A Wonderful New World of Fords, scored
Published November 2026
Doseedo, an AI film scorer in your browser, watched this cut and wrote, played and mixed its score, every part its own stem with its own notes. One cue for orchestra: celesta and solo flute on the telescope, a harp glissando into every reveal, the theme a step higher on each new car, and a full E♭ button on the last cut, thin under the narrator throughout. Scored on November 5, 2026 through the scoring studio, the same loop anyone gets: the film went in, the scored film came back 20 minutes later, and nothing was touched by hand.
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What was asked
- The sound: Orchestral.
- How much music: Balanced.
- If the film already has music: Replace it.
- Direction: “A 1960 car commercial: a space-age opening, then an evening crowd in formal dress and the new cars revealed one by one on the lawn. Build to each reveal, keep the voices clear, and end on a confident button.”
Those are the studio's own controls, set as anyone would set them. The composer is free to depart from them when the picture asks for it, and says so when it does.
The composer's notes
What the studio's composer wrote back with the scored film, in its own words; only its closing offer of changes is left out.
The scored film is done: the old music is gone, the narrator is kept, and the master sits at −16 LUFS for web with a true peak of −1.8 dBTP.
What I heard first: the film's own music was one light-orchestral piece playing the whole minute. It had lush major-seventh harmony around E♭ at about 126 bpm, faded in over 3 s and was at full level by 23 s. From it I took the glamour, the warm extended chords and the swell into the reveals, but none of its tune or chord progression.
The score: one cue, 0–60 s, for orchestra. It's built on a new theme that rises a fourth, then climbs by step and falls back.
- Telescope (0–12 s): high strings and harp, with celesta sparkles and the theme on solo flute. It thins out once the narrator starts.
- Gala on the observatory lawn (12–23 s): a gentle string line over a harp lilt. Horns join at 21 s, and the strings, horns and timpani swell toward the first comet.
- Comets and reveals (23–40 s): each comet gets a rising flute-and-clarinet run, a harp glissando and a timpani-and-snare build. Each car lands on the cut with the theme on trumpet, horns and violins, plus cymbal and timpani, one step higher each time:
- Galaxie at 27.1 s, in E♭
- Thunderbird at 32.3 s, in F
- Falcon at 37.5 s, in G
- The line-up (40–60 s): the music drops to a soft harp-and-strings bed under the narrator. In his pause (about 45–52 s) clarinet and violins sing the theme in full.
- The button: horns and strings settle, then a trumpet pickup leads into a full E♭ chord with timpani and cymbal at 58.3 s, rung out to the last frame.
Keeping the voices clear: I wrote the music thin under the narration, and the delivery dips the music about 10 dB under each line.
Approximations:
- Timing: the reveals cut every ~2.5 s, so the score runs at about 94 bpm instead of the temp's 126 to give each car its own accent.
- Snare: in both renders the snare played its builds as separate rising strokes, not a true roll. It still drives each build. The timpani played 5 of its 6 rolls; one came out as separate strokes.
- Ending: the last 3 s of the hall reverb run past the final frame and are cut there.
Who played
- 1M1: Flute, Clarinet, Horns, Trumpet, Trombones, Timpani, Snare, Cymbal, Harp (player 1), Harp (player 2), Celesta, Violins I, Violins II, Violas, Cellos, Basses.
Every part is its own stem in the delivery, with the notes it played.
The delivery, measured
| Measure | Result |
|---|---|
| Length | 1:00 |
| Integrated loudness | −16 LUFS (the web target) |
| True peak | −1.8 dBTP |
| Loudness range | 10.2 LU |
| Dialogue | the music dips under each of 7 spoken lines |
| Picture | copied untouched |
| Film in to scored film out | 20 minutes |
Music for a TV commercial, written by AI
AI music for a car commercial, rescoring an old commercial with AI and retro commercial music are what this page shows: one 1960 spot, scored through the studio to its reveals, with the brief, the composer's notes and the measured mix.
Score this film yourself
Open A Wonderful New World of Fords in the studio as a sample, pick another sound or write your own direction, and get your own version back.
Open it in the studio →FAQ
Is A Wonderful New World of Fords free to use?
Yes. A Wonderful New World of Fords (1960) is in the public domain, so the picture can be used, scored and shared freely.
Was anything fixed by hand?
No. The film went through the scoring studio's own loop on the live service; the score, the mix and the delivery are what came back.
Can I score my own film this way?
Yes. Drop your cut into the scoring studio, pick a sound and how much music you want, add a line of direction, and you get the scored film, a printmaster, an M&E and every stem back. Your first film score is free: a free account with a verified email gets a one-time 300 credits for its first score, on top of the 120 a month, and the composer plans that score to fit them, so a long film is scored where it matters most.
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