Vizard Agent

How to choose music by describing the reaction you want

Last updated 2026-09-05 · 8 min read

Describe to Vizard Agent what the music should do to the person watching rather than what it should sound like. It writes a bed to that effect, listens back to check its length, its level and its emotional weight, and takes your reaction to each attempt — until the answer turns out to be moving the track and raising it rather than writing another one.

What is the short version?

Most people cannot name the music they want and can describe its effect precisely. "Something that makes people understand what kind of video they are about to watch" is a usable brief; "epic orchestral" is a genre and frequently the wrong one.

  1. Go to Vizard Agent with the cut.
  2. Say what the music should do to a viewer.
  3. React to each attempt in the same terms.

What do you need before you start?

The cut and a willingness to react rather than specify. This is a search, and it converges quickly if each round is answered with what was wrong with the last one — "too gentle" moves things much faster than a new adjective every time.

What do you type into Vizard Agent?

Talk about the viewer. "I want music that makes people understand what kind of video they are about to watch — something dramatic" tells Vizard Agent what job the music is doing, which is a far better brief than a genre and a tempo.

Prompt

I want music that makes people understand what kind of video they are about to watch — something with drama in it. Under the voice for the whole thing, not loud enough to fight it.

Variants worth knowing:

What does Vizard Agent actually do?

Here is the order Vizard Agent worked in on a real social film that went through three separate musical directions before it settled. What ends the search is not a fourth track at all, and that is the genuinely useful part of the story.

  1. Writes a dramatic bed for the section that needed it.
  2. Checks its length, its level and its mood before using it.
  3. Renders the version with that bed underneath.
  4. Checks the cuts and the mix against the new music.
  5. Writes a cinematic piano piece when the first was wrong.
  6. Listens to the new piece and measures its level.
  7. Renders and delivers that version for you to react to.
  8. Writes a more emotional, sweeping piece on the next note.
  9. Listens for the emotional weight of that track specifically.
  10. Renders and delivers again.
  11. Raises the music and moves it to a more sweeping section.

Step eleven is the finding. After three tracks, what was missing was not a fourth piece of music but the second one placed differently and louder — the music had been sitting under a section that did not need it and staying out of the way of one that did.

Step two is why each round is quick. A bed gets checked for length, level and mood before it goes anywhere near the video, so a track that is obviously wrong is discarded in seconds rather than after a render and an upload.

What does the result look like?

A bed that does the job you described: it sets an expectation in the first few seconds, sits under the voice without ever fighting it, and lifts at the point in the film where Vizard Agent found the lift was actually wanted.

The version that works is usually one of the earlier tracks, in a different place.

When does this not work well?

Reactions have to be about the music. "It does not work" could be the track, the level, the placement or the cut it sits under, and if the reaction does not distinguish those you can spend several rounds replacing a track that was never the problem.

How do you fix a result that came back wrong?

React in one line and let the next attempt answer it. Vizard Agent keeps every track it has written and where each one sat, so going back to the second one and moving it is a step rather than starting the search again.

How does Vizard Agent compare to doing it yourself?

Searching a music library means auditioning tracks against a mental picture of the video rather than against the video, and the ones that sound best on their own are often the ones that fight the voice. Writing to a brief converges faster because each attempt answers the last note.

A library search Vizard Agent
The brief A genre and a tempo The effect on a viewer
Each round Another search An answer to your last note
Checking a track Heard alone Length, level and mood measured
Going back Find it again Every version kept
The final fix Another track Often placement and level

Common questions

Do I need to name a genre? No. Describe the effect and Vizard Agent finds the form.

How many rounds does this take? Usually two or three, provided each note tells Vizard Agent what was wrong.

Can I go back to an earlier version? Yes. Vizard Agent keeps them all.

Will it be original music? Yes if you ask Vizard Agent for it, which also avoids matching problems.

Can I supply a reference track? Yes, and it shortens Vizard Agent's search considerably.

What if the problem is the placement? Say so, or ask Vizard Agent to try moving it before rewriting.

Can it write a build or a drop? Yes. Tell Vizard Agent where the film should lift.

Will it fight my narration? Vizard Agent measures both and sets the balance.

Can different sections have different music? Yes. Tell Vizard Agent where each one changes.

What if I cannot describe it at all? Describe the video's subject. Vizard Agent will propose something.

Can I hear the track on its own? Yes. Ask Vizard Agent for the bed as a file.

Does it work for a series? Yes, and reusing the chosen bed keeps a series consistent.

Can it match an existing episode's music? Yes. Point Vizard Agent at that episode.

Why describe the reaction rather than the sound? Because you almost certainly know exactly how you want the video to land on somebody watching it, and almost certainly do not know which instrument, tempo or arrangement is the one that does that.

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