A couple of questions

[AmirH]

Hi gang!

I was just wondering about a couple of things:

1. Which sample rate should you use when uploading tracks to RF sites? I normally use 44.1 but as far as I know 48 is the industry standard when it comes to videos/film.

2. When I upload alts/edits to a RF site, should I register every single one with my PRO (STIM here in Sweden) or is it enough to register the main version?

3. When creating alts with less instruments, do you re-master them as well as trying to pump up the volume so it’s on par with the main version?

4. Do you reckon big dynamics is a good thing in production music or is it impossible to tell without the context?

Sorry if I’ve asked something that’s been answered before, I tried searching the forum.

[Michael Nickolas]

1) I also use 44.1
2) I register every one, but usually only after a sale is made.
3) I just run it through the preset I created when mastering the main version.
4) I would think it is important to have your track sound as loud as the next guys, without over doing it of course.

[Paolo]

Hi Amir,

I don’t work with RF sites but I think my answers apply to your situation so I’ll go ahead and chime in 🙂

1) I think most composers here like myself are asked for both 48khz and 44.1khz. I always ask which they prefer and I keep a binder with everyone’s preferences. So I would ask each RF site and future client that you intend to work with.

2) I’m with BMI and they have a feature which allows the registering of alternate titles along with the main title. I wouldn’t think it necessary to register cut-downs (ie “My Hit Song 30 seconds”)but I suggest registering the alts that are different mixes — they will be notated with the alt titles on the cue sheets.

3) yes- yes! Master the alts so editors can switch into an alt version without dealing with changes in volume, EQ etc.

4) I’ll leave that to someone who works with RFs – but with TV, the tracks are underneath dialog so for me there’s no need for big dynamics IMHO. But I think small swells and little crescendos add positive flavor to a track.

Hope that was helpful and answered your questions.

haha! Just saw that Michael answered this as I was typing 🙂

[daveydad]

I use 44/16 but more libraries are requesting 48/16; even had one wanting 96/24 with no mastering applied.

I usually register my songs on BMI in small groups as I compose.

I tend to keep the volume the same on “less” mixes; they should sound quieter anyway, I suppose.

Seems like most libraries I’ve dealt with adjust the gain themselves.

My .02 🙂

[Chuck Mott]

My two cents:
1.) Differs by site. 44.1 .wav and 320k .Mp3 are common but absolutely check with the site.

2.) I’ve been registering my cuts, but unsure if it is necessary. Don’t most contracts specify in full or in part. Seems like alts would be different so unclear on this as well.

3.) Yes I would say the libraries don’t want much variation in volume between versions or within the same track, whatever you need to do to make that happen. Most folks seem to cut from the full tracks byway, at least doing it this way would seeming make things consistent. Trailer music is likely different .

4.) I usually will play an .mp3 or other audio track to try to get close to the same volume as pro recorded music.

[guscave]

I’ve been asked to send in 44k, 48k and even mp3.

I’m with BMI and I only register my main track and the alts but not bumpers (ex 10 second or 30 second mix).

Most libraries I deal with have asked me to keep the level of the alt mixes the same as the main track. So I find it easier to get stems, alts and bumpers from the main song.

[AmirH]

Thanks for all the answers! 🙂

[Author]

Posts