Copyrighted Production Music
VHEX 01 B-Sides
VHEX01 Number of tracks：32 Track(s)
Introduction：In this section you'll find cuts that, for one reason or another, never appear on any of the regular VideoHelper discs. This includes tracks that were written specifically for Online Exclusives.
Label Name：VHEX
Album tracklist
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Evil Zombie Surf. Creepy with a subtle 50s vibe, applicable for horror, being stalked by greaser aliens or scoring the world's. Slowest. Chase. Ever. Stop/start, slow-tempo, low-pitched reverbed vintage electric guitar plucks create a methodical plodding over metal crashes and tension-inducing electric guitar-created sound effects. Builds to a tense climax several times in the piece, then resets and starts again.
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Catwalk / Fashion music. Pulsing, driving and slightly infused Lo-fi Euro-techno that, depressingly, would fill a dance floor at most clubs. With a drum machine-provided four-on-the-floor beat, synths that most likely say "Radio Shack" on the sides and lyrics that haven't been this insightful since Kevin Nealon was almost funny. Begins with synth figures that build into a full mix @:24. Processed vocal breaks and pauses provide tons of moments to escape. God help me, I'm starting to hum this damn song when it's not on.
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Indie dance / rock / pop hybrid. A simple, sustained electric guitar figure starts the cut, adding in synth bass and four-on-the-floor acoustic/synth drums @:07 and adds motion with delayed synth percussion @:23. After :33, the piece breaks down, eventually dropping elements of the mix until a final snare hit @:50. Good for light entertainment, presentations and light news.
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Indian Bangra meets Delta Blues. Starting with a big mystical-sounding sitar transition (ends @:03), the cut then adds an acoustic guitar to create a duet that also uses finger cymbals, tablas, tambourine, electric guitar (lead in @:16) and electric bass gives the cut a bit of drive (especially @:19). Good for giving spots a mysterious, seductive tone that works for sex, spy stories, or drama mysteries.
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A weird, dream-like demo for a perfume ad. Uses ethereal woman's operatic voices, delayed high-frequency synths, electric bass, piano and heavy drums (in @:16). Useful for ads for expensive items, dream sequences and demonstrating how NOT to mix a spot. The cut starts atmospheric and distant, then allows the mix to build, adding a lead operatic vocal @:11 and drums @:16.
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Clinical techy-investigation music. Slicing synths and airy pads set a tone of mystery waiting to be unravelled by technology. Starts with a bed of steady synths with "fire" percussion entering in @:04. This cut basically has only one emotion and just does slight variations on it over and over. Like Jimmy Fallon. The second half is a remixed version of the first :30 with various elements coming in and out. From :40 to :44, has a dramatic "wind" break, much like most of Jimmy Fallon's material. Useful for government investigations, crime scenes, cyberstealing and other unfunny subjects, like Jimmy Fallon.
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Loneliness remixed. Expansive, sad cut with pedal steel, synths and beats. Good for stories on the end of an old way of life, lost love or missed opportunities. Is just floaty pads @:31 and becomes beat-free @:45.
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Techno machinery on the march. Minor-key sequenced synths, invasive buzzes and metallic-edged drums recall an angry Mr. Roboto with a Casio keyboard and a drawerful of cutlery. This cut would work great for any computer meltdown, machine vs man, or dangers of the internet story. Basically an ever-growing synth bed, this cut opens spare with light synths and light drums and has things piled up on top of it. Meaner, low-end piano hits enter after :20 and there's a good beddy section from :32 to :47.
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Positive mid 90s synth R&B that sounds like a fight between girl groups. Synth strings, synth bass, synth orchestral hits, synth drums, synth synths - completely inhuman. Not a lot of variation here, guys: perky strings, followed by synth orchestral stabs - then repeats. @:42 a lighter mix begins, building to a hit-filled ending, starting @1:12. Great for kid's stuff, when your news team decides to do a dance number in halter tops or you have a piece on exploding choreographers.
