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Chuck, never give up on a track. I had an NE urban track that two libraries passed on. Fast forward two years, that same unchanged track placed in several shows, one of which just kicked back over $2500 for one placement. And a second story: I had an epic orchestral track get rejected by a couple bigger libraries, so I turned that track NE and distributed it. This track ended up getting a placement in a feature film. I’m not saying it was an incredible movie, but you never know where or how they can be used.
And thanks to Mark Lewis for that insight on ‘kill fee’. I had never heard the term.
Sounds like the library, client, or both, are honorable people. I usually don’t hear stories with a positive ending that often. Glad to hear the news.
”’This product is for people who don’t care, don’t know, or cannot afford better.”’
I would say that is a very large percentage of consumers needing music.
And I am the $15 burger fan. Oh yes.
Movie Scores. If you buy them you have the musical reference AND the mixing reference. Surely TV underscore is different than movie underscore as far as dynamics, but it is a good place to start!
Project Sam Symphobia Series is on sale. I have been waiting for this one.
And all of this brings up an interesting query: are your sale purchases based on want or need?
I try to only buy what I need, but on occasion I get caught with very bad gear lust.
The thing that truly depresses me is how close music prices are coming to photo prices. While I am sure that it takes skill and effort to take and prepare a great photo, the skill and effort dedicated to one track surely surpasses that.
I think most music consumers just don’t know the difference between high quality and garbage. That said, what motivation exists to purchase pricey high quality music if you can’t tell the difference?
And this would force high quality music makers to sell for low prices or just don’t participate at all.
Didn’t mean to upset people with the use of the term ‘garbage’. What I meant was, marketplaces where the top selling tracks routinely go for $20-ish. And it is a very mixed bag of quality. And to those people doing well there, more power to you.
With regard to the P5 site itself, it is a great site in terms of being cutting edge/modern when looking at it from a customer standpoint.
And obviously I derailed this thread, please continue on the original topic….
I shoot for 1-2 per week of higher end content, and 1 week per month I do speed writing instead and get at least 5-8 that week.
I have often been pondering this and bothered that I spent 8-12 hours on each high quality 2-2:30 track. I am okay with it now.
Now as regards Art vs. Commerce: after listening to MichaelL and Composer J I have started to try speed writing for the purposes of throwing a few tracks at garbage sites like P5, etc. I have found that I can pump out a 1:30ish track in under 3 hours. Will I be thrilled with it? No. Will it sell because it is trendy and simple? I hope so.
@ Composer J, reading some of your opinions surely has me re-planning my approach to all of this. Thanks for your insight.
@ MichaelL, I don’t always agree with or like everything you state on these forums, but you surely do know what this whole thing is about. Thanks for your insight as well. And none of my business, but I am terribly curious: since you are a lawyer (and presumably make enough to live off of), why would you bother with the bs of music licensing? (and I am aware that you started out doing the music thing). Just curious, no answer needed if it isn’t a comfortable subject…. If you prefer, you could just comment on how bad my sentence structure and grammar are!