echoflex

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Viewing 10 posts - 1 through 10 (of 21 total)
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  • echoflex
    Participant

    Hey Scott, sorry, I ended up writing a book…

    From my experience with creating promos, branded content, commercials, etc… the producer, creative director, myself, whoever … will download a bunch of watermarked tracks from one site. If the ad agency has a relationship with a library, they go with that one. But many do not care where it comes from.

    The watermarked tracks would generally come from the one site. If I clicked and was sent to another site to download or buy, I would abandon that library and move on. Maybe it’s possible to have watermarked tracks come from the main site and then the jump only happens at payment? That would be better but still unacceptable. Many projects I work on need multiple tracks. So imagine needing four tracks and you had to buy them at four different sites entering your payment info four times.

    I just got an email from Audioo for lifetime membership for $199. I’ve checked out the music and there are plenty of tracks on there for an ad agency to get their money’s worth. WHY do composers allow their music on there has been debated on MLR quite a bit. I don’t get it. But, it’s super easy to deal with for sure. So the site needs to be easy and convenient.

    What I would love to know is how hard it would be to create a site that is largely automated. I have no idea if this is possible since I’m just savvy enough to run a square space page.

    * Each composer has their own login to manage their music, enter their payment info, answer questions from potential clients, etc…
    * If a client searched for happy corporate music, it would pull up music from all composer’s tracks with those tags.
    * Watermarked tracks could be downloaded easily with one click.
    * All tracks would cost the exact same amount that would be agreed upon.
    * A client chooses 3 tracks from 3 different composers, loads them in the cart, pays for all 3 as a single payment, and that payment is automatically split in 3 and deposited into each composers account.

    Issues I can think of off the top of my head:

    * Can payments be split out to multiple accounts. I have no idea if that is possible.
    * Client had tracks from multiple composers and they wanted to know if they could get custom work done. The email would go to multiple composers and the client would get multiple answers and be annoyed/frustrated. This is not a big deal probably but….
    * The small number of tracks would be a BIG turnoff for many clients. We all know how many tracks libraries have. Obviously the more composers, the more tracks, but also more management and then the automation part might not be feasible.
    * Tagging. What if a composer is over tagging and causing their dark tension tracks to show up in happy corporate searches? Who is dealing with that? Maybe just limit tags to a small enough number that it would be impossible?

    I could go on. My thumbs hurt…

    echoflex
    Participant

    @angopop

    I’ll message you in the next week. I’ll be traveling for a few days.

    echoflex
    Participant

    Hello Art

    Thanks for the input and I can see that coming up. Especially if it was having any success. Ultimately ALL libraries are elitist unless we are talking Pond 5 and similar, right? So whatever the filter is…it’s a filter.

    I’m imagining a discussion of how things would work and an agreement on the structure. But the managing of the library still seems like it would be some work. I’m thinking every composer would manage their own tracks under an agreed upon structure/ setup.

    echoflex
    Participant

    Hey Scott,

    I work in post production and we are always grabbing production music from pond 5, audioo, premium beats, etc… I can refer a client to my music, but I only have 100+ tracks of varying genres. And if we are looking for a corporate acoustic pop track, and I have 8 of those, we can try all and they might not work. And even if they do choose a track of mine from Pond 5 or wherever, I’m not getting all of the money.

    So if I was partnered with 3 or 5 or ??? Composers on a site where 100% of the track cost goes to the composer, it’s a win. I might not sell a track of mine, but the client would be happy they found something and be more likely to come back. Obviously the big sites have thousands of tracks, so it’s hard to compete.

    It would be worth advertising to the buyers that ALL of the money they are spending is going to the composer. Many don’t know/care that the $30 they spent at Pond 5 is being cut down to $5-10 for the composer.

    This is just random thoughts in my head. I can see a big issue being managing the site and someone would need to do that and then they would need some kind of compensation and there are probably lots of things I haven’t thought of. Anyone reading this who wants to shoot holes in this idea PLEASE DO! It will only help flush out the possibsilities.

    echoflex
    Participant

    This is something I’m curious about as well since I feel like I’d rather partner with a few composers (strength in numbers) and try to build something together.

    in reply to: Other Viacom Libraries #35839
    echoflex
    Participant

    @Ver,
    I have about 50 tracks (each with 60, 30, underscore, loops, sting) in varying styles that are with AS and in the Viacom deal. They have been there for a year and not a single bite of any kind, Viacom or otherwise. For reference, I’ve been accepted into 5 Exclusive libraries, so my music is at least good enough in that regard.

    in reply to: Rough LUFS/TP target for Stock Music? #35838
    echoflex
    Participant

    @beatsqueezer
    I wouldn’t worry about it. Just master your tracks as professionally as you can in the ballpark of what you hear out in library land. As a video editor who is getting piles of library tracks to go through and pick for a promo or tv spot, I’m not concerned about LUFS.The music will be mixed under the VO most likely and if the tv spot is going to broadcast, the mixer will mix everything to the spec of the distribution network.

    echoflex
    Participant

    Hey @bobsstudio, I have also thought about this but haven’t done a ton of research. One thing I can share is a few sites for setting up e-commerce. A few of them have musicians used as examples of “success stories”. Check out this article with a list of options:

    echoflex
    Participant

    Hey @RMcGravey90

    Thanks for your input!

    If that is true for most here on MLR, then maybe the complaints I read are directed at the fact that the “better” of the NE Libraries are slowly moving away from where they were. For example, I feel like many on here really loved P5, but have lost much of that love after all of their changes (understandably).

    PS – Damn! I just clicked on your Fool’s Gold track. That is some insane picking technique!

    in reply to: Registering as a business? #34494
    echoflex
    Participant

    Hey Finn, I’m very new to this and have done quite a bit of research. I’m primarily a video editor as my full time job, but went freelance a year ago. I’m probably going to create an LLC or S-Corp depending on what my accountant advises when it’s worth doing one of those. And from what I’ve been told by a few accountants, it’s not worth bothering until you are making 80 or 100k from your ??? It could be music production or some other freelance gig – website designing. So if you are like me and making pennies from your music, I wouldn’t worry about it.

Viewing 10 posts - 1 through 10 (of 21 total)