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Thanks Michael. Timely and informative.
What advantage does a MS gain by having a big cattle call (You inform 5 or 10 deal board type sites) and hundreds of people (if not thousands) get the information about the music listing?
Maybe a cut of the submission fees?
Don’t know where that brief is from but it is also listed on Songtradr.
In the past 15-20 years, for most composers, production music has evolved from something you could earn a living at to being just a part of the income puzzle.
I agree, Michael. Also, I feel it’s not always how much you make but how well you manage it. Combine that with what sacrifices you are willing to make and the income can go further.
What I don’t know is how a music supervisor thinks when they go looking for a specific piece of music, and I find that difficult to judge.
I don’t think this is knowable. Many times I’ve read a music supervisor’s brief and provided what I felt was the perfect track that met the description exactly. Only to be passed up. In some cases I’ve heard what was selected and it made no sense to me at all. On the other hand, for some of my placements, I’ve wondered why they even chose mine.
Create what makes sense to you, don’t over think it. Submit, forget it and move on to the next.
Would the music i’ve uploaded to that link work in a library context ?
I’ve given up trying to predict what sells, you just never know. I know that’s not helpful, I’m posting to tell you some of your tracks have a lot of blank space upfront. Victorious has seven seconds of silence before the track plays. High Wire has three. So a customer hovers the mouse over the track and nothing happens. They probably move on before the track even starts.
For full length tracks I put 0.25 of a second (250 milliseconds) silence upfront. This is a throwback from the CD days. It insured the start of a track wouldn’t be cutoff by the CD player. For timing edits I do not add silence.
RIP Chuck Loeb. A friend of mine did some gigs on bass with him a few years back and we had a chance to meet….
I agree with Advice, the post back in 2014 (“But the bottom line is “Never say NEVER”… Every situation is unique) and this recent post (“there are both good and bad”). Earlier this year one of my tracks earned a $10,000 license fee directly because of a paid submission I made two years ago. I like the strategy of spreading tracks around the different business models and this sometimes includes paying to submit.
Yeah, I’ve posted here before about a track of mine in a movie. 1.8 million Netflix views paid $54.00…
They do, but I was wondering the opposite. Does this turn the tide to Discovery doing direct licensing…
oops, didn’t see Art’s reply before posting…
I don’t think Art meant actually creating full songs in different time sigs. I think the concept is something like – if it takes a two and one half beat drum intro to get your 30 seconds, go for it. As long as it sounds musical and natural. And, two track editing software (not a full blown DAW program) doesn’t care about time signatures.
Broadjam is a perfect solution for me. I can upload songs and mark them as private, which means they cannot be viewed by the general public. To share them I create a “transmit”. I can add any number of songs to a transmit, I can choose whether the song can be downloaded or stream only. A link to that transmit is created that I can share with anyone of my choice. Here is an example: http://www.broadjam.com/transmit/index.php?id=405bczk
can only arrive at that point with an unnatural fadeout.
Fade-outs are frowned upon in library music. You want a button ending, or a final hit that decays naturally, like a crash cymbal. There is an art to creating timing edits from stereo mixes, but the more you do it the better you’ll get at it. You don’t need an exact tempo of 60 or 120. You do need to know your audio editing tools and software very well. And you need your ear to guide you to a musical solution. Many times I’ve fought with an edit for a long time, only to start all over from scratch and find the solution in just minutes!
Did anyone notice the ASCAP numbers are all out of whack today? They added about 1000 non-existent cue sheets to my total. About had a heart attack… 🙂