Forum Replies Created
-
Posts
-
Thanks for the replys Art and Michael. I may be building a new studio setup as our house in on the market (circumstances beyond our control) but I’ll be upgrading my gear either way. So I’ll be back with many more questions!
Michael
Hi Michael, I’ve been looking into HR824’s for my new setup (should it happen). I want to ask you – why the subwoofer? Those go down to 37Hz and my research is showing low end response is good, no sub needed. I use a sub in my current setup, but my monitors only go down to 45Hz.
I also currently use aurlex (2″ and corner bass traps) but will look at Real Traps, noting your recommendation!
Hi Jesus, Non-exclusive libraries will handle the retitle for you when they register the cue. Some companies just use an identifier after your original title, some will use an entirely new name. Just make sure to keep track, as your contract will say that you cannot use the name they assign anywhere else.
Maybe the quality of your end product could be different based on newer or updated plug-ins offered? Better sounding compressor, reverb, eq or etc?
I am very leary also, if it aint’ broke don’t fix it, as the old saying goes. But in the past, I’ve fallen too far behind with that attitude and catching up was probably made more difficult in the long run.
Thanks Alan. I’m just finishing up the largest composition project I’ve ever done. Should be finished in a week or so. After that I plan on updating my operating system with a service pack, and updating to Sonar X3 and Soundforge 11. Wish me luck!
I have this on my DVR from when it was broadcast on PBS. It is very moving, I feel because of the arrangement. There is much to be learned by watching the way this arrangement builds. It builds and builds until my favorite moment at 5:30. Instead of the climax being a huge hit, it is instead silence. It looks like Bonham is going for a big drum hit, but he doesn’t hit anything at all. Perfect.
I had a piece used in the show JAG a few years back, through a library. I received a sync fee for the program placement and a second payment when the show was was released on DVD. How times have changed…
>I have not been paid for that song by JP, never on a BMI statement, and never got a check for the use.<
I’m glad you got your answer as to where the use came from. I know most here are trying to stay positive in the face of the library business today. But I can’t find a positive spin to put on your story. I don’t see any reason that a piece of music should be used on a DVD for sale with no payment at all to the copyright holder.
It’s not right. Blanket licenses should be restricted to backend paying situations only. No one should be using our music for free…
>Crucial seems to have managed an exception so far with their “re-title by adding a tag only” approach<
Interesting. JP does the same thing, no? They just add the “JP” tag to the original title.
>On JP’s website it says… “Jingle Punks is launching its exclusive music library offering in addition to their standard library in order to provide clients the option of being able to search for music they can exclusively license and immediately obtain the rights to.”<
Does this not make sense to anyone else? “search for music they can exclusively license” doesn’t seem right. Their client isn’t exclusively licensing the track, multiple clients all have access the same tracks. What is happening is composers are giving JP the exclusive right to non-exclusively shop their tracks, right? Also “and immediately obtain the rights to” doesn’t make sense, does it? I mean were they not immediately obtaining the rights when using the non-exclusive library? I don’t see JP providing the clients any options they didn’t already have.
>Basically, I feel like we are going to see companies that combine the worst qualities of the re-title libraries with the worst qualities of the exclusive libraries. Lose-lose for us, BIG win for the libraries.<
That’s not a far-fetched observation. And brings up the question, why would any supplier (composer) want to be a part of it? I know, supply and demand. It does make me wonder about the quality of the music they will be receiving for exclusive representation!
Nope, never got any response to that on the forum or via email. I posted a new topic today because I saw the blog post you are referring to. Stop by and make a post:
http://support.jinglepunks.com/jinglepunks/topics/new_travel_channel_special
>that the cue was under dialogue<
Back when I was doing a lot of songs for the Soaps, my publisher would give me guidelines regarding the vocals and lyrics. She said we would have a better chance of getting placed if the vocals were sparse in order work better under dialogue. Lyrically she would say don’t use proper names, dates, or cities. Which makes sense. A song about meeting Mary in New York in 2005 is going to have limited use!
A while back because of FMN I did a direct license with a client who needed music for an exercise DVD. Didn’t make too much on it but something. Also got in a few libraries…
>about 90% of my writing income is from sources besides libraries<
Same here. I do library music when I’m in between paying custom composition projects. I also do sessions for clients, write articles for Recording Magazine, and do the occasional live performance. Library music income alone wouldn’t cut it for me!
Same here Art. My ASCAP income outweighs my RF because of volume, also mostly non-exclusive. But if I compare a single cable blanket placement to a single RF sale, then I come up with a difference of RF being ten times higher. But that may not matter much if the volume of RF sales is ten times less than TV placements! Anyway, I’m glad to participate in both models.
>”We listened and we love your music and we want to represent it”<
Is it possible that their critical listening comes later? For example, you do the paperwork and upload say 30 cues. They listen to your uploads and reject 15 of them? So this initial listening of just 10 seconds was only to get you to the next step?