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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.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 😉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.
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.
correct,i see the Hulu name there.
got it,thanks!it goes from 1 up to 1 million counts,i guess the later is for internet views/hits.
thanks DI!BTW,do you know what is the “PERF COUNT” on the excel doc?
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?
I create tracks from scratch or mix some loops with original material or create a track only with loops.It really depends on the mood i am.I play bass-guitar and keys and i enjoy creating originals and loop-based tracks the same.I usually chop the loops beyond recognition,i find it quite creative and fun.
Make sure you’re dealing with 100% royalty free loops and,like others said,always read the license agreements.
In most cases,you can’t use the loops isolated (i haven’t seen a loop library that doesn’t say so),always mix them with at least another
sound/loop.It’s perfectly normal to use loops in your music,i don’t see anything wrong in this.
@MichaelL: “only real instruments make quality music”,you made such
a good point here.I also don’t agree with this saying,i’m playing the bass-guitar and keyboards and also like to mess with loops & samples.
But i don’t rememeber a time that i used a loop “as is”,i always tweak them at least a bit (if not alterate it at all) in order to make it sound natural in the mix.
I know what you mean about loopy,unimaginative,dry music creations.I’ve only worked with 3 exclusive libraries so far so,i’ll keep in mind for the future what you said in the end.I mean,if i ever work for a trailer or something big anyway,then yes,i would mention it in the next exclusive library i’ll work with.Otherwise,i wouldn’t mention various placements in tv shows.
@MichaelL: The one that asked me was a WFH one.In their 1st email they clearly said they don’t wont composers with just 1-2 tracks.So,you’re absolutely right,that’s probably why they asked if i work with other exclusive publishers,they wanted active composers.They def didn’t care to know which ones or how many.
Also,although I’m new to this,i wouldn’t tell them i had tracks in retitling libraries.In general,unless somebody asked me,i wouldn’t tell a publisher/library that i work with other libraries. It’s not a secret but since they didn’t ask why should i tell them,right?
they’re well aware that i’m working with other libraries too!
One of them asked me if i work with other publishers and i said yes (they didn’t ask for names and i didn’t tell them).
The other one didn’t ask but told me: “submit as much music as you want”.
Exclusive libraries don’t want you to submit your full catalog (unless you want to),what they do want is to make sure you won’t submit the same tracks to other libraries.eastwind,it’s not a lack of loyalty having tracks in different exclusive libraries.Besides,having all your eggs in one basket isn’t recommended.
I have tracks in 2 different exclusive libraries since March 2013.
I have 10 in one of them and got 8 of them placed in tv shows (some of them placed several times).
In the other library i have 16 tracks and so far i got 1 placement.
So,as you can see,you don’t know which library will work for you.
Be careful when you send tracks to libraries,read the contract before
you sign anything.Haha,let’s keep it quiet then!
Hip Hop (with an exotic/eastern twist) and Electro Pop seem to be my strongest ones.