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LA Writer,
I think 2 of the best things I have ever purchased for my studio was Acoustical treatment and an LA-2A 🙂
I posted earlier in response to Danny. Not sure why my post was curated or held back. This seems to happen often on this website and I’d really love to know why.
You will notice that MLR has little spam and if any gets through it’s deleted almost immediately. That is because MLR has very robust spam fighting tools. If a post gets into the moderation queue it’s most likely it has a number of links or something that trips the spam tools, eventually it will get released. Of course there is also the possibility of a glitch.
I always write long posts in a text editor first. If there is a glitch I can always re-post.
Good to know Art, thanks. I don’t think I had any links but maybe something I typed? Anyways, I’ll try that.
Not wishing to get into a debate about this and go off topic BUT “Mind Heist” probably the most successful trailer/library music of the last decade was done “in the box”.
I will clear one thing up as I know Zack (the composer) and his dad Lou Hemsey. Lou is not only a composer but a mastering engineer and he mastered “Mind Heist”. Lou uses analog gear when mastering so he takes the mix outside the box before rendering the final.
good to know Art. great cue. but listening to it i know of many composers who can achieve similar results inside of the box. as Mark P says you really can push today’s samples to do almost everything you need to to do to make a great trailer track in this style.
I will clear one thing up as I know Zack (the composer) and his dad Lou Hemsey. Lou is not only a composer but a mastering engineer and he mastered “Mind Heist”. Lou uses analog gear when mastering so he takes the mix outside the box before rendering the final.
Fair enough, good info. Point being that analog mixing/tape recording is not the holy grail of sound for library music especially when the need to turn around cues for TV is concerned. It is simply impractical for making fast recalls etc. Also in our world ” not the Hans Zimmer one” where music is buried under dialogue and has gone through various stages of broadcast compression would anyone be able to tell wether a mix had gone through any kind of analog chain. If composers want to go that route I don’t have any issue with that but I would suggest in terms of priority it should be well down the list. To clear up any possible confusion I think Mind Heist is brilliant. As usual YMMV
Geez, I knew this would probably happen………
Just to be clear, IMO of course, my choice to spend 10’s of thousands of $$$ on analog gear is it’s the impact on the person CHOOSING the music and on my connection with what I’m writing – not what you can discern under dialog and SFX. You could produce on your iPhone if you judge it under those conditions.
That’s why I do it. It’s not mandatory. I think it gives an advantage over ITB, and I want every advantage I can afford. My personal perspective only.
Just to be clear, IMO of course, my choice to spend 10’s of thousands of $$$ on analog gear is it’s the impact on the person CHOOSING the music and on my connection with what I’m writing – not what you can discern under dialog and SFX. You could produce on your iPhone if you judge it under those conditions.
Not debating your choice at all, if it makes you feel and sound better go for it, I have a different perspective on priorities thats all. Sorry back on topic as this is a sideline.
good to know Art. great cue. but listening to it i know of many composers who can achieve similar results inside of the box. as Mark P says you really can push today’s samples to do almost everything you need to to do to make a great trailer track in this style.
Not disputing ITB at all. It’s how I do it and wouldn’t change.
boinkee i think you need to get away from the fixation of getting into a PMA library. some of them are not going to do much for you. if your end goal is to get placements and make money then go find out the libraries that are getting placements. i can tell you there are lots of great libraries out there getting tons of placements and they are definitely not all PMA libraries.
I guess it’s time to go buy and old tape machine and some gear and geek out with analog stuff again! We did away with this stuff at our studio a long time ago and I do miss it:
Anyway, back on topic. “Elite Libraries” are not something that one can define. If I had to define one, “elite Libraries” are the companies that make the cash register sing, and the sound is “cha ching” (with cash). That’s an elite library/ publisher/ stock music licensing site. (whatever you feel comfortable calling it)
As you grow older, you care less about “credits”, and where your music was placed, or who is licensing it. It is fun to have music on national television in front of a large audience, or a big ad campaign, but really when all is said and done what matters most is the bottom line: income from your work.
but really when all is said and done what matters most is the bottom line: income from your work.
Amen to that!
It’s not only about the money but before making the deal, the Elite Library should be able to …
Hi Boinkee2000,
In the meantime, you’re welcome to come participate at AudioSparx and RadioSparx where we can help earn money for your cool tracks in a variety of different ways. I heard your tracks on SoundCloud, very cool, we have an immediate use for them here on RadioSparx right away.
For those of you who are interested to participate at RadioSparx but aren’t into the perpetual commitment required by our AudioSparx license, we now have a RadioSparx-only participation option that is both non-exclusive and non-perpetual.
Cheers,
Lee Johnson
http://www.audiosparx.com
http://www.radiosparx.com
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