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Happy technology cut. Percussion-driven cut that starts out as a percussion bed, that builds by adding a synth bass line @:08, then more perky, light-hearted synths until it hits full swing @:20, bouncing its way to the end. Uses synths, a plastic box, plastic garbage cans, synth percussion and pitched-up metal shakers. Great for children's stuff, technology pieces that don't involve having your computer confiscated by the FBI, sports or even fast, animated sequences.
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Neutral world-percussion cut that gives you the feeling that the United Nations is meeting in your pants. The cut starts with lilting non-language-specific woman's world vocals, which builds into a driving percussion groove @:09 featuring various ethnicities of percussion (Indian, African). A brief Asian flute interlude and additional percussion elevate the mood slightly @:20, building towards the end. Sounds like an NPR bumper. Useful for expressing world harmony or cultures with strange toilets.
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American electric guitar-driven alt-country/pop that works for sports, aggressive morning shows or just letting people know your local news team will chase down, catch and rudely invade the personal space of its competition. Starting with EQ'd guitars, a fuller mix/drums enter @:09, building to a climax @:29. After :30, flanged, spinning/reversed guitars create a disorienting feel, only to return to the EQ'd guitars that lead into a full mix @:59. Processed/clean electric guitars, acoustic guitars, drums and electric bass sound very American.
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Fake out dramatic piano intro leads into light cut (@:09) that works for nature specials and happy moments. Acoustic guitars, 60s psychedelic chorused electric guitars, drums, cello, shaker (in @:19) and piano. @:31 a piano-driven lighter, heart-warming version begins, getting bigger @:56.
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Spare, artsy cut that started (and ended) its life as a demo for a perfume ad. A trippy, gauzy feel is apparent, with electronic drums, acoustic drums, slide guitar, synths, piano, electric bass and buried vocals (the vocals are buried - but not "buried" like someone screaming "OH GOD, HELP ME!! I'M RUNNING OUT OF OXYGEN!") Starts spare, then the full mix slides in @:10, giving the feeling of relaxation, good things happening and most importantly, smelling expensive.
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"The American West. Tough. Untamed. One of the few places a man can wear chaps and not have to sing 'In the Navy.'" Acoustic guitar and electric guitar (in @:09) create the feeling of grassy plains and herds of cattle and beer-swilling cowboys both creating near-toxic clouds of methane. Drums, percussion, shaker and synth pads enter gradually during the first half. After :30, the mix gets spare, with a percussion bed starting @:41, with a triumphant-feeling full mix returning @:51. Good for beer commercials, nature specials and road trips.
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Need a positive, heartwarming bumper/rejoin? Folksy acoustic guitar (delayed), delayed synths and cymbal washes climb in pitch and complexity as it builds to a climax @:10. Brothers with our online exclusive cut "Gentle Descent."
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STILL need a positive, heartwarming bumper/rejoin? Folksy acoustic guitar (delayed), delayed synths and cymbal washes descends in both pitch and tempo as it builds to a climax @:10. Brothers with our online exclusive cut "Gentle Ascent."
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Perfect for extreme sports highlights - but the sports don't have to be extreme, just the way you're showing it. Try using a naked voice-over artist, blind video editor or over-caffeinated video switcher. Fast, aggressive, noisy sports cut with tons of breaks, opportunities for sudden stop frames, and energetic fast cutting. Acoustic drum loops, synth arpeggios, driving electric bass and insane processed tape stops/hits.
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Spare, slow tempoed, sad acoustic nylon-stringed guitar solos over low, reverbed metallic drones that seems to tell the world that something truly sad has happened - except it says it in Spanish. Great for walking along the beach dejectedly (in Spanish), the sad (but Spanish) aftermath of having your family slain, and (Spanish) mysteries.
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Groovy, rock-y, all-purpose holiday fun.
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Church organ and boys choir.
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Okay. One more version of this damn song: Roots Blues from a rural Mississippi roadhouse porch on a crossroads. Stomping slide blues played on a bottlenecked metal body Dobro resophonic guitar with stomping feet on a porch.
