logo

//RESULTAT

3300 titres trouvés

KAPTAIN A TROUVE

3300 titres


181 - STEP IT UP | 2'24

  • Cinéma d'espionnage/investigation. Suspense & puissant. Nappes et séquences de synthés envoutantes se développant avec un orchestre à cordes émouvant, des percs et une batterie @ 1'08.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

STEP IT UP (no drums) | 2'24

  • Cinéma d'espionnage/investigation. Suspense & puissant. Nappes et séquences de synthés envoutantes se développant avec un orchestre à cordes émouvant et des percs lointaines.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

STEP IT UP (30s) | 0'30

  • Cinéma d'espionnage/investigation. Suspense & puissant. Nappes et séquences de synthés envoutantes avec un orchestre à cordes émouvant, des percs et une batterie.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

182 - DANGER RISING | 2'10

  • Orchestral cinématique et dramatique. Inquiétant & envoutant. Nappes de synthés intrigantes se développant avec un orchestre symphonique puissant et un ensemble déterminé de percs.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

DANGER RISING (ambient) | 2'10

  • Orchestral cinématique et dramatique. Inquiétant & envoutant. Nappes de synthés intrigantes se développant avec des interventions d'orchestre.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

DANGER RISING (30s) | 0'30

  • Orchestral cinématique et dramatique. Inquiétant & envoutant. Nappes de synthés intrigantes avec un orchestre symphonique puissant et un ensemble déterminé de percs.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

183 - BELIEVE NOW | 2'25

  • Orchestral cinématique & dramatique. Déterminé & triomphant. Piano entêtant, synthés inquiétants et orchestre émouvant se développant crescendo sur un ensemble de percs et une batterie @ 1'19.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

BELIEVE NOW (underscore) | 2'25

  • Orchestral cinématique & dramatique. Déterminé & triomphant. Synthés inquiétants et orchestre émouvant se développant crescendo sur un ensemble de percs et une batterie @ 1'19.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

BELIEVE NOW (30s) | 0'30

  • Orchestral cinématique & dramatique. Déterminé & triomphant. Piano entêtant, synthés inquiétants et orchestre émouvant sur un ensemble de percs.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

BELIEVE NOW (30s2) | 0'30

  • Orchestral cinématique & dramatique. Déterminé & triomphant. Piano entêtant, synthés inquiétants et orchestre émouvant sur un ensemble de percs et une batterie.

Compositeur(s) :

  • Eric Muller - Clement Debethune - Ludovic Dhermy - Maurin Zahnd

184 - HILL HOUSE | 2'14

  • Fast-moving cello races over light strings and piano chords; angelic choir drifts with a swelling orchestra build; cinematic theme carries an orchestral climax with soaring choir and drums.

Compositeur(s) :

  • Harry Lightfoot

HILL HOUSE (no choir) | 2'14

  • Fast-moving cello races over light strings and piano chords with a swelling orchestra build; sophisticated, cinematic theme carries a lush, orchestral climax with pounding drums.

Compositeur(s) :

  • Harry Lightfoot

185 - TO DWELL ON DREAMS | 2'46

  • Dramatic piano chords and ominous strings build with anticipatory, emotional tension with dark brass as a beautiful piano solo swells with the full orchestra to a sweepingly tragic back end.

Compositeur(s) :

  • Harry Lightfoot

186 - LOVED AGAINST REASON | 2'33

  • A piano twinkles a mysterious intro, with string arpeggios and pulsing bass, sweeps up with brass swells leading to a dramatic violin, sweeps up to a dramatic build with brass and big drums.

Compositeur(s) :

  • Harry Lightfoot

187 - CHENONCEAU | 2'29

  • Piano motif layers with warm strings, twinkling bells and acoustic guitar, for a tender intro; builds with anticipatory strings, swelling up to a celebratory back end with brass and percussion.

