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I am living in the Netherlands and though Amsterdam is near and cities like Berlin and Paris are around 6 hours away, I can deal with all my business online and have been in touch with game producers, music libraries etc from all over the world without a problem. I have never felt the urge to move closer to a bigger city (though I lived and worked in Paris in the past, but that was inhouse).
For local agencies it can be practical I think, though I hardly deal with any local companies and agencies myself.
It is as easy as Mark is quoting from the post from Apple.
I made a call to the IRS, I had downloaded already an SS-4 form, filled that in for myself. They ask questions on the phone from that form. You answer and voila within without kidding 15 minutes you get a EIN number from them which you can use straight away. I got the official letter from the IRS in about 4 weeks.
Very interesting and good article and I don’t know why the fuzz is brought up by DI about the whole copyright thing (which make no sense at all in my opinion, why the heck on earth would you sabotage the only thing that is protecting your craft…., even 20 years after death is stupid in my opinion, what about your wife, children etc?).
I think Van Dyke is making some really really good points to the horrible debt we slipped into with the streaming royalties and the compensation we get from digital sales.
I think we already praised ourselves lucky with that at least some compensation was offered after the whole piracy crisis a few years ago, but I think most of us (me included) where maybe too wishful in our thinking that this would be a turnaround and that better compensation will arise again.I do think however that we entered a ship that is sinking and is that it can’t be saved anymore.
I don’t know how, but somehow I think everything needs to be completely restructured in how we should get proper compensation. I always twirled around the subject to be honest, but at least for me it is time to wake up and start to get my head out of the sand and begin to raise my voice to get proper compensation for the labor we provide and to figure out how to change the mindset of the current and upcomming generations.
That is what frightened me the most and what I know of course, but never fully realized, that the current generation doesn’t even know anymore what privacy was and that not everything was freely accessible.At the moment I am moving my focus from producing standard library music to orchestral trailer music and it is far more rewarding to take the time to work on a production.
I am focusing myself now on the mockup quality and that is really a challenge, but I think the most important thing is to start thinking as a musician again.
The track I am working on now I made first completely in Finale as orchestral score without listening to any midi just like I did in the good old days as classical composer and my mindset completely changed again and you start to think again on all the orchestration issues, instrument range, breath etc.
If you create a score with all those things in mind and play it later into your sequencer you will start to notice that even with lesser setups you can achieve far more realism.Regarding structure I used this setup for myself:
Act 1: 30 or 45 sec first introduction
Act 2: 45 or 1 min exposure of basically the main story/introduce some twists etc
Act 3: Final episode, even in non epic, everything comes together and it’s or 30 seconds long or 1 min
A small ending (mostly around 15 seconds)Total duration is mostly around 2:15 or 2:30 minutes long
Though you see of course also shorter pieces (and I did also with the one I am working on now), but to keep that structure in mind will bring you on the road I think.Regarding midi this video from Mike Verta that I discovered yesterday can bring also some nice ideas
Good luck!