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Hanlon’s Razor: “Never attribute to malice that which is adequately explained by stupidity.”
LAwriter’s advice is good. Something’s amiss, but probably not foul play.
Its really good! Your use of colors is very interesting. Your music is pulling away from from the Wagner influence (which so many of the orchestral tracks are based on) and getting more atonal. Kind of like a Stravinski influence to the music.
It captured me from start to finish. To me, if the music pulls me in (which it did) production/engineering tweaks becomes secondary. I would suggest getting together with a good engineer who does this kind of work and have him/her give you some pointers of sound engineering. You are not quite there yet, but a good mix would bring out that last 10%.
This is not a background track. Rather, it would be used to carry the scene. Such tracks are used less often, but the payout is usually better. Many can do background tracks. Few can effectively do a track that carries the scene. Old law of supply and demand.
I think there would be music supervisors interested in this kind of work. In fact, I think you’re in the process of developing a “signature” sound.
Definitely move forward. I’d love to hear what you create next!
Also, curious what VST software you are using.
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did anyone else notice a drop in domestic royalties but an increase in international royalties for this 3rd quarter payout?
Definitely. In one case the US performance was .09. The Gt. Britain performance was $2.63.
Second LAWriter. There is so much music out there, I don’t think it pays to chase current styles. Better to shine at what you do best. If there is a market for your style, you and only you can fill it. Take your creativity from there. Your style is your best differentiator. Listen to and analyze different styles that interest you. Try new instruments. Incorporate that learning into your style and progress from there.
I have moved away from VST instruments – unless I am looking for a particular sound. For orchestral instruments, I use good software that allows me to truly perform the part. However, I generally use hardware synths, and play “real” instruments. I find the less I rely on the computer to create the performance, the more the performance comes to life. That’s true for me even with electronic music.
Unique and bizarre- One of my most often placed tracks is a piano solo version of “Happy Birthday”. Recorded it when it went PD a few years ago. Took five minutes to record. Performed in a traditional style – but it is my sound – and it sells. Go figure.
Second what MichaelL says. The problem is not so much the enforceability but the taint you will have going forward. Prospective libraries may shy away from working with you if they find out about the clause. Even a remote possibility of getting involved in a lawsuit can scare them off.
Maybe I’m way off base, but I have never thought about the length of the file . Rather, I time the sound waves within the file. The file may be 15.5 seconds long with .5 secs of dead space up front, but I would count it as a 15 sec track. I think the production engineers visually align the beginning of the sound wave to wherever the music entry point is. I usually give about a .5 sec up front so the engineer can see precisely where the wave begins. AFAIK, that practice has not hurt me in placements.
Also, I have found that if I begin the file too close to the beginning of the wave, I get a slight pop at the beginning. The half second allows the wave to naturally open.January 9, 2022 at 8:52 pm in reply to: Piano/Guitar driven instrumental music. Does this work? Where to go next? #39360
5 to 7 tracks would be ideal In the old days it used to be 3 tracks max. I think it’s changed some now. Don’t worry about alternate mixes at this stage. Test the waters with your main tracks. Any library will let you know about alt mixes after they give you the initial interest.January 8, 2022 at 11:39 pm in reply to: Piano/Guitar driven instrumental music. Does this work? Where to go next? #39357
I think your music definitely has a place in the production music world. My best selling tracks have been either piano solo or piano-centric compositions. So, there is a market. Try Jingle Punks and see what happens.
@Michael – I do agree with you that an LLC does not make you invincible. Your example of copyright infringement is a very good one. However, the primary reason of individuals to conduct business within an entity is to limit liability to the assets of the corporation. Yes, there are things one should do to make sure the creditor cannot “pierce the corporate veil”, such as having liability insurance, and one should conduct business within the “business judgment rule”. Regardless, limitation of liability is usually the primary purpose of incorporating.
Of course, incorporating can have tax benefits too. It is often better to conduct business within an entity to get those tax benefits.
Big disclaimer – this is not legal or tax advice. Definitely contact your own counsel and accountants to see if incorporating is right for you.
There are a lot of benefits of doing your business dealings inside an entity such as an LLC – including limitation of personal liability. There can be tax benefits also. If your professionals are recommending it in your case, it’s probably because you’ll get benefits from it. It is not unusual. In fact, pretty common.
I would definitely research the “cover” songs to see whether they have fallen into the public domain. A lot the songs popular at that time were published before 1925. So you may have a mini goldmine of copyrightable performances of public domain songs.
If it is the same PD notes, it’s not going to matter whether it is played by a piano, guitar, banjo, gazoo or the like. It’s the note placement. If the note placement is PD, nobody would biother you claiming infringeent because you played the part on electric guitar.
I have published a number of public domain performances and have had no problem with claims of infringement. Melody is the primary area looked at for infringement purposes, and the melody resides in the PD piece. For a long time, arrangement of an exesting work was not even copyrightable. Still now, unless the arrangement is a carbon copy of the other person’s copyrighted work, there probably will not be a problem. A couple of my best paying tracks are piano solo versions of PD compositions. The gift that keeps on giving!
@MichaelL- i don’t disagree with you, and I probably misspoke to say that all the rights went away. However, when the contract says “you grant to us . . . all rights that you own” regarding performances – that’s not license language. That’s granting ownership. Art is right that it is only for a term, but for at least that term, the rights are exclusive to BMI.
Later language allows the writer to ask BMI for certain specific performances to be excluded but you have to stand on one foot and balance three plates on your head to successfully get through the exclusion language.
How I read it is that BMI owns the copyright, for the term, with regard to performances. I wondered how the PRO’s were able to compel the writer to pay the PRO royalties if the writer performs his/her work in a bar or restaurant. The writer signs over the performance rights to the PRO. That’s why.