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Hard core touring Hammond B3 player here. Starting to get fed up with crowded airports, cheap hotel rooms ann bad backline deliveries, so my plans are to quit touring a few years down the road. Started in the library side of music biz a couple of years ago, and are building my catalogue slowly.
Another vote for the focal monitors. A friend of mine is using them in a totally untreated bedromstudio, and his mixes are superb! They sound really good and I might just buy a set of these myself.
Presonus Audiobox is good value for money. Sounds pretty good.
How does one produce 3 cues a day? How complex can they be? Just wondering if I’m doing something wrong here
Yeah… That one made me think a bit too. Trying realy hard to streamline my workflow here so that I at least can finish 1 track a day.
This youtube thing seems like a real mess. So glad I’ve stayed away from all this content ID stuff.
I do very much agree! A couple of days ago it was sad to see a really good and interesting thread got nearly destroyed with rude and totally irelevant posts. Glad to see that mess have been moderataed and cleaned up a bit.
Thanks for the advice on Alchemy. I know It will work fine without the soundpacks. But with this sale they give away one for free, so I was just wondering wich one to go for. I will check out your recomandations.
Im demoing Alchemy now and considering to buy it while they still have the sale. The demo is a 4 week full working version of the synth. There is some pretty cool things in it and right now it sells for $149 and they include one of the add on packs for free.
Anyone using it and has some recommendations regarding which of the expansions to choose with it?
Might be so, but remember with the internet you’ve got nothing to lose sending your material to the ‘big’ libraries. You might be surprised, or perhaps it’s as simple as you fill a certain niche they’re desperate for at that time.
Thanks for the tip T-bone. I will remember and I’ll give it a try. But luckilly I don’t need 100k a year. Healthcare are provided for and my kids go to school for free. Any income between 40k and 140k would be just fine, so I’ll jump on board and be a part of the 3rd fastest growing industry 😉
Thanks for sharing the numbers Art!
Glad to hear that my plan is very realistic.
I do realize that this depends on number/quality of tracks, and which library I work with. Anyway I was just looking for some general input here, and I do belive the composers making 150k with 100 tracks are playing in a different league than I am.What a great thread!! Interesting to hear everyones opinion on this. My plans for the future is to quit touring and be more a composer combined with some part time giging that doesnt require so much travelling.
I’ve done some serious calculating on this matter and I think I will get by very good if I can earn 40k a year from library work. Some of you guys here have been around a while, so I wonder what your opinions is on how realistic this is?
Do I have to be very very lucky to earn this kind of money some years down the line, or is this a realistic goal. I know it is hard to give an exact answer here, but a few guidelines would be much appreciated.I think you guys all underestimate the value of exposure!
In my corner of the world all composers get free milk and bread in the store as long as they have some good credits from low budget films 😉At least you should not worry about identical chord progressions. That would make it illegal to write a brand new 12 bar blues 😉