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It’s like cooking, you can always re-heat something undercooked, once it’s overcooked it’s overcooked… Basically it’s easy to add loudness
I always worked under the assumption that adding loudness with a L1 type of plug-in was a once only thing. Files should not be processed in this manner twice. If you want to add loudness go back to the original file. Same with “overcooking”, go back to the original file.
Didn’t think of that, thanks!
Using the new website, has anybody figured out how to filter works to show tracks registered within a date range? If I click “More Search Options” a column called Submission Details shows, with start and end date fields. Doesn’t seem to do anything though. Nothing comes up regardless of the dates entered.
I guess you mean the possibility of a client seeing you have a track for sale on RF and saying hey, why do you charge me so much for custom score when your RF pieces are so cheap? Still, it’s two different markets. They are paying a premium for custom music, where stock pieces just won’t cut it. They are paying for all the revisions needed to reach their vision of the music. Maybe paying to hire musicians and vocalists. Paying for the composer to work to their deadlines and to deliver whatever they ask for.
But, I also see the possibility of them not understanding all that, when a completed RF track costs forty bucks. So I guess I’m no help. 🙂
I don’t see why not to use your name. Custom score work and library tracks are two very different endeavors. I don’t see you competing with yourself. Clients that use custom score do so because a library track is not going to work for them. I also don’t think having tracks in libraries would affect what you are paid to custom score. I’ve done a lot of custom writing. The pay is good because of the back and forth required, always making changes to please the client. Then there are the deadlines and most likely giving away rights as a work for hire job. Having tracks in a library wouldn’t change this.
I just emailed them a few days ago to ask a pre-sales question – wanted to know if I bought a certain product would they provide a special use license. They responded in a reasonable amount of that that yes a SUL was available for that product. Didn’t mention any change in their agreement.
FWIW – I’ve never had a problem getting a SUL and never saw it as a barrier, but I don’t tend to buy construction kit format, more groupings of a single instrument. Then again, it will be nice not to have the extra step.
Loops definitely have a place in-conjunction with live instruments. They are great for adding color. For example you might do a country piece recording live resonator guitar, acoustic guitar, bass and etc. Then pepper it with some pedal steel loops and it really adds something. Many times I’ve had people ask me who’s playing the sax? Or how did you record the fiddle? They are not hearing an attempt to mimic live playing at all, but a natural and real sounding part. I know there are some who can use MIDI effectively, and program realistic string and other parts, but not me. Looking at a softsynth with all the programable knobs and parameters just makes my eyes glaze over.
also those people who have a passion for lets say Jazz for example are always going to be a million times better at making it than me who doesn’t like the genre.
My all time best selling/earning track is an African piece. What do I know about African music? I’m a middle aged guy living in Massachusetts since the 80s’s. I always wonder, why don’t the music supervisors just get a piece created by authentic African musicians? I don’t know why mine gets used frequently, but it does.
Other styles in my top ten for uses/sales are Indian, Bebop Jazz and Minimalist. How’s the old saying go? “When you limit yourself, you’re only limiting yourself”. 🙂
If you have great tracks present the music and just ask if they want to take it in non-exclusively
I had good results with this recently. I joined a new to me library over the summer with a handful of exclusive tracks. After getting my foot in the door that way, I offered up any tracks they might like from my non-exclusive catalog. They took me up on it and signed a good portion of my tracks non-exclusively. I consider the exclusive tracks I gave them the price of admission. Of course I do have a reversion clause on those.
My last ASCAP statement (domestic) showed my music placed by ten different libraries. Six of the ten were formally non-exclusive, but now have gone to an exclusive model. One was always exclusive, one went the performance royalty free model with a 35/65 split and one is in the graveyard. Only one remains non-exclusive, but is not active enough.
So in analyzing that, I don’t see a non-exclusive library that I can put my music into (not talking RF here). If I don’t feed the exclusive libraries tracks, eventually my back-end will dry up. Unless someone wants to tell me privately the names of these great non-exclusive libraries filling their statements with placements. 🙂
I see, that explains why, in some cases, you would register cues. Do you split publishing with the artist, or take 100%?
From my experience AS usually registers tracks for you.
Why would a non-exclusive RF company register tracks with a PRO? They have no stake in collecting writer or publishing royalties. Am I missing something with AS?
A thought on the non-exclusive v. exclusive debate. As far as libraries that focus on getting broadcast placements that pay backend, it’s getting harder and harder to actually find companies using the NE model.
Over the years, most of the companies that placed my music non-exclusively on TV shows have either gone exclusive only or are not really active. I guess I can’t name names here, but here is an example using MLR’s search capabilities.
I set the search parameters to:
Non-exclusive
Accepting Submissions = Yes
Royalty Free = No (concentrating on broadcast specific libraries)
Requires Cue Sheets = Yes
Active Library = Yes
Content ID = No (Content ID requires exclusive)There were three results out of 864. I’m just not sure where to put my new NE cues anymore, outside of RF. It seems writers cannot avoid providing exclusive cues if they are looking for broadcast/backend placements.
Thanks Golds, another tool for the arsenal. I’ve been in audio for a long time but didn’t know about this technique or about the “debate” surrounding it. Never too old to learn…
No, but it looks like something fun to try. Are you a fan?