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  • in reply to: 25 million streams = 70 USD, is this normal? #40901

    Hi All,
    Still on the same subject. I received another report. Same story, millions of streams bringing a few dollars. But then I looked at the other tracks, with lower counts (in the thousands).
    One line really truck me: 160000 Streams bringing me 0.2 cents, not 0.2 dollars, 0.2 cents…

    That counts for around 1-2 millionth of a cent per stream… That also means that if the entire population of the US hears the song, I barely can buy myself a coffee. And if the entire population of the world hears the song, I can barely invite a buddy out for dinner…

    Now, this is not just getting taking advantage of, this in my opinion is abuse and theft. The devaluation of music has come to an extreme now. This has to stop. I am considering taking action:

    1/ First contact the library (the library is also being taken advantage of by subcontractors, because the library get about 1.5 times the sum I get). All is automatized, so they might not even be aware of this abuse.

    2/ Reaching out to my PRO and see if they can support / assist me, maybe investigate (the one I am with is quite strict with this kind of thing, they already won cases against Youtube for example, so I have hope for some assistance on their part).

    3/ Contacting a music business lawyer for him/her to evaluate the usefulness of a legal action. If he deems it having a chance to win, offering him 40% of all money that comes out in case of victory against no payment if we lose.

    What do you think guys? would I just be acting like Don Quichotte here, and just wasting my time and energy?
    My objective is not really to get compensated. There are easier ways to make money than in music (or in legal proceedings involving music), that’s why for me music is now a hobby, but in my guts, as a musician, I feel deeply insulted.

    And if I decided to activate point 3/, can you recommend any lawyer that specializes in this type of case, and that would be susceptible to have a look at this?

    I wish you all the best of musical inspirations!


    in reply to: 25 million streams = 70 USD, is this normal? #40173

    Hi all

    Thanks for responding, It made me feel less lonely!

    Music1234, registering my tracks in YT-ID, whatever the situation and on-going NE contracts? In the situation I am in, I wouldn’t feel too guilty bypassing basic stock-site requirements, but I would feel quite guilty generating problems to customers buying a genuine license on one of these libraries.

    The abuse we are subjected too is not really the fault of the small YT creator, but in the end, it will the one getting most stressed by this…

    Still, getting srewed continuoulsy can change morality: I’ll think about it…

    On your side, Haven’t you experienced conflicts regarding YT ID and libraries/customers and how did you deal with them?

    in reply to: Katy Perry lawsuit #32780

    I listened to the 2 tracks…
    She must have had a bad lawyer… It should pretty easy to demonstrate that this type of beat is present in thousands of songs… She will probably appeal.


    Absolutely no offense taken Beatslinger, on the contrary, I am very grateful for your insight.

    You are very right, what I presented is not pure Trap, it is a fusion, an experiment: orchestral + trap: I set up a trap beat with bass layered with heavy subs, punchy 808 kick, fast high hats, sharp snares. But the orchestral elements do change the sound, making it less heavy and more airy.

    I checked your links, these are not trap either ;-). The first one is more like RnB! The second link uses some elements of trap blended into electropop…
    In my opinions, here is a pure examples: starting with Drake

    And Lil Wayne that made the Trap movement popular more than a decade ago (Lollipop):

    But you are right, I am actually considering removing these, (with a little retweeking, they could work well as background music for RF), and rethink my approach. I could introduce such a new derivation of the style if/once I am implemented in that field. It’s just that I am not a fan of making sound-alikes… but I guess I should consider it. And working on sound-alikes always has made me progress quite a bunch in the past anyway!

    Thanks for your input!

    in reply to: Mastering for Music Libraries #25551

    For point number 2 (loudness): I come originally from the electronica world . When I started looking into the library bizz, 3 years ago, I submitted a dozen completed electronic tracks I had already completed. these were as loud as I could make them (it fits the style). Got a few sales, but nothing compared to what I get today. Now, I am very careful about loudness. Yes it kills the buzz when you are not doing techno, but more importantly, too loud a track, less space for the customer :

    I am very prudent with loudness during the mastering phase. Think about the use for your track. Regardless of the style of music, it is often to be used as background music, so the track should breathe and leave the space to whatever the customer wants to do with it. Mastered too loud, dynamics go down, and the music fills up all the space. I actually prefer spending time on the mix, and when I master, I make sure to leave some dynamics… even with Goa Trance!

    Strangely, my best sellers are far from being the best sounding tracks (regardless of the composition itself). I noticed that too much sparkle could also hinder sales (in the RF world I mean). It goes a little bit against my sense of aesthetics, but if you want to sale, the first thing to have in mind is what the customer will want to do with the music he or she purchases.

    I actually started a video channel of Physics lessons for high school students preparing their end diplomas. Naturally I used my music tracks, and it was quite enlightening to put myself in the shoes of a user when selecting the track I would use on thsi or that video! I understood now why some of my best tracks wouldn’t sell, and why some of the average ones do really well!

    Hope this helps and good luck !

    in reply to: Pulling stems for RF buyers…thoughts? #25276

    I also do the same on checking no samples are in isolation – but by samples I mean phrases or perhaps a percussion loop etc. An individual piano line even if played on a sampled VST instrument to my understanding is fine in isolation. Is that what you meant too?