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Laid back jazz ballad. Jazzy, non-VideoHelper-esque cut that uses nylon and archtop acoustic guitars, upright bass, brushed drums, and piano. Reflective cut that inspires cuddling up with your main squeeze on the couch with a cozy blanket and a bottle of champagne looking out over Manhattan - and then falling asleep at an inopportune time, spending the remaining time in the relationship apologizing.
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Church organ version (recorded at Lake Park Lutheran Church).
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Interstellar Indie Dub/Rock. Hitting the launch pad with slow skanky guitar and sci-fi effects, this cosmic groove adds funk bass and space organ @:19, with a funky astro-drummer climbing aboard the Starship Funksploration @:37. Gives me the mental image of animated 2D cardboard-cutout astronauts partying in space. Of course, so does spoiled ham.
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Another unimportant track description. Inspiring and Copland-esque with hints of pride, accomplishment and vanilla. Starts small with softly swelling strings and understated snare accents, until the proud horns enter @:09, causing everyone else to swell up horrifically like the last time I ate peanuts by mistake. Ends big @:29. Useful for anything you might think is important. Again, unlike this description.
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Feel extra-self-important by playing this cut while training for the Olympics, launching a spacecraft, or simply brushing your teeth. This one lends an excessive sense of pride and triumph to anything nearby. Opens with an understated string bed that launches into the moving main theme @:10, followed by a grand swell @:17 which builds to the end of the first :30. Second half begins with high solo trumpet over a slightly-political-sounding string bed that gives way @:51 to a full orchestra with driving percussion. Inspiring and proud.
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Laid back, newsy cut that uses a delayed/reversed piano lead and percolating wooden/metallic percussion and washy vocal pads that suggests something important is being said, but also carries some emotional/sympathetic message. A loopable, bed-like cut that works as a background, bumper or when you're trying to lull angry grizzlies. Started life as a demo for a "quit smoking" campaign.
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The softer, hipper side of news. Acoustic piano, snare, electronic kick, electric bass and reverbed, wave-like woodwind pads create a positive bed/groove that suggests importance and caring. A brief dramatic pause @:10 provides a bit of tension, but returns to the music @:13. Very warm and fuzzy. But then, so is a grizzly, certain fungi and, if you remove the "warm" descriptor, the face of my first girlfriend.
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A celebratory, fun Irish folk jig accompanied by the sound of glasses breaking, dishes being smashed and the cheering of the bar's dishwasher, whose job has just gotten much easier. Mandolin, fiddle, frame drum, acoustic guitar, flute and stamping/clapping (in @:13) create the feeling that you're in a crowded Irish bar filled with happy, drunk patrons. The sound of crap being smashed throughout suggests a aggression-heavy drunken environment - or incredibly clumsy waitstaff. The cut features many breaks and variation sections that provide breaks and can be looped for beds. @:43 the percussive smash-a-thon really gets into gear with men grunting (@:49). Great for St. Patrick's Day, police benefits or the below decks scenes for "Titanic II."
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Need to suggest an island getaway in the Caribbean - or lax drug law enforcement? Slide electric guitar, electric bass, processed timbales, electronic percussion and wah-wahed guitar create a celebratory, fun environment that verges on the cusp of expected production music fare (especially @:21 with the inclusion of synth brass). But @:29, the cut takes a decidedly unexpected and interesting turn as the cut gets more hallucinatory and twisted, starting with a percolating percussive bed that reintroduces an alternate, mellower mix of the main theme @:57.
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Dark, aggressive, percussion-driven cut that suggests some kind of physical assault or military mission. Starts with big drum/brass hits and distorted electric guitar stabs that suggest quick flashes of violence, with a brief pause for a mysterious, bell-filled break @:06. After :30 a more driving, sports-like section starts, slowly dissolving back to a percussion-fest by :44. Good for hard news and any segment on being a human piÔøΩata. This description is possibly the worst I've ever written. I'm so ashamed.
