Forum Replies Created
And then, there’s this. A major label just signed a virtual artist.
I get the sense that they’re selling this concept to people who don’t even want to use RF music. I wonder what the actual cost of using this software is compared to the lowest tier subscription RF service?
I also can’t imagine that one of these Ai packages is going to compete with music produced with top sample libraries and/or live payers.
I saw a Powerpoint presentation a few years ago that used an AI narrator and really low-end music. It was laughably amateurish, but the guy who produced it obviously didn’t care and, from what I could tell, neither did the audience. I’m sure that they had low expectations for the situation. It seemed to be a nuts and bolts DIY project that he didn’t want to invest much in, just as long as it got the information across effectively.
Best of luck!
When you say, “your father’s old music,” do you mean that he was the composer or that this was his record collection? If he was/is not the rights holder you may be infringing on works not in the public domain if you try to distribute or license these recordings.
It really depends on the size and complexity of your estate. If you have significant assets you should consider an attorney who specializes in estate planning. The same would apply if you have complicated needs with respect to your beneficiaries.
I recommend that you consult a qualified attorney in your state. I sent you PM with general answers to your questions.
Are you in the US?
I regularly receive royalties (writers and publishers) from the Travel Channel for a track that was licensed via Pond5.
I regularly received royalties from the CW for theme music on a show that is now on hiatus. I don’t know if their policy has changed.April 8, 2021 at 7:48 pm in reply to: CD Baby Pro Publishing and Working with Other Libraries #37672
CD Baby Pro and their publishing admin option involves YouTube Content ID, which can be a problem for libraries, especially some of the Royalty Free libraries.
“Making a living” is a very broad, undefined term. One person’s top is another’s bottom.
There are an infinite number of variables that go into the equation of whether or not one can make a living composing production music. Given the right circumstances and needs, I think it’s possible.