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I agree with MichaelL Getting composers to say no is not likely. I’ve turned down offers from libraries and for other writing opportunities in the past. It always seems to come as a surprise to the person making the offer that a music creator is actually turning them down. I’ve tried to be outspoken in the past about fair compensation. I even published a music pricing guide three years or so ago to help composers. But now I feel it’s a lost cause…
You were probably looking for info. on dog sleds because you live near Boston and had to get to the grocery store… 🙂
>I admit I check in there almost everyday, It’s maybe a unhealthy compulsion. But I bet others here also do that. I hope I’m not the only one.<
I can rationalize frequent cue sheet checking. 🙂 I think knowing who is placing what where can guide you in knowing what to create next, and who to send it to. You can also tell what tracks are performing well and use that information.
This is one of my favorites from my catalog. I play bass and guitars, the drums and percussion are loops.
I can answer in more depth after the storm, but I do remember for drums Beta Monkey had useful products.
Thanks for the update Chuck. A few years back I wrote a bunch of reviews of loop products for Recording Magazine. Errors like tempos listed wrong, or wrong keys embedded were common. Sometimes I heard distortion or over compression/limiting. It seems quality control can be lacking sometimes.
The most useful drum loops have one shots like you said, but just as important is having a wide choice of fills!
Anyway, I’ll have to check out this company haven’t heard of them.
>A lot of syndicated shows are considered local programing<
I hope this won’t be too off topic. I’m ASCAP and learned about this years ago when I had a cue on Oprah. It paid as a local program, which wasn’t much. I made a fuss, I mean who could not consider Oprah a national show? I pointed out that at the least shouldn’t all the local broadcasts add up to equal one national broadcast? Of course I didn’t get anywhere with my complaint. Now I see it a lot. Steve Harvey being the most recent…
Yep, PC.
My computer not being connected to the internet is actually a throwback to the old days of computer recording. The theory was it saved resources and processing power. No sense having the computer running internet software and tasks in the background. Back then there was a good chance of audio dropouts and etc. Better to run only essential background tasks. Probably doesn’t matter now but I can’t help keeping as clean a system as possible.
Yep. I have a home office in addition to my studio. I do all my uploading from there. Actually, I have a copy of Sound Forge on the office computer and I’ve been doing my edits there lately. No critical listening involved as I’m working off of my final two track mixes.
It was easier to do it both ways before libraries began to trend towards the exclusive model…
Not to get too far off topic but like Kubed, my studio computer is not and never has been connected to the internet. But this is getting harder and harder as time goes by. I know of at least one program that will only update via an internet connection. And did you guys see the announcement from Cakewalk? SONAR introduced a membership plan. There’s a “Command Center” and you get 12 months of custom content downloads, new features, updates and fixes. An internet connection may not be required, but probably recommended.
37 page statement of mostly “Cable TV-Blanket”. One plus was a feature film from 2012 that I have a placement in was broadcast a lot on Showtime and TMC.
I do…
RF stands for “Royalty Free”, the term being a bit deceiving. It means the purchaser of the license can use the music in multiple projects without paying any further fees. It doesn’t mean you as composer can’t earn royalties from a broadcast use of the track, you can.