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Sound City was a great documentary, very cool Art that you used to hang there. Dave Grohl owns their console now, which Nirvana recored their NeverMind (think that was the one) LBUM on. Dave Grohl was the then drummer for Nirvana.
Yes they work. You can also pm my soundcloud page if you prefer. Thanks !
I don’t necessarily believe EW libraries or any other quality software is necessarily going to make a crappy composer sound great. Just make it sound like crappy music done with good software :). Even if so, consumers would soon become acclimated to the difference.
For Trackmaster, and I know this is true of some composers, if you are putting out 1-2 world class quality tracks a day, would you mind posting some links. Because it’s all I can do to put in 16 hours or more a week to put out what I would consider “decent for me” tracks and even then I don’t always believe I hit that mark.
Sorry , to get back on topic, as a daily reader of these forums for going on three years now, the disappearing upfront fees theme has unfortunately been a constant here.
Where do you find that other content? Is it free also? I know they used to charge for it, or you could buy the complete alchemy with all the samples for like somewhere in the neighborhood of $800.
With Alchemy? That was a premium synth not that long ago but then I heard you couldn’t buy it anymore. Will definitely be checking that out. I don’t suppose that is a free upgrade for Logic Pro x users? Or maybe is for me since I bought it less then two months ago?
I own and use 8Dio Dobro Solo. Great instrument. Got it during one of their sales for half off at a time when I was working on a pitch where it really came in handy.
Done….
I’d say every few months , maybe shoot for the moon in a follow up email and saying something like “I was just following up on my music submission, if I was rejected could you please give feedback to help my chances of being accepted in the future”. If you are lucky you might get some good feedback, up to and including if this library is right for you. But yes, it’s entirely possible you won’t hear anything back. I say give it a couple months to see if you get accepted, try again a month after that.
Let me sum up, for the most part, some common opinions I’ve seen and libraries with consistent earnings.
Royalty Free: For me personally, and apparently for many others, Pond 5 is my personal favorite. Other top earners are Music Loops ( I’m not in that one yet, applied once and got declined, don’t ask why I declined to apply again since , but they wanted fifty quality tracks and I sent along 3 favorites , figured if he didn’t want those , he wouldn’t want my others. Trying again in about another month). Audiosparx is relatively consistent library in my opinion, has good stats you can check out (daily sales, views) and Radiosparx makes some small contributions to your monthly earnings. This could provide a nice little bump to your earnings each quarter, which is when they pay. Not as consistent, maybe, but consistent enough to make decent enough money for your portfolio, would be Tunefruit, and for some, still, Productiontrax, although many say that sales have fallen way off there. I couldn’t say. I just started making a small amount of income there last year, all things considered. One sale in the last half of last year, 2 so far this year. Can’t comment on other RF, haven’t seen enough good consistent comments on any others to make me interested enough in applying. Other suggestions for other strong RF libraries are welcome, but wondering if they exist.
Non-Exclusive: Won’t take you long to figure out that Jingle Punks, for composers that are in there, are the reigning king of reality (and other? ) tv placements here on MLR. Actually probably an exclusive library now. I do know for a fact that other composers that make decent money at this that (gasp) aren’t in JP, but their stuff is uniformly excellent.
Other favorites in the NE (many having gone exclusive in the last year or two): Crucial Music, Scorekeepers, and folks seem to like ScoreaScore.I can’t speak to other exclusives. I can tell you when I write for a genre, besides some of the composers here, for reference tracks, I will often go to Killer Tracks, and KPM. How they stack up placement wise I couldn’t tell you but would imagine they do o.k.
All this said there is a reason that people say what works for you might not work for others, other people may have a particular favorite or have built a hard won strong relationship with other libraries that do well for them. Or pitch to several libraries and their stuff is consistently high quality and do o.k. doing that.
Me personally, I have no qualms about putting my results in general out there. I am not sure where I stand as far as your average composer. I’ve been pitching to libraries just over 2 years. Besides the royalty free I pitch to, I pitch consistently to five others, am NOT in JP, SK Scoreascore or Crucial. I see a couple royalty free sales monthly. That is getting more consistent the more tracks I have I the system. I recently counted and for some reason seems I should have more but I have about 75 tracks in the RF world. I say this because I am going on having track number 112 right now. About 15 of those tracks were me toying with genres that were not my forte and will never see the light of day. Another 10 or so were pitched to exclusives. No tv placements yet. MY RF sales seem to consistently get better the more I write. That said those earnings, complete with 15-30-60 second , stinger , bed and full tracks for the most part, with the aforementioned (lets just call it 75 ) tracks make me on a good month $60. But as I said, year by year that goes up and is about now double what it was last year. Other folks do much better then myself. Others may not. As mentioned elsewhere , the market is overly swamped by music ranging from astoundingly bad to astoundingly good, but I do believe the market will correct itself, the lesser committed will eventually drop out , those who still get a sense of satisfaction out of putting tracks out there that the put their heart and soul into and maintain a commitment to improving their skills will stick around and some of those may eventually make enough money to warrant “keeping on keeping on”.
Sorry for the longwinded post. I like to write at times, that would have possibly been another career, and should probably start my own blog. But what I’ve mentioned is a mix of lengthy research here, my own experiences and my own personal viewpoints. Should have just made this an article. All this with a grand total of (really) 3 years chasing the music licensing thing. Wanted to quickly point out, my earnings aren’t even beginning to pay for what it cost to build my studio. Still, the satisfaction….priceless. Which is why we should be doing his anyway.Good to know. At just over a hundred tracks I’m really kind of behind the 8 ball as far as numbers go. I would say the same about my first RF sale, I was like 50 some tracks and they chose that? Then it sold again. Go figure.