Copyrighted Production Music
VHEX 02 Remixes
VHEX02 Number of tracks：15 Track(s)
Introduction：Here's where you'll find alternate versions of tracks already in the VideoHelper library. But these cuts aren't just mixouts -- they're often totally reworked, tricked-out or sampled, chopped-up and then remixed.
Label Name：VHEX
Album tracklist
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Chunky electric guitars, squealing synths, thumping bass and pounding drums create a sports/investigation cut that sounds a lot like any early-90s angry group that tended to shower with the regularity of sunspots - while mixing it with weird electronic elements like digital feedback, radio interference and an Atari 2600 plugged into the wrong voltage. Starting with drums only, the cut crashes into violence @:10 and doesn't give up.
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Retro 70s tv/lounge music (complete with record crackle) that sets a sexy/seductive mood - or is nauseous/suicide-inducing for those of you with taste. Campy strings, bongos, Rhodes, glockenspiel, flute, acoustic bass and tambourine create a mood that is fuller/more positive during the first half - getting dreamier and more sexy after :30. Great for parodies, awful soap operas, cheesy love scenes or making out with Bea Arthur. Sounds like 'elevator music'.
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The original version of "A Victory for Stumpy" (disc 20, cut 43), originally written for an indie movie trailer. This version is much more spare/greater dynamics, with a longer orchestral intro, a stronger accent on the boy's choir "Hallelujah" samples and two hits ending the cut: one @:40 - then a bigger, more final one @:51. Personally, we always liked this version more.
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Advertising gambling (in a positive light) or a trip to Vegas? This money-based cut uses the sound of spinning coins, slot machines, cash registers and processed brass hits amidst various musical backgrounds. Great for Vegas montages and quirky financial spots.
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Brutal, disturbing collage of computer/machine sounds that combine to sound like every alarm in a factory is going off in succession. Harsh, dissonant mechanical-sounding screeches and wails that build towards a climax @:29. Cut gets very spare @:36 and :51 - both times building up to a cacophonous mÔøΩlange of industrial grinding and pounding. Creepy moments work for mysteries and investigations - while the mechanical elements give the impression of complex machinations slowly grinding to a halt.
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No better way to say "this is news." Authoritative, positive and dignified, but with a hint of adventure. Sounds a bit like John Williams/Alan Silvestri mixed with Bill Conti's newsier stuff. Rhythmic first :30 automatically instills a dignified feeling with horns/marCato (ASCAP) strings + timpani & snares = instant big news cut. Has good 'climbing' section from :31 that builds in both tenor and fullness until :48 when it reaches its prideful climax and gets all majestic and happy. Useful for anything even remotely important, news themes and political coverage. Get James Earl Jones to say "this is your news" over this cut. See? It passes the newsy litmus test.
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Western/Techno hybrid that sounds like the desert in an apocalyptic future. Starts pensive with picked synth acoustic guitar, electric slide guitar 'cries' and spare percussion, then crashes into a muted/strummed acoustic guitar-driven feel with delayed synths and church bells. Hits an emotional climax @:33 with sweeping synth pads and building tension until final hit @:54. Works for investigations, looks at the American West and when your on-air talent is challenged to a gunfight.
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Childlike - and quite dangerous if you're lactose intolerant. Designed to bring back the happy memories of the local ice cream truck (unless you were accidentally run over by one), this remix of Disc 30's "Ice Cream Symphony" is the song "Turkey In the Straw" played on a combination of bells, xylophone and child's piano. After :30, tremeloed bells bring to mind merry-go-round, carousel and circus music - especially the brief "Flight of the Bumblebee" riff @:35. Special sadistic use: Play this on your car stereo as you drive slowly through child-filled neighborhoods.
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Instant supermarket / hold music atmosphere. Disc 27's cut 56 "Rat Packed" EQ'd like you'd hear on a small elevator speaker, dentist's office sound system or if you had a punctured eardrum. For this version, many of the remixed elements from the original were removed to make a plainer, more mayonnaise and white bread mix.
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Light drama cut filled with activity and hints that something sinister is going on below the surface. A sparer version of Disc 26's "Relentless Drive" (cut 27), this cut starts with a percussive hit that leads into an overdriven electric bass figure that adds bit-crushed electronic percussion (starting @:05), various breaks (@:21, for example) and a delayed, filtered horn loop @:22, building until a fake-out climax @:56, followed by a pasteable final percussive hit @:57. Good for sports, chases or fast cuts.
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A Gregorian chant gone horribly wrong - much like Module Disc 1's "Damnation" (cut 10), but this cut interrupts with non-sequitur-esque engine whines and high speed car passes that get more frequent as the cut grows in size and tenor. Good for race car crash footage and scaring the crap out of people.
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Break-filled percussion-and-bass-oriented version of Disc 26's "Village Pangea" (cut 52). Starting with hand drums, low synth drones, bells, shakers, electric bass (in @:08) and didgeridoo swells (@:12 and :33). Hand percussion-only break @:42. Good for underscoring nature specials and giving the impression of human activity.
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A musical interpretation of a bullfight, starting much like Module Disc 1's "Coraje" (cut 67) - with trumpet fanfare, Spanish guitar and bullfight noises - but this time the cut introduces an acoustic bass, and electronic drum loops (in @:18) to give the cut a laid-back, Acid Jazz-ish feel. Works for confrontations, bullfights, and travel pieces.
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Getting married to Courtney Love? Never before has Mendelssohn been metaphorically peed upon, until what we did to his "Wedding March." Starting with the familiar church organ intro (and screaming @:03), a wall of cacaphonous electric guitars and pounding drums enters @:05 and doesnÔøΩt let up until :21, where the theme repeats, this time with more edit-friendly pounding, ending @:39 where the guitar rings out as agonized Homer Simpson-esque moaning takes us out. Good for all these reality-based marriage shows, soap operas gone wrong and entertainment spots. The original version is on Disc 30.
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A fun, uptempo cut that transports you to the excitement and human brewery that is the World Cup. Starting with an electronic referee's whistle and crowd chanting, this cut slowly builds in tenor and density until :18, crowd reactions, batteries of found percussion (cowbells, snares, etc), electronic percussion, synth bass and synths create a full-on driving celebration of knee-sock wearing guys who make scads of money. After :29 the mix pares down to a usable, simple bed of four-on-the-floor kick and delayed percussion. Good for football, soccer, futbol or however you spell it where you live. @:53 an announcer calling a play-by-play brings the full mix back in @:57 with a scream of "GOOOOOAAALL!"
