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I dig that quote. ^^^^
For me, it’s usually 2 tracks at a time. Specifically when I have started a mix for one track in the morning with fresh ears, I use the second half of the day to start or continue writing a second track. I will do that for a few days and try to get ‘fresh ears’ on the first mix a few days in a row. I might even give that first mix a day off, just to gain perspective. By the time the first track is done being mixed, the second is written and ready for mixing. Then the process starts all over again.
I’ve heard someone call mixing the ‘bronze medal’ in library writing, and totally don’t agree with that at all. The mix is likely to be the last moment you are going to spend with that track, so it had better be amazing.
Just my 2c
I’m rebooting this thread because I am considering a switch from ASCAP to BMI. How did it work out for anyone that might have done it? Any pitfalls that were unforeseen? In general, for those of you in BMI…..any gripes with them overall?
Lastly, I have a catalog of 450 tracks (probably 2000 + if you count variations/cut downs). I’m somewhat worried that switching this catalog over will be a painful experience.
Thanks for any thoughts!
I was horrified by this one. Worst July payment in 5 years. IT WAS DOWN OVER 50%. What on earth am I supposed to think about ASCAP at this point? Is the same trend happening at BMI?
Yeah I had no idea that payment was coming either. Mine was a little under the average.April 17, 2020 at 3:04 am in reply to: I’m surprised no non is talking about the communication from ascap #34631
I know ASCAP had sent a letter a couple weeks ago. If you head to where you normally go to sign in, they do have additional info written as to what is currently happening.April 10, 2020 at 2:40 am in reply to: I’m surprised no non is talking about the communication from ascap #34600
My curiosity here: if our payments are reduced this quarter (which sounds like they are) and the crisis eases a bit, is ASCAP going to make adjustments to the next quarter payout (once operating conditions are more safe)?
I’m going to agree with Kubed. After a short listen to both, I don’t hear anything that immediately strikes me. Most of the elements are just common to that style, imho. Just my opinion, though.December 13, 2019 at 1:03 pm in reply to: Anything wrong with semi-blindly submitting music to non-ex libraries? #33747
To add to what Michael said: if you value the time that you put into carefully crafting your music, then you owe it to yourself to carefully vet the publishers that you submit to. It’s pretty frustrating to spend a ton of time preparing and sending submissions just to have a library be a complete failure.
ABC just covered it….
This thread is horrifying and sad. When I started licensing music it was a world where I was consistently getting $150-$300 per standard license (or $500-$800 for a perpetuity buyout). That was less than ten years ago.
I’m curious as to what QUALITY these top subscription writers are putting up. Are they the ‘3-6 tracks a day’ crew, or the ‘1 track a week’ folks?