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Personally I think reputation goes a long way, and other composers success with a particular library really effects how long you give something a chance. Also the rate a sync goes for in that library should effect the length of time you are submitting new music. It’s hard to put a number on it because sometimes you just have a gut feeling, but sometimes it turns out to be a waste of time. If you are sending emails and they are not responding, then I wouldn’t keep my tracks with them. This is a partnership and if they aren’t getting back with you, then just imagine if you were a customer. I had a situation where I was owed 100+ euros and didn’t get my payment. I tried sending emails, calling, and got no response. The only time I did get an email was once I deleted my entire catalog of music. Kind of a case of to little to late.
You can use the TT Dynamic Range meter, which is free, to get an idea of where your phasing issues are by switching it into mono or you could also look at the correlation area of the meter. When it’s in mono you can hear when the music drops in places where there’s phase problems. Also another good free plugin is Solid State Inter-Sampling Meter. That’s not for phase issues but for making sure the peaks don’t distort your sound.
I’d say that doesn’t help but Youtube also has like 1500 tracks in it’s music library. I am pretty sure those are completely free, dunno what anyone gets out of having their music on there but people are doing it.
I don’t think they do, but the tracks I have with them aren’t really geared as stock tracks so I treat them a little different. I’ve had pretty good communication with them, so they’d probably get back to you pretty quick if you emailed an asked, just to be sure.
I have used Distrokid for some releases but lately I am using AMAdea. It’s free to distribute and gets your music everywhere you’d want it. They do a 90/10 non-exclusive split, so you basically earn 90% from every sale. Thanks for the heads up on Kunaki, much appreciated!
I was also thinking about 10 tracks.
I think all your ideas are very solid, the biggest problem is in some of the production. I think the low end of the mix might need the biggest tweaking. When I hear your music, it seems like you are a guitar player. What I mean by that is it seems like you laid the guitar down first, and then added the other elements and then mix around the guitar. I don’t know if that is true or not, but when I hear the music the guitar and mid range sounds great, but some of the lows and the hi’s are where you could really add some spice.
I don’t know what your process is but you might think about after laying down the mids and once the arrangement is done, turn the faders down on that. Get that groove, bass, and low end sounding great. Balance the low in with the high end stuff before you go back to the guitar and mid elements. If you can get the low end and high end sounding awesome together before the guitar comes in, then it might help get your tracks to pop a little more.
Like I said, you’re ideas are great. If you can get those lows and high’s to pop it would really help pump some more life and energy into the tracks. Low end can be a tough nut but it adds so much.
When I heard that acoustic snow day track for example, I don’t really think you had a bad recording of it to be honest. I think you did a good job on recording it, but with a little bit of eq work, and processing I think it could definitely be improved to match fairly close with the reference track Mark showed. Especially if you added some processing to the whistling melody.
Hope that helps!
Personally, I use a watermark that say’s “preview” and it doesn’t seem to bother clients and kind of takes some of the worry out it, considering I don’t use something like adrev for stock music. You could do something like reverbnation/bandcamp/youtube, or you can build your own site with it’s own audio player and share that.
It’s funny because I am the same way, and had the same type of thought like “man, do I even enjoy music anymore” because it does seem way more like work then it used to. The way I can tell I REALLY like something is that I don’t sit there and pick it apart, and can just listen to it. At the same time I appreciate the process a lot more, and I will listen to a great song and go wow that mix is amazing, instead of going wow listen to that guitar. There is curtain musicians, Hendrix in particular, where I never tried to learn a majority of his music. Mainly because I wanted to keep that magic of not knowing what he’s doing, and just pop in an album and go for a ride. I’ve been working really hard at keeping things separated in my head of like here is music I like to play for fun or album music, and this is work music. It has really helped keep things fresh and reminds me of why I wanted to do this type of work to begin with.
I appreciate your legal expertise MichaelL, thanks for clearing that up.