[davidagates]

I used to use SoundCloud, even go their premium service, but they still run ads even if you’re a premium member! Disco.ac is what I use now, allows you to create great curated playlists and tailor them specifically for the library. It’s a bit more money wisebut worth every penny.

[davidagates]

Well, this is all fascinating stuff. I think given our trade and the age people are living to now this is something we’ll all come to face at some point so well worth the read.

[davidagates]

“FYI: Jingles are big time, prime time”

I know, I’m not casting aspersions on jingle writers, but pressing “generate” on a piece of music over and over that is brief is more likely to yield results than longer pieces that need to be listened to in their entirety. Its just playing the statistics.

Thing is, and this has been bugging me for a while, even if they changed the rules, copyright and policy what’s to stop people go to countries that don’t have those rules? I believe, from reading Music Business Worldwide that the majors are going after AI companies, so I think that’s going to have a big impact on the landscape.

[davidagates]

I personally find it frightening in all areas of work, that being said it if makes everyone redundant and I can spend my days just making music in some sort of ai driven utopia (unlikely I know) then I’m game.

It’s good, it will only get better, but I think the bubble will burst with AI, at least in it current iteration. Think the .com situation in the 2000’s. The market is saturated and the public are already kicking back on AI driven content.

I’m aware there’s also issues with rights when it comes to AI music, so large studios won’t touch it. To me, the people doing simplistic jingles, soundbeds etc. will be hit hard. If you’re doing big scores for libraries I don’t think it will impact much, different demographics.

[davidagates]

Adding myself to the notifications for this. Incredibly important.

[davidagates]

Hi Beatslinger,

Sorry for the lateness of my reply, it’s not rudeness, just that I didn’t recieve a notification (again, I need to be more active in here in general).

Thank you for the advise, it’s something that I’ve definitely taken on board and have already started to improve, are their any absolute musts for Kontakt that you’d recommend?

As per a PRS, I’ve signed up with the PRS for the UK and ASCAP in the US, so I’m making proactive steps.

At the moment I’m going through a bit of a “rebranding” situation following the advise of a previous comment and hammering the writing. I’ve also, in the end, decided to renew my membership to Taxi. If I really work hard then I’m bound to, given that I’ve already had quite a few forwards, build relationships with some libraries and get some stuff signed.

Fingers crossed!

Dave

[davidagates]

Been calling this out for years, thing with these kind of technologies is they’re exponential. Once the balls rolling everyone is like “drum machines never put anyone out of business”, which utterly misunderstands the concept (and high quality samples probably have for a lot of projects). There genuinely needs to be legislation about this, hard rules, trouble is (I’m no expert in law) how to legislate for every country? I don’t think the likes of China and Russia will follow suit.

[davidagates]

Yeah, I totally understand where you’re coming from jdstamper. I think the issue is I need to get myself into a position where I’m getting mostly forwards to make it financially viable for me. At the moment having to pay a sub fee and a submission fee (I know it’s only a few dollars but if you’re submitting multiple relevant tracks it adds up when you get nothing back) is too much. What I will say however is that it’s definitely been worth it, I’ve gotten better as a writer and producer since I started with them, I understand the industry better and the expectations of libraries, even when it comes down to stuff like structure. I’m not bitter about it, don’t think it’s a rip off or anything like that, I just think I need to step back from that a bit and hone in on those few genre’s I do well. I was submitting to almost every instrumental, getting good forward ratio’s as well, but doing 2 jobs to support my family and finding the time to make music to that standard was killing me. I need to collate, write, collect, then get back on the horse with them.

[davidagates]

Hi @cosmicdolphin2,

Not entirely sure how I missed you comment, or how I directly reply to people. So apologies for that. To answer your question re: Taxi, I probably wrote about 45 tracks. So not a stellar number, but then in the beginning I was just learning the ropes so to speak. I think it’s something I’m going to come back to when I’m more experienced, as I’ll be able to get a cue done properly and as it should be.

Which glum portrait are we talking about, haha, the old one that looks like an oil painting (which is ironic because I’m certainly not)? Yeah, I don’t use that anymore, I’ve only just started to try and get a handle on the whole “brand” thing. I sort of thought that the company name would be something that would be memorable per se, but I bow to your greater knowledge. Is it de rigueur for people not to use company names then? As I say I’ve no previous experience of this sort of thing.

I’ve been writing, a fair bit, I’ve decided that I’m going to go down the direct route of pitching to libraries and I’ve 2 or 3 albums nearly done to see if I can get them to the right guys. I’ve been pretty prolific of late, but rather than just sling it down the Pond5 hole I’ve decided to keep hold of stuff while I get my ducks in a line.

Oh and as far as being fun to work with, I’m a decent sort. Just not very good at the “me” thing.

Finally, and it might sound like a small thing, but thank you for saying my stuff was up to quality. It’s tough with the old imposter syndrome to keep on keeping on.

Thanks for all the notes. They have been taken and will be implemented.

[davidagates]

Hi Bruce,

Cheers for your input, it’s much appreciated. I’m going to change my approach, yeah, it’s been a long learning curve but I’ve been lurking about here and in other pro groups and I think I’m getting a better understanding of what I need to do.

[davidagates]

Well, I’ve spent the whole day dissecting and writing. Nothing’s near done yet, but I think I’m getting the feel for it. It’s interesting looking at it objectively, things you think are formulaic are obviously that way so the editor can use whichever section he deems right. All a big learning curve.

Thanks again for all your help.

[davidagates]

Thank you mark, thats genuinely fantastic help. Thank you for that! I’ll get cracking right away.

[davidagates]

Hi Mark,

Thank you for you feedback, I think Rock is definitely a genre I’m going to go down the route of learning, its also one of the ones that’s harder to synthesise (if that makes sense).

I also love doing Orchestral stuff, shame I seem to have avway to go by the sound of things, but I’m better at it now than I was. I will double down on my efforts there, it’s been a bit of a scatter gun approach so far as I don’t really know what I’m doing.

Are there any resources you’d recommend in regards to the three dramatic acts structure?

Kind regards,

Dave

[davidagates]

Hi Art!

Thank you for the warm welcome.

Yes, I think I missed the target with Pond5 etc. I think anything I do for them now will be on a sounded basis, no point spending days writing an Orchestral Epic if nobody wants it.

Words of encouragement (like your very kind ones about my work) give me the extra push I need to keep at it. It’s been my dream, I’ve worked bloody hard, I don’t intend to give up now.

Thank you again,

Dave

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