Compositeur(s) :

  • Harry Lightfoot

188 - THE LIGHT BETWEEN US | 2'44

  • Warm piano ostinatos, waltz-like motif, emotional strings, slightly magical, period drama back end sweeps up with big drums and strings, uplifting brass climbs up to a massive outro with choir.

Compositeur(s) :

  • Harry Lightfoot

THE LIGHT BETWEEN US (no choir) | 2'44

  • Warm piano ostinatos, waltz-like motif, emotional strings, slightly magical, period drama back end sweeps up with big drums and strings, uplifting brass climbs up to a massive outro.

Compositeur(s) :

  • Harry Lightfoot

189 - KNEEL BEFORE THE CROWN | 2'33

  • Elizabethan baroque period drama with harpsichord stabs, builds with full orchestral stabs, wailing high violin solo; stops down for piano arpeggios but swells with brass and string ostinatos.

Compositeur(s) :

  • Harry Lightfoot

KNEEL BEFORE THE CROWN (no choir) | 2'33

  • Elizabethan baroque period drama with harpsichord stabs, builds with full orchestral stabs, wailing high violin solo; stops down for piano arpeggios but swells with brass and string ostinatos.

Compositeur(s) :

  • Harry Lightfoot

190 - IN THE CONSERVATORY WITH THE REVOLVER | 2'13

  • Dramatic strings and a piano motif layer with quirky harpsichord accents, sweeping up to a bold back end with full orchestra and pounding drums, layered with choir for a massive climax.

Compositeur(s) :

  • Harry Lightfoot

IN THE CONSERVATORY WITH THE REVOLVER (no choir) | 2'13

  • Dramatic strings and a piano motif layer with quirky harpsichord accents, sweeping up to a bold back end with full orchestra and pounding drums for a massive climax.

Compositeur(s) :

  • Harry Lightfoot

191 - VINDICATION | 2'34

  • Serene organ ostinatos and minimal emotional piano motif. Lush strings give way to a slow brass theme, which swells to a tragic build with drum accents and short strings.

Compositeur(s) :

  • Harry Lightfoot

192 - EVERGREEN | 1'39

  • Lush, anticipatory strings lead to a lightly dramatic piano motif; as woodwinds, harp and more orchestra sweeps in, the cue builds to a very emotional violin solo, with drums, brass and choir.

Compositeur(s) :

  • Harry Lightfoot

EVERGREEN (no choir) | 1'39

  • Lush, anticipatory strings lead to a lightly dramatic piano motif; as woodwinds, harp and more orchestra sweeps in, the cue builds to a very emotional violin solo, with drums and brass.

Compositeur(s) :

  • Harry Lightfoot

193 - THE STARS ALIGN | 3'21

  • Plucked harp, bells and short strings leading to an emotional theme by a violin solo; a sophisticated piano break swells to a fantastical orchestral back half with brass and pounding drums.

Compositeur(s) :

  • Harry Lightfoot

THE STARS ALIGN (no choir) | 3'21

  • Plucked harp, bells and short strings leading to an emotional theme by a violin solo; a sophisticated piano break swells to a fantastical orchestral back half with brass and pounding drums.

Compositeur(s) :

  • Harry Lightfoot

194 - UBIQUITY | 2'56

  • Slightly distorted light piano motif mixes with tweaked vocal layering with synth arpeggios and string pads; swells up to a powerful, pounding crescendo with strong male vocalese.

Compositeur(s) :

  • Stuart Roslyn

UBIQUITY (no choir) | 2'56

  • Slightly distorted light piano motif mixes with synth arpeggios and string pads; swells up to a powerful, pounding crescendo with strong male vocalese.

Compositeur(s) :

  • Stuart Roslyn

UBIQUITY (no choir, no vocals) | 2'55

  • Slightly distorted light piano motif mixes with synth arpeggios and string pads; swells up to a powerful, pounding crescendo.

