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Hi Michael,
All good info. Thanks for the heads up. I have a few cues that just aren’t sitting right me with. Probably going to re-work or pull them altogether.
Ever since reading the Black Keys lawsuit post and this thread, I have been consumed by worries with this.
Can anyone advise where to look for E&O insurance? (I am in the U.S.) I can only imagine that the specific protection in this field is unique and therefore not every insurance company offers/understands this.
I have written my fair share of high quality sound-alikes and even if the melody/key/tempo/changes/etc are different, I worry I am still at risk because they accurately captured the ‘sound’ of an artist.
This one just kills me. Last month I had a guy contact me about writing custom music for a product campaign. I must have spent at least two hours in phone conversation and emails to hear how great his product was and what he was looking for in terms of music. Every temp track for his video had been recent pop radio release successes. When I told him I would give him an estimate when I knew all of the details required….he sounded like I had just asked him for his first born. “But the other guy didn’t need an estimate.” ……You mean, the guy that did it for free and you realized he was a hack and didn’t use his music? Right.
A drummer I know had a student ask why he charged for attending rehearsals. His response, “Your father, at his corporate job, does he work for free?”
Best thing I’ve seen on the internet in months. Hilarious.
Yes, filmscoring is the reason I decided on it. My other DAW couldn’t handle that angle. Happy to say I own DP8 now. I will report back in a year, once I have spent some time with it.
JJ
Okay, 9 months after Denis made this thread, and 8 years after I thought I had made my final choice for a DAW, tomorrow I am buying DP8.
Hi Del,
It has been my experience that names that are one or two words should be enough to paint a picture of what the track is. Imagine you were shopping for a car and the model name was an entire 14 word sentence…..ineffective marketing most likely.
Once a short effective name lures them into listening, the music had better be up to task.
Chances are likely that your music was rejected because: 1. they didn’t have a need for it right now, 2. your style/genre isn’t something they normally market 3. it didn’t meet their quality standards.
perhaps: ‘Saving Ivory’ — doesn’t tell the entire story but the music should
And again, all just my opinion. Best of luck.
I have an open office doc with all tracks contained therein. It lists all tracks and libraries they are distributed to. I have categories for Title, Retitle, Filename, bpm, and whether or not I have registered a track with my p.r.o. Crazy, but I also have a category for sample clearance and also indemnity. I use a gray color to denote Exclusive tracks, and a few shades of color for track quality (starting out I had a bunch of weaker tracks, and they are colored differently).
I had thought of creating another spreadsheet for keywords as relate to moods and track intentions. This might be my 2013 project.
God help me, I wish I had never seen this thread. I am not often struck by gear/software lust anymore, but this just hit a nerve today.
I am only chiming in because Barbie commented, thus opening things up….
I agree that Audiosparx is great, straightforward, and I give them kudos for opening up this dialog. Barbie in particular has been really helpful to me and has offered advice on more than a few occasions that worked out/proved best. I trust her.
That said, I struggle with this decision even after seeing several different explanations. I think I would prefer to allocate only a handful of tracks from my catalogue to that site, or make some Exclusive to the new site.
And my cursor hovers above the box as well.