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2nd on jamming all versions into one file. Much more cost effective!
Lost me at calling yourself a “titan.”
Yes, I am having this issue as well. My publisher is looking into it. One of the videos has over 2 million views!
I had 14 cue sheets show up for NHL on NBC playoffs, right before this current distribution payout (ASCAP). I contacted ASCAP, and am hoping for a special distribution. Anyone had any luck with this kind of tactic?
Also from the nutmeg state!
It’s Getty Music (Pump Audio). They’ve registered dozens of my cues under that publishing company.
The ones I’ve done business with have a stable of writers who compete for the same job, often with a super quick turnaround time. Not for the faint of heart, or large of ego! As always, personal introductions/connections are highly valued.
I too just had a placement on “Black Inc Crew”…been picking it up on my Tunesat. It’s a non/ex cue, and I currently have no idea which publisher may have licensed it.
For 1 channel, the Warm Audio “Tonebeast” has been like a Swiss Army knife in my studio. Super affordable too.
I generally do $50/hr to mix anything I didn’t write.
I send collections out to multiple publishers, and whoever has the best offer/gets back to me gets the tracks!
To answer the first part of your question…no, there isn’t a “need” per se to have a reactive load and a modeling unit, but it sure is fun having both! Slight tonal variations are always cool!
I was using a Line 6 HD 500 before the Fractal. IMO, no comparison, although the Helix is definitely on par with the AX8. You can load your own IRs into both the Fractal and Helix. I recently used the AX8 on a national tour, and fooled a Grammy award winning FOH guy into thinking I had a real blackface twin on stage!
The reactive load is killer. I’m rocking a Fractal AX8 for pretty much all my cues writing, as well as session jobs. I have a dozen high end amps in My Studio – completely untouched for the last year I’ve had my Fractal.