Compositeur(s) :

  • Stuart Roslyn

195 - KEYS TO THE PAST | 3'00

  • A sensual vocal sample mix with synth pads and piano; futuristic pulsing with ticking swells up to a lush, driving slowly build with pounding drum clusters, rich brass, full orchestra and choir.

Compositeur(s) :

  • Sergiu Dan Muresan

KEYS TO THE PAST (no vocals) | 3'00

  • Synth pads and piano; futuristic pulsing with ticking swells up to a lush, driving slowly build with pounding drum clusters, rich brass, full orchestra and choir.

Compositeur(s) :

  • Sergiu Dan Muresan

KEYS TO THE PAST (no choir) | 3'00

  • A sensual vocal sample mix with synth pads and piano; futuristic pulsing with ticking swells up to a lush, driving slowly build with pounding drum clusters, rich brass and full orchestra.

Compositeur(s) :

  • Sergiu Dan Muresan

KEYS TO THE PAST (no choir, no vocals) | 3'00

  • Synth pads and piano; futuristic pulsing with ticking swells up to a lush, driving slowly build with pounding drum clusters, rich brass, full orchestra.

Compositeur(s) :

  • Sergiu Dan Muresan

196 - WE WILL GET THROUGH THIS | 3'56

  • Percussive rhythm weaves with piano and guitar ostinatos and a dramatic motif, swelling with percussion and brass; an swell leads to a huge orchestral back end with brass and choir.

Compositeur(s) :

  • Harry Lightfoot

WE WILL GET THROUGH THIS (no choir) | 3'56

  • Percussive rhythm weaves with piano and guitar ostinatos and a dramatic motif, swelling with percussion and brass; an swell leads to a huge orchestral back end with brass.

Compositeur(s) :

  • Harry Lightfoot

197 - FIGHTING BACK | 2'45

  • A driving synth races over a pad with sliding FX and hits; strings and drum clusters; Brass leads a hybrid orchestra with a soaring female solo vocalist and choir to a dramatic back end climax.

Compositeur(s) :

  • Matt Foundling - Stuart Roslyn

FIGHTING BACK (no choir) | 2'45

  • A driving synth races over a pad with sliding FX and hits; strings and drum clusters; Brass leads a hybrid orchestra with a soaring female solo vocalist to a dramatic back end climax.

Compositeur(s) :

  • Matt Foundling - Stuart Roslyn

FIGHTING BACK (no choir, no vocals) | 2'45

  • A driving synth races over a pad with sliding FX and hits; strings and drum clusters; Brass leads a hybrid orchestra to a dramatic back end climax.

Compositeur(s) :

  • Matt Foundling - Stuart Roslyn

198 - COMING TO END IT ALL | 2'13

  • A mysterious intro swell leads to a soft, peaceful acoustic guitar and warm piano motif. A driving synth pulse, pounding drums and a dramatic, yet exciting piano layer with a lush orchestra.

Compositeur(s) :

  • Greg Townley

199 - STAND AND FIGHT | 2'46

  • Tense synth pads with low percussion; warm piano chords layer in until the strings and synth pulses drive the adventure forward. Massive choir and orchestra blasts the back end climax.

Compositeur(s) :

  • Martyn Corbet

STAND AND FIGHT (no choir) | 2'46

  • Tense synth pads with low percussion; warm piano chords layer in until the strings and synth pulses drive the adventure forward. Massive orchestra blasts the back end climax.

Compositeur(s) :

  • Martyn Corbet

200 - SUBSERVIENT | 3'08

  • Tense intro with low booms and low brass bends; dark strings building with massive drum clusters, evil brass . Massive back end, a huge choir and ominous brass, big stabs and a piano button.

Compositeur(s) :

  • Ciaran Birch

SUBSERVIENT (no choir) | 3'08

  • Tense intro with low booms and low brass bends; dark strings building with massive drum clusters, evil brass . Massive back end with ominous brass, big stabs and a piano button.

Compositeur(s) :

  • Ciaran Birch