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@ Steve,
It appears from the way it is presented here (https://tunesat.com/tunesatportal/home/pricing) that the free plan should cover all territories (or they would have indicated as a supplementary incentive to upgrade)Hi there,
I am giving Tunesat a try with the free account.
Anyone has an opinion on which of the vocal or instrumental version of a track I should upload?My thoughts are that the instrumental version should be best, as it appears the detection system can detect a track with a voice on it, so the instrumental version should cover all edits.
Any ideas on that?
I nearly died of laughter!
IMHO, it is important to have a website. A few months ago, I spent a few days setting one up in wordpress, and don’t regret the effort. I created a Library-like page where any visitor can select the style of music he wants to check out, so I send any prospect there.
The most important for me was the purified looks and the “straight to the point” aspect, with a slight commercial touch and a focus on the music (a visitor arrives there and he is one click away to hear my craft, in the style he is looking for). The idea behind that is that when a Music Sup or potential clients visits, he feels that he is dealing with a pro producer and not an indie artist that has no clue of the internal mechanisms of the business.
few years ago I was promoting myself as an artist and now have a facebook following and email list. On my website, I am now promoting completely different music for licensing
Hi Aaron, welcome to the club 🙂
I have done this too, and all the time I used to spend on social networks is now allotted to submissions, tagging and more time in the studio! I thought I could combine (by making a “fan” section on my website where the social networks would be linked to), but gave up: too time consuming…
However, I do keep a distracted eye from time to time on them Twitter, Soundcloud, Reverbnation and other Facebook and post here and there to not let my network die. Most of my “fans” are other musicians and sometimes I make some unexpected encounters (sound engineers, other composers / musicians, and sometimes discover new music that pleases my ears). You’d be surprised also on how the standard Music lover fan is interested in seeing an artist evolution, for example the conversion” we both are living.
So basically, I keep it at minima (A few hours per month)
As I emerged from the electro world, I use LUFS (averaged on 3 seconds) to assess the loudness. The approximate value I set depends on the style of music. Electro Techno, I aim at around -9,-10, with peaks at -8, it goes with the sound. I might even have bumps at -6 when serious dynamic squashing is part of the artistic approach.
When I need more dynamics (more orchestral, hybrid, rock etc…), I will be happy at -11 / -12 LUFS and can go as low as -18 / -20 for the calm sections or breaks. I keep in mind that the editor, if he wants to thump a non thumpy track, he can, while the reverse is not possible! I do play around though at the final stage and listen to the track when I seriously push the limiter, just to check if it would not sound too awful… just in case…
Actually sometimes I wonder if I should skip or seriously reduce the limiting, as it makes the sound of the music more flexible for the editor to change. However, it might grasp less attention on a first listen… A balance to find…
btw, what does “Bump” mean in the threads?
I stay away from YT monetization schemes, by respect to my customers, my products need to stay clean. However, I wonder: if one of my tracks is used on YT on a video by an individual (that purchased a licence on a RF) and it goes viral (multi-million views)…
The individual paid for the licence, that’s fine. but YT did not, and draws millions to their site and their ads. I sign no contract with them because it is IMHO abusive and can be damaging to my licensees.
Nonetheless, not signing a contract does not deprive me from my rights to get royalties… So how would I get paid?
I don’t think Art meant that participants were obliged to show their identity, but that one should stick to one pseudonym (real or virtual) allowing more constructive discussions…
I might be wrong about this , but it is just a thought… Komplete 9 Ultimate was out last year around March… NI releases a new version every 12-18 months, so that would be Komplete 10 Ultimate that will include all the new stuff packages that they released since (quite awesome stuff it appears). For the same price. And possibly a slashed price for Komplete 9 Ultimate after the release.
@Michael, thank you so much for this great advice!
I did feel there was gold in what you were about to write.Actually, I have started to sense this differentiation recently and in the scope of my upcoming batch of cues, have started to write music aimed at specific markets (understand by markets, those addressed by the different RF library categories).
Yet, I still will submit them in all categories of RF businesses that I work with, i.e. that follow certain ethical business guidelines that preserve our profession: Even if I write a track for Library A’s market and because of this, the chances of licence sale in Library B are smaller, they still exist…
@Michael: What message didn’t get through?
its important to be ready to adapt to what is a very fast moving industry and world.
+1
I do not understand why some of you guys consider that because the music is sold on a RF site it means there will not be any back end. Many of the well implanted non-excl site offer assistance to clients in helping them deal with cue sheets. Me too, on my all fresh flashy website have set up a full section to explain licensing to potential clients: They pay once the sync fee, then they just need to inform the broadcaster of their project about the music they used (Track Title, Name and CAE Number of composer).
Before quitting to dedicate fully to composition, I was a researcher in chemistry, developing ecological alternative for the industry to replace currently used toxic solutions. Sometimes these solutions could not be implemented just because the information just didn´t reach the customer. In addition the stakeholders, felt it was too much trouble…
The problem appears to be the same in the music industry.
I actually find that the RF system is very flexible and fair for both composers and customers as long as everybody does his part (Composer: Make good music obviously; Libraries: Offer ranges of licences depending on use; and Customer: filing Cue sheets or making sure the broadcaster get’s the data needed to do so)
The only model I reject, is sites that forbid PRO registration of the tracks submitted (for me this is ridiculous)
For the exclusive model, Tim’s arguments did hit a chord, but in my current status, much too risky, like paying for a lottery ticket. However, as we say in France: If you don’t play, you can’t win. So I will probably start taking 10% of my future tracks and put them in an exclusive box. The question becomes… Which library can I trust? A little research first seems appropriate…
Thank you guys, especially Tim, Art and Michael for this very interesting discussion. For a newbie in the field, but not without general business experience, it raises questions concerning my own strategy to integrate this world. I was going to jump in with the perspective of a “seasoned freshman”. For example I work with RF for a specific reason, but Tim’s insights does question some my beliefs.
You know, you should look on the long term: if you submit to the “wrong” libraries for your style of music, you will loose more time than you have saved. Spending all the time to upload and tag, just to see your tracks rejected after 1-2 months can be quite time (& Mood) consuming as well.
Nobody knows your music better than yourself, you are the best person to make this selection.