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Yeah, loops are great to add an authentic sound to an original composition. Like an instrument difficult to own and learn like a pedal steel guitar, or traditional instruments from another country. The first thing I do after purchasing a loop product is print out the license agreement and store the hard copy in a file so I can find it quickly if I have any question about how they can be used!
Probably as close to possible to edit between cleanly. Recently, a library even asked me to leave any blank space up front that may have resulted from creating an alternate.
I also do my timing edits starting from the stereo mix. I use Sound Forge. The more you do, the faster and better you get at it. It can be hard when a melody line or cymbal crash crosses the bar, but it’s pretty rare that it’s impossible. Key is being able to hear how it can work and knowing all the software tools available.
I intentionally placed that pseudo-gramophone sound effect there
I remember once in one of my educational songwriting projects for children I used a kazoo. I thought it was a great idea for a song for kids. The client asked me to remove “that buzzy sounding thing”. 🙂
Until recently, I’ve always kept my DAW “internet free”. I disable the motherboards network connector in the BIOS and never plug it in, relying on “sneaker net” to transfer files and make updates. That’s become impossible now. Most modern software requires an internet connection. So I recently bought a USB wireless network adapter. I plug it in only to make a quick software update or program download, and remove it as soon as practical.
Hi Raman, I like your cue. It’s a pleasure to hear some real emotion in a piece of library music (you can’t go wrong tuning down the sixth string to a low D). I was just listening to some recent releases from a big library and was thinking how it all sounds the same, sounds written only to sell. On the other hand, my sentimental/emotional pieces aren’t big sellers. Clients seem to love their uptemo, feelgood inspirational tracks.
You have some noise in your recording, probably pre-amp hiss from your input device. Something to look into.
Hi everyone the June part 2 read is out now.
Peppered with quotes from Art and Mark Petrie…
I would suggest they sound too “MIDI”, both in feel and sounds. Branching out into using more live musicians or even loops recorded live will be helpful.
Hi SquarewaveMultimedia. That approach has worked for me with larger PMA libraries.
And it just worked for me last week with a smaller boutique library. Received a modest but acceptable upfront fee for each track.
Thanks for remembering Paolo. That was six years ago and it’s not available anymore. I had a single use internet video listed at $94 back then, but like daveydad says, the question is what about multiple uses.
Yes, it does seem like it would have been much easier. Please ignore my post/advice.
I wrote “for the love of the art”, where did you get jump starting my career from?
From your original post:
“Dreaming of one day working 100% with music so now I’m doing my research.”
“Haven’t sold any of my songs, but we all have to start somewhere!”At the moment I am also looking for indie filmmakers to include my music for free
Giving away music for free is not going to jump start your career. You are basically saying your hard work has no value. And once the bar is set to free, these filmmakers will always expect your music to be free. When it isn’t, they’ll just move on to the next guy giving away music. Don’t start out this way.
I recently posted here about my first well known brand commercial placement. Mark is correct, It did pay well upfront, considering the placement was through a non-exclusive company actually, and only 15 seconds long. A number in the lower five figures, split with the company placing it of course. Too early to report here about royalties.
I also just got my first infomercial placement a few days ago, so thanks for the information on that Mark!