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About 13-x times better than the previous one :)))

didn’t expect anything like this,it’s just the 2nd statement for me.

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@Advice: i’ll follow your advice,split the eggs in different baskets.
As you said,we’re competing against ourselves and a google search
could confuse the potential buyer (same track,different price).You’ve made
some really valid points here.

@Jay: there’s no reason to quit RF sites altogether,you could just do what
MichaelL and others said,write different tracks for different markets.

@ChuckMott: thanks for your words man,you’re very kind.Your stuff,from
blues to surf and arena-rock to electronic is great,i wish i could rock the guitar that well!Btw,check your Soundcloud inbox,i’ll pm you sortly.

I don’t consider RF sites bad or anything,i’ll just think twice which tracks to upload there from now on.Art mentioned he’s approaching $1K/month from RF sales,that’s a great source of income that certainly shouldn’t be overlooked.

Also,i think writing for different markets (RF/High end/TV etc) could
benefit my songwriting/production,make it more focused.It sounds ideal
for me,since i’m not that disciplined and can be lazy from time to time.
Knowing in which market your track will end up saves you some time i guess!

Using pseudonyms and different titles isn’t that appealing to me.I don’t
know,it sounds confusing using various names.I already have a different
moniker for the remixes i do for other artists,a 3rd one would be too much for me!It seems to work for other guys though.

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@MichaelL & DI: sorry for not clarifying it earlier,like MichaelL said it’s a licensing agent,not an actual agent for representation.I wrote “my agent” at some place so,that’s why DI assumed i was talking about a real agent,it’s my fault anyway guys.

Also,DI,this agency has landed me 2 more deals earlier this year,not as big
money as this one (the fee was a bit over $1k for the 1st and $600 for the 2nd).I can’t say the agency can get me a deal every month,no one can guarantee that,but if it did then most probably i would quit RF sites (the time spend to upload to RF sites and configure descriptions,tags etc could be well spend in composition/production).

The agency’s kind suggestion was to quit the low budget RF sites and they
also introduced me to another (very busy) licensing agent,a valuable
new contact if you ask me.

@ChuckMott: i’m thinking the same,keep my tracks separated to make sure
this won’t happen again.They don’t want exclusivity and they don’t mind
me pitching my music to publishers for tv placements of course,we discussed
all that and they were actually happy that i’m getting placements.

I’m not sure about pseudonyms and re-titlings in RF sites.
What if they search using keywords,short descriptions etc and they find
the same track with different title and price in 2 different RF sites?
I know this is one in a million (or billion maybe!) but imagine how
confusing would it be for the music supervisor.I would probably skip
both tracks if i was in his place.

@Mark Petrie: the thing about the cap is very interesting.And very interesting stories,i guess a five figure fee can well make up for the
potenital loses from RF sales so,you did the right thing giving them
a kind of exclusivity.

You can imagine the emotional rollercoaster when getting the exciting news
one day and the right next one you’re informed the client was annoyed and
wanted a discount etc.Well,i certainly don’t want this thing to happen again.I’m not that sensitive or anything but i was def shocked since i haven’t predict this thing can happen.

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Good point about the “No Melody/No Lead” version,i’ve heard it’s also called “Narrative” version and more & more people/libraries ask for them.And this is a very easy edit to do,in comparison with 60/30 edits!

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sold a stinger today,my latest 4 sales are all edits.Considering i’ve only started uploading edits in late July it’s very promising.

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thanks for posting this,it’s a relly good example of a package presentation.

And a very nice holiday track as well!

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@Mark actually this is quite useful info,you’re not rambling at all.

I thought the same about the 60 edits,having them at the same price as the full track doesn’t seem to affect my sales negatively.

The package price,i’m not sure;i usually have it at 50-60% of the total price
(for example,if the track + the edits sum up to $300,i put the pack offer
at $150-180 tops).Do you think it’s a good/bad offer?
Sorry if i’m getting off topic here!

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if you set your bpm at 128 and have 8 or 16 bars straight (no intro or ring out bars),you’ll get exactly 30 or 60 secs (yes,i do a lot of house/club tracks!).
So,if you have tracks at 130-134 bpm in stead,you might find it easy to cut 60 & 30 edits,including a short intro and ring out.

But you know what?in the end it’s what MichaelL & Art said.In most of the occasions you need to think outside the box and re-arrange the music in order to get a solid 60 sec edit.
At first i was struggling to get the edits,specially from the 128 bpm club music but now i find it a bit easier to re-arrange and i’m sure in the future it will be even easier.
In general,getting a good 60/30 edit shouldn’t be about the bpm but about the arrangement skills,that’s where i think i need more practise in order to get these edits easier.

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epic dramatic with an optimistic undertone,nice track indeed!The strings DI mentioned above (at 0:16) are a bit ear-piercing,try 1 octave lower and see how it works (maybe cut some of the high freqs too?).
I like the track,you’re doing great job 😉

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you can register with BMI and ASCAP in the US,you just have to fill in a W8BEN form and get an ITIN number to get tax reductions.Both are easy to
complete.

Wait for STIM to answer your questions and then you can choose your PRO.If you can find other swedish artists registered to STIM ask them if they’re happy with them.

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i live in Greece but decided to skip my country’s PRO and register to BMI.
I did this because i don’t have any sort of income as a musician from Greece (i don’t do gigs and having a good income from music biz in Greece is near impossible) while i got accepted in many US-based libraries that feed US TV Shows with music.All of my placements were in US TV Shows so far and i’m also exempted from any taxation due to the US-Greek treatment (you have to get an ITIN number to be eligible for tax reductions/exemptions).

Do some research about STIM to see how it works,if you can search for forums/info of swedish artists registered to STIM and ask questions.
I’ve read somewhere that German and Spanish PROs have some really weird terms & conditions etc so,be careful when you choose your PRO.

Tunefruit and other RF libraries doesn’t demand to have your tracks registered with a PRO but there are artists that got TV placements from those libraries and received backend royalties.So,yes,register your tracks.

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correct,i see the Hulu name there.

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got it,thanks!it goes from 1 up to 1 million counts,i guess the later is for internet views/hits.

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thanks DI!BTW,do you know what is the “PERF COUNT” on the excel doc?

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just got my 1st ever statement,$309!Not much but it’s a start,a few placements in reality tv shows.Does anyone know how/when do non US citizens get paid?

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