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Funny how we work the same Art. I use Reflect and my C drive is also in a removable bay. I only connect my studio computer to the internet when I’m forced to by software that requires a connection to install or update. The Ethernet port is disabled in the BIOS, I just plug in a wireless USB adapter when I need to.
I was thinking about setting up a second pull out C drive in the Spring, keeping the current one working. I thought I would put on the newest Windows, upgrade my Sonar and try out the ACID update that supposedly Magix is putting out. Maybe I’ll stick to the plan but try another DAW.
Any thoughts on Samplitude? I see it has the ARA Melodyne implementation you’re looking for…
I spent a morning downloading all my software from their servers, documenting the serial numbers and registration codes and archiving it here. I’m still on X3, supposedly the registration code allows you to keep using the software forever.
do I even want to bother taking on that massive task just so I have the ability to edit or rework old tracks?
I think it’s important to have this ability. Just the other day I called up something from six years ago to rework for a music request. All I had to do was assign a few outs as I am using new hardware since then. It was easy. If you do work for hire jobs it is even more important to be able to get to your past projects. I’ve had clients contact me a few years after a project asking for a stem, instrumental mix or something like that. You could say sorry, it’s not possible but that doesn’t inspire confidence.
I never moved off of X3, though I would have upgraded eventually. I’ve used CW products since before digital audio was a thing. Even worked for Cakewalk many years back. Can’t imagine using something else and how SLOW my workflow would be in comparison.
Maybe the CW line will get picked up by another company…?
I will throw out a rough estimate of $3,000 if it’s a national cable theme song, and $10,000 if it’s a national network theme song. Composer keeps writer’s share of broadcast royalties.
Thanks Michael, good read.
Check these out, a whole different take on keyboard controllers:
I don’t know exactly, but one tip is that stock synth presets can be big sounding; the maker of the synth wants them to sound full and rich. If you layer a bunch of these together they are going to sound washed out and be fighting for the same space. When layering stock presets consider converting each synths audio track to mono for one, then use careful eqing and panning of each of your layers. Carve out notches using subtractive eq so they are not fighting for the same space.
How do you go up against the biggies, like Getty Images? They take 35% of writers and 100% of publishers. If not for them I would have nothing.
Hello Mountain Girl, Getty gives 35% of licensing fees, the composer keeps all (100%) of the writers share. They also give 50% of publishing (called Administration Receipts in the contract) which can sometimes make up for the unfavorable licensing split.
So your “S” probably covered a years worth of missed survey cues?
Who’s to say…
What kinda bothers me is that when we get a statement perhaps paying us fairly, we think it’s a mistake. Let’s hope the trend continues.
The “S” placement on my recent statement was for a cue 2:25 long!!
Ah, looks like the survey was on your side this time. I won’t claim to understand it, but C stands for “census” or complete count surveys and “S” stands for sample or representative surveys. “S” for some reason is a high payout. Commercials are usually a “C”. I also got the coveted “S” on a placement this statement, a pleasant surprise.
ASCAP email says that youtube settlement payment is the first of two. Should be another one paid in the March/April 2018 distributions.
What’s listed in the C/S category of the statement for those?
So what happens when a non-exclusive track is in multiple non-exclusive libraries (RF or not), if all of those libraries are entering the track into AdRev?
My understanding is only the copyright owner can enter tracks into Content ID/AdRev, or assign an exclusive (single) representative to do so.