    Hi Tbone, yes, that’s what I meant. I also meant individual sounds like Kicks, snares, cymbals, ( I often build up my beats ) and hits, rises etc…

    in reply to: Pulling stems for RF buyers…thoughts? #25272

    I think you are correct in your approach.
    A stock track is a stock track, so extra service requires retribution based on what you consider your hourly rate.
    600$ could appear a little rough. but if you really need 6 hours to extract the stems, well, it is reasonable. I also take a lot of time when extracting stems, because I need to check in each stem that no samples appear in isolation, and thus, tweak them if required.
    On the other hand you can balance with the fact that now you are in direct contact with the customer, and if he is satisfied with you, he could contact contact you directly for other projects…


    From what I understand, that clause is to guarantee that the final client can licence the product they create with your music in the background. For example, a tutorial DVD, TV series or a documentary. So such paragraph does not surprise me. It looks OK, as long as you have guarantee on your side that your music can not be sub-licenced as is (in isolation). And finally, what you wrote in bold is to protect the library from you blocking a sale by inaction. If you would like to have your word on where your music ends up, maybe you could ask the library to reject clients you do not want your music sold too (Nazis, hard porn, hate videos etc…).

    in reply to: Reality check needed #23581

    Alfredo, I tend to agree with Michael here. This forum is a little different from any other Forum I have experienced. It is actually thanks to these guys on MLR that I found a direction to get started a little more than 2 years ago (I didn’t know this library business even existed before that) . Now, after two years, thanks to the great advice on this site, I am approaching the 5 digit in terms of licence sales for 2015 (around 4k in terms of net income). I haven’t seen back end yet, although Tunesat reports promises some soon…

    I refrained commenting on Ariel’s track, because of my moderate experience, though I kind of agree with some of the comments I read. But in any case, he must not stop. He is definitely on his way there, and considering criticism as guide to further progress is the way to go! When I heard the music, it made me think of my sound 3 years ago…

    Ariel, I progressed technically tremendously thanks to a music magazine: Sound on Sound’s articles on mixing, mastering etc…

    I am curious Alfredo about how you were able to network so well. Based in Europe, I feel frustrated as I would love to go to these meetings. I have an easy contact with people, and although I still feel I need to progress, I believe some tracks in my catalog can start rivaling music on these great networks. Is there a way or specific events to network with these industry leaders in Europe?

    in reply to: Soundcloud and RF libraries #23558

    No problem in posting on SC, but do watermark! The few tracks I had there without watermark are now for sale on gloomy Russian sites without my approval…


    In my humble opinion, Victoria, it does!

    Very nice track!

    The thing is that, in order to enter higher end libraries, you need to have a bunch of tracks of this quality, to show it is just not a one off.


    @Mojo, one month is not enough time to get an accurate idea. On some RFs, usually the good ones, it can be quite slow to pick up but it eventually does and can do very well with time. The first 6 months, i must have sold just a few licenses with a ridiculously small number of views. Now, after 2 years, it has slowly grown to become a significant fraction of my monthly revenue… It’s a game of patience.
    And concerning the price: Under a certain price , the price doesn’t seem to have a strong impact on sales… I think 70 should be OK, yet close to the upper limit : I tend to hang out between 40 and 70.

    in reply to: Advice for Newbie – Old Recordings & Format #23403

    Hi Garret,

    It’s so true that this site is amazing for learning to step in this industry. I started 2 years ago, and learned so much here. Time to give back a little! Please note these answers are not absolute and only reflect my humble opinion.

    1) Sample Rate & Bit Rate

    I wouldn’t worry here. I used to work in 24bits – 44.1kHz, but recently switched to 16bits, as I realized many libraries use the CD format anyway…
    Some higher end ones may require 48k as it appears to be the standard for film sync. Just convert it (I use a software more than 15 years old for that: Cool Edit – why? Because I always have been happy with the results and when I need to convert 24b to 16b I have a large choice in configuring the dithering to my taste). You do not need to mention how you do it, as long as the result sounds good. Note however, that converting up 44.1 to 48 will not improve quality, on the contrary, it could even degrade it slightly.

    kbps: It is automatically calculated on bit rate and sampling freq. It just tells you the streaming speed for correct playback. (i.e. the size of one second of data).

    2) I don’t have stems!

    Well, some libraries require them, some don’t, but mostly those will be higher end ones. Note that if your tracks were distributed through i-tunes, you probably will only have access to non-exclusive and RF libraries for your tracks. Many of these do not need stems (I only make stems actually for my exclusive partners).

    3) I don’t know what a “bed” is. Average “full’ length.

    A Bed is the track without the main melody and with minimal instrumentation. See is like a canvas where the editor can put stuff on (like talkover). The track is modified in a way that it will only provide a light audio ambiance to the video.
    For the track length: 1’20 is a little short. usually I try to be > 1’30 and can go up to 4 minutes depending on the styles: happy tracks for advertisement usually 1:30 – 2′. Pop-rock-electro-chart music : 2′-3’20. Classical-Ambient 3’00 and above.
    As for copy pasting parts entirely to make it longer, well, it may not be appreciated… If you cannot do otherwise, maybe you can add a little element (a few guitar or piano notes) on the copied part to give it some diversity.

    Hope this helps, and good luck!

    in reply to: Composers who also release material for commercial release #23168

    @Composer of Notes. Very cool shop you have here. Would it be OK if you shared with us how you managed to set this up? (As it is very cool, it’s more than OK if you wish to keep this your secret 😉 )

    in reply to: Composers who also release material for commercial release #23167

    @PatrickM, maybe Bandcamp, and definitely Kunaki for the manufacturing of CDs (you can sell them directly from your website using their product selling page: Once a customer orders a physical CD on your website, it is automatically manufactured and sent to his address.)

    Bandcamp would be a great solution for digital distribution (I used it also for physical CDs but it requires I do the mailing). My problem there is that you cannot watermark so I haven’t repeated the experience: what a visitor hears is what a visitor buys.

    So I am like you, with plans for commercial releases, but seeking a solution.

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