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I´ve been through such a period myself. Even if my main income still is giging and touring with bands, and playing music that is actually ment for listening purpose. There has just been to much music in my work life to be able to enjoy music by others the way I used to do.
Luckily this is slowly changing right now, and I do find more time to enjoy music. I gig less and go to see live concerts more often. I recently went to see a concert by the amazing Ryan Adams, and it was one of the most beautiful live experiences I have ever had.
I dont have any good explanation on why this has changed for me, so I can`t really give you any advice. Bu at least you are not alone to go through such periods, and I think it is not that uncommon among busy musicians. Maybe it will change for you too someday… 🙂
Wow, this was a heated discuasion….
Well, here’s my situation: I finnaly decided to try Adrev with a handfull of tracks. Not sure it was a great idea, but At least I will find out. I will post my experiences here as soon as I’ve got anything useful to report.
I am a pretty average RF composer I guess. Not full time, no crazy amounts of sales and not a lot of fans that would rip my tracks.
I highly doubt I will see any decent money from this, and I also highly doubt I will find out about massive missuse of my music, but you never know….
That being said, I have yet not recieved one single complain from customers about the tracks I have uploaded.I am very pleased with the Wavesfactory Uke to. For sure it has made me more money than I paid for it 😉
RF is actually better for me this year. Probably because I’ve changed my focus over to RF libraries and are writing more specific cues for that market. The blanket licens cable TV libraries did not work out very well for me.
I hardly ever spend more than an hour on a mix/master. Most things are done as I compose, and my template is set up with evsrything I need.
I am also a big fan of the Waves Siignature series plugs, as these will get me a long way to the final result in very short time. I write mostly corporate stuff and RF Librarys these days and it is simply not worth the time to spend hours on a mix.@ Denis
Yeah I know this and the numbers are about the same here. But the subject I adressed was streaming royalties compared to cd sales. At least in my corner of the world streaming is mostly competing with cd sales. I cant see how you can compare royalties from streaming vs radioplay. 20 000 plays on radio is a lot airtime wich very few artists get the pleasure of. But 20 000 streams on spotify is actually not that much.
Radioplay is a whole differnt story and over here it pays quite good royalties to both the composers and each individual musician on the track.
But I think we all agree that the royalties from streaming is still to low. I just think there is a reason to stay optimistic for a few more years, and there is also companies out there that pays better than Spotify.
The income from streaming is to low, no doubt about that. But with all respect, if your songs were listened to 20,000 times from cd it would probably not earn you money to buy any 8dio stuff either. I guess this would equal the sales of about 500 cd s, depending on how many times each cd is listened to. Many times this would hardly reach “break even” for a record deal. People seem to forget that 20k streams is not the same as selling 20k cds.
I have released about 20 records with different bands through the years. Some of them have been selling ok. None have sold less than 500. Still my income from record sales is very little compared to touring.
Streaming is still a fairly young part of the music business. It will take time as we have to educate a whole generation to pay for music instead of just downloading for free. I think streaming has a potential as both Spotify and a few other streaming services I have tested out, delivers a really good product. I dont know anyone who has got their iPods loaded with illegal mp3`s anymore. Most of my friends are paying for premium memberships with some kind of streaming service. That is at least a giant step in the right direction.
But as I said, there is no doubt that the income from streaming is to low. There is no doubt that Spotify is still a better service for the listener than the musicians. The world of streaming is far from perfect. But the industry is growing. Earnings from streaming is growing every year. I think we have to stay patient for a few more years.
Yeah, I do have templates for rock/pop Michael.
Some drums, omni, alchemy, rhodes etc… Ready to go and verbs, delays setup on auxes. I just think there still is improvements I could have done to make the workflow even better, and thats why I would love to pick up a few things from the guys who can make a broadcast ready track in 3 hours. I know its not all about the template though, but still…Thanks Michael
I have seen most of Guys videos I think. He is very entertaining for sure. I don’t do much orchestral stuff, but mostly rock/pop band type of stuff so his template is not really for me. Thanks anyway. I do have a couple of good templates where a lot of things is ready to go and sort of premixed. But I still feel there is a lot of room for improvement, so I would love to learn a bit from some of the really fast guys.
pro or no pro, I don`t really care. No plans going full time here since there is still a lot of backstage champagne left out there on the road 😉
But half time media composer within a few year is a goal I’m aiming for, and I’m really impressed with the speed and workflow of some of you full timers. Both here and in that VI thread. I`d really give a million dollars and a bottle of champagne to get a look at your templates….
Not sure what specific matters you are concerned about here, but as far as I’ve been informed laws on copyright are pretty much the same in US and Europe at least.
Personally I will not submit. No matter how hard I try I will not be able to match the standard of those demotracks 😉
Im not with BMI but with a European PRO. I
ve got a few pseudos for various reasons, and they all show up in my online account, but with different CAE numbers.I guess most PROs handle this pretty much the same way.
Regarding registering old tracks on your new pseudonym I have never tried that. Just send BMI an email and ask?
I don`t think removing works and register all over is the best way to do it.