Mike Marino

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Viewing 15 posts - 1 through 15 (of 96 total)
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  • in reply to: Just another Trailer track #32396

    Mike Marino
    Participant

    If it were me (as some have stated above) I’d wait, put together a few more tracks, and search out libraries that are placing similar styled tracks. Cool track; good luck!

    in reply to: Hello from SW Florida #32293

    Mike Marino
    Participant

    Welcome! Central Florida here.

    in reply to: The Story Continues… #30724

    Mike Marino
    Participant

    Good stuff, man! Some of that orchestration reminded me of fellow composer Robin Hoffmann. Certainly can hear the influences mentioned above as well. Keep it up!

    in reply to: Free Spitfire samples #30216

    Mike Marino
    Participant

    They should have a downloader app that you install on your computer first, then when you download the library it’ll ask if you want to use their app, then you can set the target of where you want the library to locate. That’s how it worked here but I’m on Mac.

    in reply to: Feedback on a track? #29731

    Mike Marino
    Participant

    @SomeGuyDoingStuff

    David, thanks for sharing your music with us. I think it’s difficult to feedback on the composition because I don’t know what your target for this music is. I will say that you’ve got some very wonderful music on your SC page. I listened to each piece first and noticed something. It seems like you get bored (or tired) of your initial musical ideas very quickly; faster than your audience does at least. I have this problem especially when my writing process slows waaayyy down. You’ve heard your idea a gazillion times by the time you bounce the track out. We’ve only heard it once or twice. Stay patient with your initial melodic ideas and don’t be afraid to also take a little more time with your layering of instruments. Just my observation so take that with a grain of salt.

    In terms of the mix of this track I’d look back at some of your other tracks (like Pilgrim and JL’s Theme). I think you created a better sense of space and depth in those mixes than you have with your East Boardwalk theme. You’re really great at creating an ambiance with all of the ‘picky plucky’ sounds happening. You might have room to push the sounds even further to the left and right….then using some delays to get them pinging around the space even more and widen your stereo space a bit.

    With your long strings I’d just say you have some room to sculpt their entrance and exits even more….and try to avoid just sitting stagnant on longer sustains using a combination of CC1 (modulation) and CC11 (expression) if your library allows for it. You can also try attaching a very subtle delay to your 1st violins that gently throws some sound back towards the center and right side of the room…and doing the opposite for cellos (if that’s how you have them seated).

    One last little quick thing I noticed with the mix is it feels a little too compressed possibly. It just doesn’t have the same dynamic range as your other pieces (written in a similar genre). You can see it in the waveform actually. There’s a decent amount of things fighting for frequency space but perhaps this was by design.

    Hope something in there was helpful! Thanks for sharing!

    in reply to: Question about Exclusive Briefs #29595

    Mike Marino
    Participant

    You do not have permission to view this content.

    in reply to: PRO inconsistency #29572

    Mike Marino
    Participant

    @euca

    Receiving royalties from NBC Sports (Versus) as well with BMI.

    in reply to: PRO inconsistency #29571

    Mike Marino
    Participant

    @music1234

    How unfortunate! I’m with BMI and DO receive royalties from Big Ten Network.

    in reply to: PRO inconsistency #29560

    Mike Marino
    Participant

    Same here

    in reply to: PRO inconsistency #29557

    Mike Marino
    Participant

    @daveydad
    Who is your PRO?

    in reply to: Music on Instagram #29540

    Mike Marino
    Participant

    If they’re earning any sort of revenue from the vids they’d be posting with your music you might negotiate a percentage of that money with them. Until you know more about the model I wouldn’t suggest doing that with people you don’t know.

    Another option could be a barter in this case. Since your friends are great with video editing maybe they can make an edited spot for you featuring any films you’ve scored, ads or tv placements you’ve had, etc etc for your website or whatever. Basically a promo video that features you and your skills and music?

    Just a couple of ideas. Good luck!

    in reply to: Music Libraries that focus on House/EDM #29519

    Mike Marino
    Participant

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    in reply to: 5 Year Report #29183

    Mike Marino
    Participant

    @pike60 : What type of music do you tend to write and what end medium do you tend to aim your music at (ie sport shows, reality tv, trailers and tv promos, commercials, etc)?

    in reply to: 5 Year Report #29151

    Mike Marino
    Participant

    Here’s what things are looking like for me with regard to back-end earnings:

    2013: $0 (wrote 16 tracks; all NEx)
    2014: $0 (wrote 21 tracks; 13 NEx, 8 Excl)
    2015: $25.59 (wrote 87 tracks; 83 Excl, 4 NEx)
    2016: $1467.45 (wrote 52 tracks; all Excl)
    2017: $6091.87 (wrote 73 tracks: 72 Excl, 1 NEx)

    I have had some sync fees and upfront payments along the way, earned through exclusive and non-exclusive tracks. That looks like this:

    2013: $750
    2014: $0
    2015: $2254.15
    2016: $470.05
    2017: $512.70

    in reply to: Tunesat 50 Free cue monitoring #28470

    Mike Marino
    Participant

    I’m using the free service. I’ve got 50 tracks up there. But I’m constantly replacing my oldest tracks with my newest tracks (regardless if I’m seeing a lot of placements show up from them or not) instead of leaving the same 50 tracks up there all the time. This way each track has sort of been through their detection software even if only for a few months at a time.

Viewing 15 posts - 1 through 15 (of 96 total)