a two-minute version. A teaser withholds on purpose. A pre-roll has five seconds before the skip button. Those are four different briefs, and naming which one you are cutting narrows the music more than any amount of describing how epic it should be.
15 free credits on signup — enough for one complete track with cover art. No card required.
Eight Trailer Cuts And What Each Has To Sell
Every other tool offers epic, dramatic and intense, which describe the same thirty seconds of the same trailer. Divided instead by which cut you are scoring, because a teaser and a keynote film want opposite music.
Teaser
Withholds the plotAnnounces only that the thing exists. One idea, a lot of space, and music that never resolves anywhere.
Theatrical trailer
The full sellHas to establish, turn and arrive. The only cut that genuinely needs a three-part shape and a large ending.
TV spot
One idea, repeatedToo short to build. Starts at strength and stays there, because there is no room for an arc at all.
Pre-roll
Five seconds to hookThe skip button is the enemy. Opens at full commitment with no fade in, then develops for whoever stayed.
Game reveal
The logo is the payoffHolds back so the title card lands hardest. Everything before it is deliberately incomplete.
Product film
No jeopardyAspiration rather than threat. Tension devices that work for film read as ominous selling a phone.
Sizzle reel
Sells a toneAimed at financiers rather than an audience. Conveys what the thing feels like, not what happens in it.
Date announce
Ends on a cardEverything points at a date on screen. The music exists to make one static frame feel like an event.
How to Make Trailer Music in 3 Steps
The cut, then the arc in order, then the trim.
Say which cut it is
A teaser withholds, a TV spot repeats one idea, a pre-roll has five seconds. They are different briefs.
Describe the arc in order
What opens it, what turns it, what it ends on. Write it as a sequence rather than as an adjective.
Cut it down yourself
You get about three minutes, longer than any releasable trailer. Trim to your edit rather than the reverse.
A Cut Beats An Adjective
Epic and intense describe a volume. A format, an arc in order and an ending describe a piece of music.
“Epic movie trailer music.”
“Instrumental trailer cue that opens with a lone piano playing a simple four-note figure over near silence, a low sustained brass note entering underneath after a while and growing, then everything stopping completely for two seconds, then the full orchestra and taiko drums arriving together and driving hard to the end, finishing on one enormous sustained chord that decays into nothing.”
“A dramatic teaser.”
“Instrumental teaser cue that withholds throughout and never resolves, built on a single quiet detuned string note that wavers in pitch, a slow irregular heartbeat pulse underneath it, one distant metallic scrape about halfway through, no melody at any point, no percussion build and no climax, ending abruptly mid-phrase rather than landing.”
“Intense game trailer music.”
“Instrumental game reveal cue at 140 BPM, starting immediately at full energy with a driving low synth pulse and hard percussion, holding that level without building for most of its length, then dropping to complete silence for one beat, then a single enormous low brass hit with a long decay for a logo to land on, nothing after it.”
Why Generated Trailer Music Is All Ending
The usual failure is that you ask for trailer music and get the last thirty seconds of a trailer, all drums and brass at full volume with nothing before it. That happens because epic and intense only describe the climax, and a trailer is mostly not the climax. The fix is to describe the arc in order and to say what it opens on, since the opening is the part that does the work and the part nobody specifies. Say what turns it, say what it ends on, and say whether it resolves at all, because a teaser that resolves has failed. Name the cut too, since a pre-roll that fades in has already lost the viewer at five seconds and a product film scored with dread reads as a warning. The gaps here are real and they are the reason to be honest rather than optimistic. There is no video upload and no timecode sync, so the music cannot be built around your cut points or made to hit a specific frame, which is a thing Adobe Firefly and ElevenLabs both do and this does not. There is no length control, though output lands near three minutes, which is longer than the MPA ceiling, so cutting down is the workable direction. There are no one-shot braams, risers or impacts as separate files, and no stems to pull them from, so hits have to be written into the music. And there is no seed, so a second generation is a different piece rather than another take.
- The cut as the organising idea, because format drives this music more than genre
- Teaser and trailer treated as opposite briefs rather than as long and short
- The pre-roll skip point named, so the opening five seconds get written properly
- The arc specified in order, since the opening is what generic prompts omit
- Honest gaps: no video sync, no one-shot hits, no stems, no seed, no length control
Trailer Prompts Worth Copying
Each names the cut, describes the arc in order and says how it ends, and avoids the word epic.
Theatrical trailer
“Instrumental trailer cue that opens with a lone piano playing a simple four-note figure over near silence, a low sustained brass note entering underneath after a while and growing, then everything stopping completely for two seconds, then the full orchestra and taiko drums arriving together and driving hard to the end, finishing on one enormous sustained chord that decays into nothing”
Teaser, withholding
“Instrumental teaser cue that withholds throughout and never resolves, built on a single quiet detuned string note that wavers in pitch, a slow irregular heartbeat pulse underneath it, one distant metallic scrape about halfway through, no melody at any point, no percussion build and no climax, ending abruptly mid-phrase rather than landing”
Game reveal
“Instrumental game reveal cue at 140 BPM, starting immediately at full energy with a driving low synth pulse and hard percussion, holding that level without building for most of its length, then dropping to complete silence for one beat, then a single enormous low brass hit with a long decay for a logo to land on, nothing after it”
Pre-roll, no fade in
“Instrumental advert cue that begins at full commitment on the very first beat with no fade in and no build up, a bright confident melody and a driving kick already established from the opening moment, staying immediately engaging for the first ten seconds, then opening out into a wider arrangement with strings and a clap pattern, ending cleanly rather than fading”
Product launch film
“Instrumental product film cue with no tension or threat anywhere in it, opening on a clean minimal piano figure and a soft pulse, adding warm strings and a light rhythmic element gradually, staying bright and major throughout with no minor turn and no dread, building only in width and warmth rather than in volume, resolving fully on a confident sustained chord”
Half-speed piano device
“Instrumental trailer cue built on a single piano playing a simple melody at half speed in a minor key, enormous space and reverb around every note, a very low sustained drone far underneath, nothing else at all for most of its length, then strings and a slow drum arriving only near the very end and stopping almost immediately afterwards”
Who Makes Trailer Music Here
Trailer editors
Original cues to cut down, with no library licence attached.
