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thanks for the update Alan. I guess if you pretend those lucky one off syncs didnt happen you’d actually be up a bit…
btw how did that batch of excl tracks work out for you?
bump! figured it would be nice to hear how the previous posters did last year, and maybe some new “5 year” folks could chime in as well 🙂
happy chinese new year!
Hi Phil, im digging that robben ford vibe on the first track! agree with cyber about the tone (overall its great, just that freq), miking that blackstar up will give it depth and bring out all the subtleties of your playing style
cycling is a cool sports track. it could be my listening environment, but the mix sounds a bit harsh, and the toms are a little buried on the B section…that riff is cool though
great advice michael, pretty cool gig being a regular author for sonic scoop
maybe opi is referring to premiumbeats, they pay upfront rf lib
like you chuck my main inst is guitar and keys secondary. I get what you mean on focusing on your strengths, to me creating guitar oriented genres seems so effortless, satisfying, and best of all…quick. ive also noticed how production music is also improving my singer/songwriter career, and vice versa. you mentioned songs, i found a happy medium on merging both worlds…the world of sample libraries and production music techniques has immensely taken my songs to another level, in the same token creating and singing lyrics to 2min cues has been a blast and a different artform altogether (ive been getting requests for those specifically from a lib)…so for me, i think its necessary to do both honing your craft and expanding your horizons, im actually buying a cello next year and try to learn it, theres something magical that happens when you get to play exactly what you had in mind, even if its not a stellar job, that no sample library can deliver…and for the electronic side, im enjoying sound designing and synthesis too much to not give it a go and see if i can become great at it…FWIW i feel i already made the investment, so might as well push it to the limit (unless thats not your outlook)
hi walden, so basically the deal is you’re signing off a track to a boutique lib forever without a chance to sell it elsewhere for no money down with the hopes they would push it to make some backend monies…..tough one, i guess it depends on the song…is it a one off masterpiece or can you conjure up a similar one in a few hours??
hi max, fellow guitarist here…good luck on your latest endeavor and buckle up its quite a bumpy ride….
p.s. a midi guitar (13pin) setup works well on solo strings if you happen to have one 😀
does anyone know if the editors mix stems with compression or just basic level adjustments?
I had a similar issue regarding the dilemna of keeping things MIDI or bouncing them to audio. before i would mix and master with MIDI tracks unbounced, but because of resource constraints i had to resort to having 2 session files per song (MIDI unbounced and bounced). I would have my mastering plugins on the bounced version though (again due to resource constraints)…then i came across a situation where a library asked me to change a string sound cause they didnt like the one i used, so i had to go back to the unbounced session, change the vsti, made some level and articulation tweaks, bounce to audio, then import that to the bounced session and remixed/remastered the track. a lot of work…if it was just timing or level issue i could have edited the bounced session, but if its an instrument or arrangement change i have no choice to go back to the MIDI track…
i havent had an issue with my stems clipping through the mastering chain though…i’d assume the sum of all the stems is greater than the stems separately…
just keep pushing bro…if there’s a common denominator from my last 3 decades of making music, its that you’re always going to be “too late” for anything…while there is some truth to this, don’t be discouraged, just adapt and think forward…cause if you’re late for one thing, you must be early for the next.
are you looking for full band uptempo only?
cozyhand, i look at libs now, from what ive learned here, in a sort of “priority ranking” depending on the type of track(s) im pushing…if hitlicense is a pay to submit style lib then it sits very low prioritywise (but still an option, you may have extra $$ laying around and you may never know)…
with cues (not songs), depending on the quality, usually my heiarchy is shoot for the majors first (mostly PMA excl in perp libs), if no takers, then on to mid tier excl libs like JP, MIBE, SK, SOS, then mid tier Nonex, then lastly RF (P5,AJ)…mind you that this is not some heiarchy due to some top to bottom quality ranking per libs (some folks are making more on nonex RF than on Excl majors, vice versa, etc) but more as an outlook to where it will go (best case to worst case scenario)…with sites like ST,BJ, etc, they are more like a parking lot for your tracks and you wait for a listing that fits your work and only then you play your cards…thus pay to play ranks low in priority, but you still cant rule out as an option.
with songs though (especially for my personal singer songwriter stuff) i have a different take…it is paramount that on songs i poured my heart and soul into I keep ownership no matter what. I maybe wrong on this, but i feel that technology has significantly bridged the gap for manufacturer and consumer (ecommerce, blockchain), thus the winners will be the folks who kept ownership in the near future due to flexibility to “move things around freely and adopt to the gyrations of an industry where a global community will dictate where its headed”
so i try to shoot for nonex per my personal songs, free or pay to submit (CM, Noma, Terrorbird, MD, Directional, Synchoney, ST, etc)…and see it as just another income stream along with distribution & internet/overhead radio.
again this is just a humble perspective so YMMV, there are veterans here with decades of experience who may beg to differ…
P.S. you can tell if a lib is song focused when they feature indie artists on their home page….
great tracks, the second track is very much in demand atm (bluesy southern gothic vibe)..
imo ST wanted listings are all over the place, their needs are very specific and ive only had luck with a few that fit all the criteria and make it to final selection, so many artists there that they have the pick of the litter when it comes to vocal tracks…the only upside is that its not $5 per submission…I’ve learned that if you have even the slightest doubt it wont fit, dont submit…
switched from tunecore to distrokid and glad i did…the unlimited albums is such a big deal, actually started uploading my nonex production music lately with good results (didnt cross my mind with tunecore since you pay per album)…id like to release my excl tracks also but am not sure if its a conflict with the libs im in (is the exclusivity usually for all the rights including sales/streaming?)
…thought about bypassing the middle man before and talked to a few buddies that work at the big record labels here, they said unless you have a strong track record in the biz (while indie), ts hard to go direct without a major backer like the main aggregators, and i would think trying to admin that would be a nightmare…