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Greetings and welcome ChuckDallas. I myself, having a “bit better” of an understanding that business is probably even more important than the music itself these days. I am sure your corporate experience will come in very handy!!
I wish you much success!!
Hmm, does it “sound similar, or can you hear something that could have possibly infringed upon YOUR original composition?”
Also, some electronic fingerprints/ID’s cannot be heard.
..this phrase is what confuses me :
“….and if so how much would that cost?”
Because he already had found it in Pond5 (he sent me the link of the track)I’m not sure on this one, because I haven’t used any “samples except my own”. I am “now starting” to use some samples in my workflow to save time programming, but I make sure to read ALL of the terms of service, and granted rights for usage without having to receive a clearance from the company.
Was it something that was “watermarked, or has a electronic fingerprint attached to it?” Keep really good records of what/how you sample, and make sure you can go back and take a look at their terms of usage!!
Some information:
The track is uploaded in Pond5 and its price is 70$.
Genre: Cinematic/Classical Waltz
Orchestration: String Orchestra, Violin, Cello, Piano,Guitar, Accordion, Percussion
Duration: 3.29
It was recorded in a high-end studio with real instruments (i made the violins and cellos parts with overdubbing, using one violinist and one cellist)I think the cinematographer is simply trying to find out if “any samples have been used”.
If it is an “Original” piece of music that you have real instrumentation on, just let him know.
I would also check and see if he is looking for something “Exclusive” and was looking to “Buy out the track/composition, and cover your original recording costs..”
Hey Brother, I would go in and do another mix of it. “treat it like a TV Mix/Minus 1 for live performances” where it’s instrumental until the hooks.
Super catchy Track, and “the way it is now” it would basically be good as a “song placement” or a branding campaign with “no dialog” (Kinda like how they do Mac Products)
And BTW, the biggest of the PMA libraries have done the least for my back end. Just a perspective.</blockquote
Too early for a couple/ few of them for me. But so far this has been a very true statement.
Sometimes, the ambitious, and motivated smaller libraries do a LOT better for getting the placements!
I already have 2 albums with them but it’s too early to speak about statistics…I gave them only 1 year ago. This makes difficult to evaluate their ability to place my music or if I am a good match for them.
Sounds WAY after the fact.. If it is already been a “full year” you should have seen some sync fees come in,.
The question that I would ask is..
Have you done research to see what they have done, and their most current placements?Have you checked here on MLR to see their rating, and the comments made about them?
How do you feel about working with this Library/Catalog?
I have libraries that I am with that give large upfront fees (not advances) and “for some of them” I am not seeing nearly the results that I am getting from Libraries “that give me $100 per track, and the upfront is recoupable”..
Do your research, and go with your gut!!
Personally, after seeing that there is basically no future in chasing after small change. I am not putting any further energies, and music towards these “desperate models”. I am only interested in Libraries/Catalogs that have great relationships with “reputable networks, branding, and people with actual budgets”.
I’m with some heavy-weights, and there is no further need to chase “Catfish, and other bottom dwellers”.
Production Music Lifer’s, I am grateful to you. You are setting a standard, and it is now the time to uphold it. Don’t compromise. Make the best quality music you know how, build your track record, and go after the top libraries. I’m spoiled by the attention, quality of service, and their commitment to higher standards. I refuse to go backwards.
Hi there, for me I like when “You are obviously having more fun with the cue/track. It really shows!”
!) Let’s Get Awkward
2) Dance of The Fiddler CrabGreat Stuff!!
Little piece of advice, and hopefully not taken the wrong way. I would team up with someone that has a strong idea about drums, drum programming, and just good taste in picking/maneuvering samples. That seems to be holding back of few of the tracks from being really good.
Also, have you thought about half-time Trap Drums for Tryphtique?
I would say that everyone knows the “General go to’s and drop some tracks”..
1) Jungle Punks
2) Musicbed
3) ScoreKeepersI wish you much success!
This raises another question: even when using a button ending, how long can the tail acceptably be? Sometimes I like to have some trailing FX and such that peter out gradually. At what duration does this become a sales liability? Anyone? ?
Effects Tails (Boo on Chemtrails!!) don’t really make too much of an issue on standard length versions. But, they can create quite a problem on short version (60, 30, 15, tag..) Because it can chew up a LOT of usable time for some music. That’s why I fade them, so I can have more content..
Beatslinger, you said you DID pay, are you not using them anymore? Was just looking into them today.
My “Dance Card” is full, and the only company I would add on at this time would be EMI Production Music/SONY ATV
Hi there, I actually paid for FMN for a couple of months, and I did 3 tracks/compositions per each submission with a link to a Soundcloud Page inside of the notes. I submitted to 5 Libraries, and got a response from 4. I signed with 3.
The other companies were simply too vague, or were quite expensive, so I didn’t bother submitting to those..
I like to live dangerously, so I pull the tags off Pillows, Mattresses, and do both a Tag Ending AND a Fade!!
For Library/Catalog work I either do really BIG endings, or end on a phrase that has some power to it. But, sometimes the effects drag WAY too long on tail. So, I fade the effects/tail to shorten the duration.
When I first got started in production cues. I turned in almost 200 mixes that had fade endings. They were sent back to be re-dun..