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Hi there Doug, and welcome!
Sounds good!
Being in Toronto, there is a lot of music coming out of that area, and some really good libraries up there.
And, the “broadcast quality and professional mastering” stuff…That is highly subjective and debatable. I am a award winning professional sound engineer and had things rejected due to supposed sound quality.
My reasoning for “professional mastering” was really more for the growth of their ears, and possibly seeing if they might have some “Sonic Issues”. Being able to have solid sonic references, and a clear understanding of what “could” need some work is important. Something could be going on with their studio/room, or their environment. This could be a great learning tool.
Not meaning “continual outside mastering” (Although, ALL of my high-end work gets professionally mastered) It’s just a relatively inexpensive way to find out whats going on with you, and your work environment.
Also, I completely understand what you’re meaning by “Sound Quality”, and being too high-end. it is a really odd time in music in general. I am in some of the most prestigious libraries, and catalogs in the world (Some by invitation only) and now cannot/will not submit music to lower tier libraries, because they want me to “drastically dumb-down” my productions..
Stay with the music box, and stay “simple & supportive”.
Don’t get hopes up on 1 Library. Just “look for good suitable homes”.
ALSO, If you are “worried” about sound quality. Just mix them the best “you” can, and then get them “professionally mastered”
Not only will you see what your work sounds like as a”polished & finshed product”. You will now have a “reference” that you can use to match your next mixes (A/B) TO!!
Still a dilemna for me to either get composer cloud sub or CSS though (only need new strings)
see, that’s the biggest part. I guess if I needed a major overhaul, or needed to get started. “Maybe” this could be looked at as “solid”. I probably would use so few things that it just wouldn’t matter..
Also, I am upgrading from NI Ulitimate 11
I “had” a fetish for grabbing the newest and the latest “everything”. Now knowing that the large majority of the Libraries don’t want groundbreaking or new. Unless it is a revolutionary product, I don’t even bother. I have so much invested now that I only do updates. Next update is Komplete Ultimate 12..
It’s Gorgeous. I would keep it really simple. Introduce supplemental Strings that play the same lead melody part, about 4 measures in. (But not all the way thru the track) At 8 measures. I would put “Pads and Lush Strings that are not too bright”. Add a “Glock” or Bell that follows the Main melody to give it somewhat of a “Hook”. End going back to about 4 measures of Music Box sound by itself.
I would add no drums, no Sound Design (unless it was like birds, and naturals sounding efx) No Timpani’s, etc.. Just keep it simple.
Just thoughts..
Yes, perpetuity still means a loss of options; even though the tracks are non-exclusive
If they were alright with doing a non-ex deal. Push, and see if they’ll do a reversion clause..
Beatslinger: isn’t it more likely, and easier, for a production music track to be licensed for an unpleasant use than it is for a record label piece of music?
That’s a very good question, and I appreciate that!
“Most” of my later works on the record side of the business were Hip Hop/Rap. I felt that I was using my gift(s) in a negative way; and felt that I needed to take better steps to control my input into the world.As for production music. I have curtailed any input into Royalty Free, and sites where the general public can have access to my musical works.
As well, I do not work on any material for library inclusion that has a vulgar, or violent themed lyrical content.
Good day to all!
This is one of the main reasons I do a lot more work on the production music side of the business; and far less work these days on the record side of the business.
The object was to still be in the music industry, and have a creative outlet; while “working towards” a conscious effort to not keep feeding the negativity, violence, and hate that are plaguing our world.
“All Money ain’t Good Money”, and we “need” to be pro-active about our input to the world. I would rather make less money, and sleep better at night.
Quite true. More than once I’ve been told “we would take on your album but we just released one in that style”.
That was happening for me too. Rather than let go though (How I ended up getting in with a really good library)
“Would it be alright with you if I check back in with you from time-to-time, and show You what I’ve been working on?”Agreed 100%. What has traditionally been considered “top tiered” is slipping. Dropping the ball. Loosing marketshare.
I have looked all over to find where this is true. Can you point me to this?
Right now, it looks like Universal, and EMI are their strongest ever.
In many cases, they are more aggressive about stomping down the little guys than they are about aggressively pursuing decent paying situations for their business.
