How many cues created on a weekly basis…

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  • #23149 Reply
    OverDub
    Participant

    I shoot for (and usually complete) 5 a week. If I was writing full time I’d be shooting for at least 15 a week.

    #23150 Reply
    Vlad
    Participant

    Didn’t mean to upset people with the use of the term ‘garbage’. What I meant was, marketplaces where the top selling tracks routinely go for $20-ish. And it is a very mixed bag of quality. And to those people doing well there, more power to you.

    With regard to the P5 site itself, it is a great site in terms of being cutting edge/modern when looking at it from a customer standpoint.

    And obviously I derailed this thread, please continue on the original topic….

    I shoot for 1-2 per week of higher end content, and 1 week per month I do speed writing instead and get at least 5-8 that week.

    #23151 Reply
    pcomp
    Member

    I don’t know that I would call P5 a “garbage” site!

    Haha, exactly! It’s my very top earner and very consistent! There may be lots of so-so tracks on there but the site is absolutely great!

    #23152 Reply
    pcomp
    Member

    I’ve only pointed out that there are some people who write very quickly. I do not.. I used to, when I was under deadlines. I hated it.

    Me too (I’m Composer J). I didn’t say that I was speedwriting, I like to take my time and the tracks always sit for at least a week before finalizing mixing/mastering and uploading.

    Now, I personally don’t like the sound of corporate tracks, but there is an art to making good ones. The ones doing it well, sell very well. But there are thousands that never sell.

    #23153 Reply
    GM
    Participant

    >Now, I personally don’t like the sound of corporate tracks, but there is an >art to making good ones. The ones doing it well, sell very well. But there >are thousands that never sell.

    I agree with this. Which leads me to a more general point. I do agree that you need a market in order to sell. That’s quite obvious. But I also learned that I sell more of the genres that I can do better, that I like better. An example. I did my share of corporate tracks. I actually think they sound ok, for the most part. But I just can’t sell them. Why? I’m not sure, but my guess it’s because it’s just not my cup of tea. I’m just not “in sync” enough with that kind of market. I just can’t grasp what people want. Instead, I am much better at acoustic stuff. That’s the music I love, the music I’ve been playing for 30 years and more. That music, I can sell quite easily. The market is smaller, sure. But it’s a market in which my music better resonates with customers, and I guess it’s because it’s the music that resonates with me. I guess my point is: it’s important to be aware of what the market wants but, in the end, it’s also about whether you are able to actually translate your experience, your skills, your passion, your taste into music. I just find it much harder to sell music that I don’t really “love”, that I don’t really “know”, even if the market for that music is much bigger. But maybe it’s just me 🙂

    Which leads me to my final point. I am sloooowwww 🙂
    I’ll make 1 or 2 tracks per week, at the most. That’s especially true for acoustic tracks. Admittedly, I wouldn’t be able to make a decent living with just this kind of production … if music production was my only source of income, I would definitely have to produce more.

    #23154 Reply
    Rob (Cruciform)
    Guest

    Which leads me to my final point. I am sloooowwww 🙂
    I’ll make 1 or 2 tracks per week, at the most.

    Then call me a comatose snail. 🙂 I can happily take weeks on one song/cue. I could never do anything I liked in one day let alone doing 2-3 a day.

    #23155 Reply
    Pat
    Participant

    Thanks for posting that MichaelL. That gives me an idea of what of what we’re talking about realistically.

    #23156 Reply
    Kiwi
    Guest

    I’m very glad to see GM and Rob’s responses above. Right now I’m averaging about 2.5 days per track and I’m fine with that. Just so you know, I’m full time in music production but only part of that is as a writer/ composer.

    About a year and a half ago I decided, after a period of “cue cranking” for a cable production company that I was becoming burnt out and dissatisfied with my output because I felt a pressure to regard quantity as highly as quality. I decided that it was time to change my approach and I wanted to get into better libraries so I began to focus on music that was predominantly played on real instruments by real players (mostly me although I’ve done some collaborations as well). Almost immediately I began to get responsiveness from libraries that seemed inaccessible before. Now I’m several albums in and I’m much much happier making production music. I don’t know what the payout will be financially yet since it’s too soon to have a scope on that but I can’t imagine that it will get worse. We’ll see.

    As far as artfulness, I try to infuse as much as I reasonably can while keeping things useful. I’m very aware that this is functional music but making it as artful as possible seems to draw in the best publishers and distribution. They know the difference even if their clients don’t always.

    #23158 Reply
    MichaelL
    Participant

    Thanks for posting that MichaelL. That gives me an idea of what of what we’re talking about realistically.

    Realistic only if that’s what you want to do musically. It’s quick, it’s functional, it will sell on RF sites.

    It’s not how I work, I wish I could. I’d spend 6 months doing that, then I’d take the money and use it to finance what I really want to do.

    #23159 Reply
    Peter
    Guest

    I decided that it was time to change my approach and I wanted to get into better libraries so I began to focus on music that was predominantly played on real instruments by real players

    Interesting, as I’ve been thinking of doing the same thing as my style is mainly around real instruments. Wouldn’t mine hearing some updates as you progress with that @Kiwi.

    Using real instruments certainly does stand out in a world of sample libraries. Although most of us are talking solo instruments as I just can’t afford or fit that chamber orchestra into my home studio at the moment. I think adding something real and organic into the track just seems to add life to it.

    Ideally I try and do a track a night when I come home from work but mostly I end up finishing it the next night with some minor changes. My partner is studying so we spend some time together play with the dog then retreat to our rooms to work/study. I usually get in about 4-5 hours each night. But I’m also studying orchestration so 2 nights are dedicated to home work for that.

    I’m also trying for the more higher end libraries but I’ve decided to use some real instruments which will in fact take more time to complete.

    Can you really have quality and quantity? – maybe not all the time. One things for sure it’s a slow road.

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