Game studios
Reveal and announce cues that land on a logo.
Brand & product teams
Launch films without borrowed film-trailer dread.
Agencies
Spots and pre-rolls written for where the skip button is.
What You Get
A finished cue
Stereo MP3 near three minutes, longer than any releasable trailer.
Room to cut
Raw material for your edit rather than a locked timing.
Download on paid plans
Full commercial rights, no attribution, no expiry.
Free share link
Send it to the director before spending a download.
Frequently Asked Questions
Starting with length, because that is where this genre and this tool disagree most.
How long should trailer music be?
Longer than the trailer, which is the one thing that works in your favour here. Theatrical trailers are capped at two minutes thirty by the Motion Picture Association, with each distributor allowed to break it roughly once a year, and campaigns are conventionally cut to a set of fixed durations, commonly a thirty, a sixty, a ninety and a two-minute version of the same material. Teasers usually run thirty to sixty seconds. Output here lands near three minutes, which is longer than the longest trailer anyone is allowed to release, so the practical workflow is to generate a piece and cut it down in your editor rather than trying to have it arrive at length.
Can it match the music to my video?
No, and this is the honest gap that matters most on this page, so it is worth being direct. There is no video upload, no analysis of your edit, and no timecode sync, so the music cannot be built around your cut points and cannot be made to hit on a specific frame. Adobe Firefly and ElevenLabs both do analyse an uploaded video and generate music aligned to its cuts, and if that is what you need, they do a thing this does not. What this produces is a piece of music you then edit picture to, or edit down to fit, which is the older way round and how a great deal of trailer cutting is still done with library tracks.
What is the difference between a teaser and a trailer?
How much they give away, and it changes the music completely. A teaser exists to announce that a thing exists and deliberately withholds the plot, so it often runs on a single idea, a sound, a logo and a date, with music that stays unresolved and never arrives anywhere. A full trailer has to sell the story, so it needs a shape: something establishing, something turning, and something large at the end. If you ask for trailer music generically you tend to get the loud final third of a trailer and nothing else, which is the wrong material for a teaser. Say which of the two you are cutting, because the music brief is genuinely opposite in places.
Can I get the braams, risers and impacts separately?
No, and this is the second real limitation. Trailer audio is conventionally assembled from one-shot sound design elements dropped onto cut points, the low brass braam, the rising whoosh, the impact, the sub drop, the reverse cymbal, and those are individual files an editor places by hand. This produces continuous music rather than one-shot files, so hits can be written into the piece as part of the arrangement but cannot be handed to you as separate assets to place. There are no stems either, so a hit cannot be pulled out of a finished track afterwards. Ask for the impacts to be inside the music, and source separate one-shots elsewhere if your edit needs them on specific frames.
Can I get music for a YouTube pre-roll?
Yes, and it is worth treating as its own brief rather than as a short trailer, because of where the skip button is. On skippable in-stream ads the viewer can leave after five seconds, which means the opening five seconds carry the entire job and a slow atmospheric build is actively wrong. Ask for something that starts at full commitment rather than fading in, with the hook or the hit right at the top and no ramp, then develops afterwards for whoever stayed. That is close to the opposite of how a theatrical teaser is scored, where the whole point is withholding, so do not reuse the same brief for both.
Can it do a slowed-down cover of a well-known song?
No. A large share of real trailers use a stripped-back minor-key version of a famous pop song, and that is a cover of an existing composition with living rights holders, which is not something this produces and not something you could licence from here even if it did. There is no audio input of any kind, so an existing track cannot be uploaded, slowed, stripped or rearranged. What works instead is describing the effect directly: a single voice or a lone piano carrying a simple melody at half speed, in a minor key, with enormous space around it and the arrangement arriving only at the end. You get the device without the recognition.
Can I use it for a game reveal or a product launch?
Yes, and both are well served, with a full commercial licence on paid plans, no attribution required and no expiry. They pull in different directions though. A game reveal usually treats the logo as the payoff, so the music has to hold back and land on that moment. A keynote or product film generally has no jeopardy in it at all, so the tension devices that make film trailers work read as threatening in that context and should be left out in favour of momentum and lift. Say which of the two you are making, because asking for epic trailer music tends to produce the film version by default.
Is it free, and what do I actually get?
15 credits on signup with no card, enough for one complete piece, plus free streaming and a public share link. Paid plans start at $15 a month for 250 credits and unlock downloads, video export and commercial use, and credits refund automatically when a generation fails. Prompts run to 4,000 characters, which is room enough to describe the whole arc section by section. You get a stereo MP3 near three minutes long with no stems and no WAV, so plan on cutting it in your editor rather than rebalancing it, and remember there is no seed, so a second generation is a different piece rather than another take of the same one.
More Score & Cue Tools
Same studio, same credits — whatever the picture needs.
Which Cut Is It.
A teaser that resolves has failed, and a pre-roll that fades in is already skipped. Name the format first. 15 credits, no card.