Actually, the Top Distributors are being “pursued more than ever by smaller Libraries/Catalogs”.
That also “seems” to be one of the main reasons that so many of the smaller libraries are going exclusive..“Top Tier” is all a matter of perception.
I define top tier as the place sending me the most amount of money in an entire year.
Hi there Music1234! I start this by saying, that I truly hope everyone gets the results they are needing & looking for in this business. If you are finding it on “Any Level” I commend you!!
(Answering the Quote)
To me, Top-Tier= Top of The Production Music Food Chain: The largest portions of the market-share, the most outreach & exposure, and the most opportunities to get its product placed. These are companies “Like” Universal Music Group, EMI, Warner Bros, etc..I have been in this industry for “closer” to 20 years, and I would not say this to steer anyone wrong or mislead them. “There is a HUGE difference I have seen being a part of The Higher-end of this industry!!”
I am not interested in a 25/ 75 deal just because the so called top tier place may fetch a two or three 5 to 15K licenses from higher end clients willing to spend some money.
Just so that I am clear. That was a completely different conversation. I was basing my response in thread to/on “My findings, and the findings of a small group of people I share information with”. I didn’t say it was “normal” (didn’t say Top-Tier) I just said it was possibly a good opportunity. Everyone will get different results.
There are other things to worry about in this industry before we even start considering AI a possible future threat.
YES! Like getting some “International Laws in place!”
1) Guidelines that “completely separate Consumer usage from Professional Usage”.
2) Mandatory Cue Sheet filing!
3) Uniform, or MUCH better guidelines with regards to Statutory Rates for Television & Film
4) Mandatory bonuses for Streaming content, that give US payments or “tiered rate increases” once any media receives certain amounts of views, (not wording this right, but you get what I mean)and SO MUCH more!!
**ALSO** I get a lot of “what is the real difference between Lower/Mid Tier and The Top-Tier Libraries?”
The Top Tier goes after that money, and cue sheets get filed!! They have VERY aggressive teams in place, and they watch like Hawks!!For sure, that’s exactly what I suspect as well. But… as BeatSlinger noted, that ‘construction set music’ – or any very loop based genre for that matter – makes up a huge amount of what’s on TV and is probably easily replicable by a basic AI or even clever set of code. Once someone has that figured out, the clock will be ticking on practically every other genre
There’s still to me a couple of things that are needing to be mentioned.
AI/Artificial Intelligence, at this time and for quite some time will be “mainly” used for “taking information about what you need: Algorithms, Mood, Genre, and other information” Then, searching databases/meta/tagging to find material with your (for lack of better words) requirements & preferences. This has already been in place for a good few years, and we bought into this by doing and/or agreeing to metadata/tagging, etc.If it is something that will start “generating actual compositions from data received. No time soon would this fly in the professional markets, and would be probably geared towards consumer-based media & non-professional usage”.
Now, THE REAL threat for “Standard” Production Music Composers that is looming, and gaining FAST. Is the HUGE migration of Singer-Songwriter/Artist Producers that are running from the record side of the business (that is just about officially dead) They are now bringing in a TON of “Pay-Per-Use/Made for Media/Pre-cleared & ready to license Albums”. No computer will be able to touch Singer/Songwriters.
As well, unless you know something I don’t “AI-composers can’t do complex Custom-Music, 1 Off’s, and Singer-Songwriter”.
If you get eaten up by a computer-generated cue(s) it means you were holding on to this industry by threads anyway..
It’s A Pretty Piece!
Couple/few things that caught me were.* The Piano and the Cello are you major issue. Piano (I like how it feels, kind of moody but) could brighten just a hair around 1.5k to 3k. being careful not to get “brittle”
* The Cello is “floating around” by either panning effect, or the “throw” of the reverb. Cello’s don’t float.
*There is “to me” a Lower-Mids “Tubby” thing going. You’ll get a lot more clarity rolling out some of those.
* Possibly positioning the Cello slightly right (because it comes in first) and the lower-mid woodwinds (that get introduced later) slightly left. will give you the separation you need to clear that “center isle” a bit and let the piano and melody line come thru.