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Hello to all, and Happy New Year!
Just a little piece of “advice”..
I have several friends that are in both music/sound-design for games; and production music. Keeping in mind that you need to make things “Interesting, and catchy for both” I would say try implementing the same formula that you are currently using for writing “game cues”and just put them into a 2-3 minute format.
In my opinion the fundamentals are basically the same; you’re just getting to the point/hook quicker..
Happy New year to ALL.
I guess this is all a matter of taste. I do a lot of mixes on Headphones that are under 50.00..
Hello to all. I don’t have much experience on this, because my transition to another PRO was really easy; and they DID actually “Port me in”. BUT, I have had a few colleagues talk about this, and from what they told me it really depends on the size of your catalog.
Also, I have a few friends that did make the transition from ASCAP to BMI, and they said that ASCAP still takes care of the older works; and that BMI deals with all the new compositions/tracks..
I know there are a few here that will be able to give insight on this. Since I was invited to join my current PRO; my story might be different..
This literally is “War”. They are acting like they (libraries/catalogs/stock music sites) are the only game going, and if we are not with them personally & exclusively; we are missing “The Only Boat”..
Sure, there is an “influx” of new writers; talented though? “The Real Premium are Quality, and Qualified Writers/Composers!!”
I keep saying this.. No company in their right mind wants a guy that is composing $5/$10/$15 Cues. As well, the real companies aren’t signing them. We have to stand up for ourselves; and start letting them know “Who’s REALLY Buttering The Bread!!”
I send collections out to multiple publishers, and whoever has the best offer/gets back to me gets the tracks!
That’s what I have done also.I have been doing this as well. There is no harm in gracefully declining the offer for those Tracks/Music, and let them know that you are working on “What you feel is your best work yet” and that you will only submit it to them.. Wink, wink, wink.
I just saw something about the movie “Straight Outta Compton” where the music supervisor was explaining that to “clear” certain usages of songs with multiple writers; they had to be “creative” and ONLY use the portions of the songs that were able to be licensed..
Brother Kubed, You’re the best! The reason I actually posted this is not because I need it, but I was hoping that someone more knowledge like yourself would shed some light on this. I’m out of the loop when it comes to these types of “pay to play newbies” and I knew someone here would be able to “Bless it, or Hex it”.
I personally don’t want any parts of this type of “ambiguous opportunistic schemes”…
I have been getting a LOT of emails from “Music Xray” and they even offered a free trial membership..
Hmmm. Sounds to me like “you trusted your gut and it doesn’t feel right”..
Plenty of Fish in this Sea. Does it feel to you a tad “desperate?” Sounds like it..
I have been passing on those too, with no regrets..
Hello Joe Powell, I enjoyed listening immensely!! Fresh, innovative (1-2-3 Stop! is FIRE!!) I personally would not change a thing, except I would do more guitar work because it’s working!! Sounds like you’re just needing to get with “Some Very motivated Companies, that are not looking for Cookie-Cutter Music!!”
I will PM You..
Also, what an Adorable Baby!!! 🙂
Otherwise, being exclusive is too limiting in a market that’s expanding and changing exponentially every year.
TRUTH!! As well, these Libraries are acting like they are “Demi-Gods” lately.. GTFOH
LOOK. You can get these $5/$10/$!5 cue writers all day long, BUT the real “I can write/compose in damn-near ANY style writers? You need to address those egos, and come again!!” Top tier writers will ALWAYS have a say-so, because we are the “true life’s blood of this industry!!”
I just passed on adding a new exclusive to my roster (Starts with an E) “They were passing on My Strongest Stuff” and picking “My Mindless, fill the space afterthoughts..” Also, The guy in his “So-Called Studio” was trying to give me his.. Feedback.. Tell me what my mixes were lacking. It was OBVIOUS HE was NOT in a real studio; didn’t have satisfactory monitoring, nor decent Subs..lol
I digress, and ranted..lolol
Not doing advertisement at all, but I am SESAC..
I personally have seen monies from The UK, France, and Canadian PRO’s that are more than usually OUTSTANDING!! Also, I feel certain companies have VERY outdated ways of tabulating our monies in their favor, or in favor of “Bigger Fish that they are courting..”Just my “2 Peso’s” BUT, there are more Fish in the Sea than just ASCAP..
As well, there are foreign PRO’s that are GREAT at processing royalties that come from The USA!!
All good! We are “Supposed to be here in the support, and the growth of each other!1”
The best Feedback I can give is
1) Don’t give up no matter what!
2) You’re following the (not so good) track writers, that are waiting for a M.C/Rapper to make the track come together. It sounds incomplete/missing some key elements to make it a “Composition”..
3) “Try” working without using quantization. The tracks are WAY too rigid, and it’s blocking what could be a natural groove
4) You can get placements now, but you would be playing the $5/$10/$15 Cue Game. You need to steer away from that to set yourself apart from the pack of writers doing the same thing. Work on YOUR creativity, and start identifying YOUR OWN style!!Wish you well, and I hope this helped! If you would like to hear my work, send me a PM, and I will send you some links..