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My first exclusive release was in 1998 and I was hitting 4 figures on less than 10 tracks within 2 years.
Seems like a lifetime ago.
No personal experience with Harvest Media, but last I looked they were used by a number of established music libraries in U.K.
I’d not heard about the avatar NFT specifically, but it doesn’t surprise me as it all ties in with the concept of the multiverse era, virtual worlds, and the tokenisation of culture already taking place.
I’m no expert here but, in terms of minting NFTs – yes, you will need a digital wallet (or several) and some crypto to get you started, but it’s worth noting that the Ethereum blockchain (high gas fees) and OpenSea aren’t the only options. Eg. I’ve recently been minting on https://www.hicetnunc.xyz which uses Tezos coin which, despite an increase in fees, is far cheaper. Cardano blockchain is also one to keep an eye on right now.
Has anyone delved deeper into potential NFT adoption?
I think there may be some direct licensing opportunities for composers who can build community around their catalogue. Perhaps by offering limited edition “packages” of tracks which not only have utility through license to use in projects, but also have some type of “unlockable” tradable value. Or perhaps simply offering NFTs as a promotional tool? This could be setup relatively inexpensively in OpenSea, as once you’ve paid the initial store fee you can mint without further cost.
I was under the impression 5 Alarm Music are US based. https://www.5alarmmusic.com/contact-us/
The point is, I think, one has to be a serial entrepreneur to survive.
A really useful reminder, Art. Multipotentiality!
I hadn’t heard that and I have an AdRev account
It came from a discussion on the AJ forum and seemed to be relating to new accounts rather than existing. I don’t know how legit this is.
I heard a rumour AdRev aren’t accepting RF composers. Does that only leave Tunesat for anyone looking to move into ContentID?
They most likely will not register until placed.
Thanks Art, that seems the most likely explanation in this case. The industry has changed so dramatically over the last few years, it’s difficult to know what’s standard practice anymore.
I can see how using the mastered audio track will be much quicker
I think track style might have a bearing. I produce mostly EDM/Pop and for high end work I do the cuts from the original arrangement to avoid long release notes, reverb tails sounding too chopped.