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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.December 22, 2018 at 1:41 pm in reply to: Library music composer writing music for beat selling platforms: the + and the – #31408
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!
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 !
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…
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…May 6, 2016 at 1:43 am in reply to: Contract clause question-limited use of power of attorney #24867
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…).
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?
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…December 9, 2015 at 12:32 pm in reply to: May this kind of cinematic music be offered to production libraries? #23497
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.December 3, 2015 at 2:02 pm in reply to: which licensing models do you make the most/least amount of income?? #23474
@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.