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Thank you Michael for this analysis. Actually I also am having a little downtime with the RFs… But this has only been going for a couple of months. Hence, I consider this still as part of statistical fluctuations. I nearly broke the 4 digit barrier for RF in January! and it went downhill from there, now being in the very low 3 digits.
If there is a change, I would expect it to be less sudden than this, more progressive. let’s see. I actually am exploring Twitter in depth to connect with amateur video producers, which I hadn’t done before.
As for the price pressure. My base price for a RF track is 59$ (Full version). Would it really make a difference if it were at 49$, or 39$? Will the potential customer really not take the track even if it perceives it as ideal for his video prod, just because it is a little more expensive than the average?
Concerning those that sell 2000 licenses per track, well it is just a snow ball effect: More you sell and more your sales/views ratio is high (>10% seems to be a good value), more you get exposure, so more you sell… (I wish I had a track in this position lol)!
I listened to them, and they are far from exceptional, compared to others I heard, which are just taking the dust… in my opinion, quality is a tiny factor in the RF market. If your music sounds OK, it can still work out for you if you are lucky, or have an exceptional marketing flair. If your music is exceptional, I would say that this advantage is actually quite small in that area of the bizz.
When I got into the flow of making it, I kind of throw the “commercial” constraint out the window and just wanted to make something cool.
Funny you write this. I actually do this all the time. I thought it was common practice among composers.
When I compose, it’s like a creative time bubble where no other consideration has a place. After a few weeks, I will enter a re-arrangement / edition time bubble, that’s where I format the music for library licensing.
I would say 70% of my music originates from these ‘creative bubbles’.
The rest is created with a commercial objective in mind or following a request. Sometimes constraints help creativity, so having an imposed format can also be good.In terms of success in licensing, I would say that both production processes end up with similar results, but I enjoy much more the one with the 100% creation time bubble!
Wow, that’s a cool question… I also question myself about that.
Actually, I realize that when I am in a heavy studio work period, I will tend to go easy on the music I listen to, or more precisely, listen to genres I do not usually compose.
When I am in a period where studio work is slim, then, I will listen to music much more. I will have music of all kinds running in the background 80% of the time. That’s probably during that period that subconsciously, a new batch of tracks will find seeds for inspiration. In can be very enriching to listen to Radios passing all kinds of music that are usually not mainstream yet pretty cool, often Indie, and also foreign national chart musics not distributed worldwide.
The thing is that I have tinnitus + Hyperaccousy, so I cannot really live in silence. I need music all the time, even at low level, to cover the internal squeaking. It is a pain sometimes, yet it is also an opportunity to discover many styles and explore new horizons on a continuous basis, expanding my knowledge of music which I inject in my own works.
Concerning your “beat tagging”, it is called watermarking. See that forum as starting point: https://musiclibraryreport.com/forums/topic/batch-creating-audio-watermarked-preview-files/
Concerning forbidding artists using your instrumentals as base for their lyrics, all is a question of the licence your publishers attribute. In my experience, it is usually not allowed, and when it is as in some RF libraries, there is an option during submission to forbid it. In any means, the artists are not allowed afterwards to consider and register the result as their own: You still owe the copyright.
Use Search box: You will find many answers to your questions on this site
The First Video shared by Dennis – Amazing lol!
I listened to the two songs. In my opinion, this is abuse of the copyright system.
Indeed the songs have got a very similar groove, but for me that’s about it: I think I am going to copyright the 4:4 signature… I will make tons of money 😉
Don’t forget if you’re close, you can time-stretch or shrink the audio
Personally, I never do this. I don’t know, it just feels wrong to offer a package with in-congruent tempi… Yet, that’s my sole opinion, and I might be wrong. I prefer to play on the “intro” of the edit in order to end up just right (for example, on a 30s, last beat around 28.5 like Michael suggests).
he track I am finishing this week will mark production track number 100 written since I started chasing this production music thing back in April 2012.
Congratulation Chuck!!! My next batch, with 11 tracks, out by the end of this Month hopefully, will make me reach 60 Tracks out there (Started this biz End 2013). If the revenue is proportional to Number of tracks, I might even be able to pay my full rent with music on the good months, I nearly reached that symbolic mark in January :-).
As long as the last beat is 1/2 second short of the intended length then I don’t imagine the ring out (sustain, fade, whatever you want to call it) is a problem.
Your point makes sense Art, although I read many times that it was essential to respect the 30 second mark diligently (A little under is OK, but over, is a big no-no). Being able to ring over 30s would save me many arrangement induced headaches!
Congratulation David!
Make sure though that you only give them an exclusive Licence and that you keep the rights on the tracks (PRO): If it goes nationwide, and passes on TV, then you would get royalties.
100$ a minute is not that of a deal in my opinion. Some of my RF tracks have been out there for only a year, and have brought me more than 200$/min already just in licence fees…
All depends of the context… If you licence a track where the producer just wishes to adjust the mix to the video, then imho, stems should not come with an additional “compositor” fee (i.e. come with full track on request) + eventually a small fee for the work you provide to extract the stems (hourly rate). But the video producer must understand that the stems should be used in context of your track: he cannot build a track on top of your stems or sample them for other projects. If he does and you allow it, then it should be one full track price per stem he uses that way.
Additionally, be careful with stems if you use RF sample libraries: all those I know do not allow the sounds to appear alone in a track that you would license, situation that can easily occur in some stems. Consult their EULA carefully or contact them if you have doubts…
+1
Golden rules to be applied in all businesses.
It is also a sign of respect to others and to yourself.Interesting thread!
In my case, I uploaded my first track beginning Sept 2013. I started with 13 tracks. This number has progressively increased since, reaching around 45-50 tracks out there. All come with edits, an average of 10 per track. I am now in 3-4 NE, and 3 RFs. Not all tracks are in all libraries.
Net income generated:
Q4 2013: 100$
Q1 2014: 250$
Q2 2014: 200$
Q3 2014: 500$
Q4 2014: 450$
PRO money: 0$
Not much but it pays for the new plug-ins and sample packs. Seeing the exponential increase some of you experience, it gets me all excited: So, back composing in the studio !!! 🙂i have an electroacoustic Ibanez UEW30RWE concert uke that I like to use for recording those happy uke songs. I like its clear sound. To record it I do not use the internal electronics, but I prefer to pass via a mike (an AT2020 works well for me). There are cheaper alternatives. I just bought a Kala Uke for my best friends for Christmas for 60Euros, and it sounds good too, although a little boxy.