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you have to authorize letting your PRO take money back from your account
Michael – I’ve had that experience but it was the correct action taken by BMI in this one instance.
I was once mistakenly paid for both the writer and publisher shares when the non-exc library that made those placements wasn’t given credit on the cue sheets. That was a very nice PRO statement:-)
As I expected, the over-payments were deducted from my checking account shortly afterwards.
ah..I see what you mean Michael. That you for sharing your thoughts on the advantages.
Hey Michael,
I have two publishing companies:
One entity is for my works that go into RF libraries. I keep my publishing because I’m also attorney and don’t find the admin or collections daunting.
Although I’m not in RFs yet, I was thinking that when /if I do, I would register the tracks with BMI as composer with no publisher and receive 200%.
What do you feel is the advantage of having a publishing company for RFs (versus receiving 200% as composer without a publisher).
Thanks!
The spectrum analyzer in Logic is great
Totally agree – I use it during mixing.
So, I use the spectrum analyzer, listen to commercial CDs, for reference, and many times ask Robin to lend her ears. What do you do?
Same here. I haven’t been asked to redo the Eq on finished tracks so that approach works for me too.
And I use hearing protection (-30db reduction) whenever using the snow thrower, pressure washer — or any loud device that doesn’t make music.
Hey Chuck,
I debated whether I should throw in my 2 cents – feedback can be so subjective! So I listened to your tracks (on soundcloud) and decided that if I had something that might be remotely helpful/insightful then I would share. But I accept that I might not be helpful at all 🙂
What stood out most for me were two things: first, your compositional ideas are good and interesting – your overdubs, melodies and counter melodies are, I think, good choices.
The second thing was your feel – specifically rock compared to non-rock. All of your tracks that are in and around the genre of rock – your feel is spot-on; all the instruments feel locked together all supporting the groove. However, the tracks that aren’t rock, feel as is if you’re playing the guitar (and a few other instruments) ahead of groove. I was thinking to myself if you sped-up those grooves for the non-rock tracks your guitar would fit/feel better in the pocket of the groove since it felt like it wanted to be in a quicker/more driving groove..
Anyway, when I took a songwriting class that’s how they gave feedback – identify the thing(s) that is good and to keep; and also identify the thing that could improved to make the biggest difference. I hope I was able to do that.
Hi Amir,
I don’t work with RF sites but I think my answers apply to your situation so I’ll go ahead and chime in 🙂
1) I think most composers here like myself are asked for both 48khz and 44.1khz. I always ask which they prefer and I keep a binder with everyone’s preferences. So I would ask each RF site and future client that you intend to work with.
2) I’m with BMI and they have a feature which allows the registering of alternate titles along with the main title. I wouldn’t think it necessary to register cut-downs (ie “My Hit Song 30 seconds”)but I suggest registering the alts that are different mixes — they will be notated with the alt titles on the cue sheets.
3) yes- yes! Master the alts so editors can switch into an alt version without dealing with changes in volume, EQ etc.
4) I’ll leave that to someone who works with RFs – but with TV, the tracks are underneath dialog so for me there’s no need for big dynamics IMHO. But I think small swells and little crescendos add positive flavor to a track.
Hope that was helpful and answered your questions.
haha! Just saw that Michael answered this as I was typing 🙂
Hey Chuck,
You got me wondering too about Spectrasonic’s policy on this (I also use their software) .
This is their response to the question “Can I use Spectrasonics Virtual Instruments in music library productions?
Yes, this is fine. Some soundware companies restrict this kind of use (since music libraries sometimes cross over into the soundware business), but Spectrasonics allows music library use. In fact, we have many customers that use our products in music libraries.
Specific limitations about music library use include the following:
The music in the library must be mixed. You cannot provide separate tracks.
The intended audience for your music library collection must be non-musicians.
that’s great advice from Mike about how to find the best strings library for you needs.
I just wanted to add that I’ve found Garritan Personal Orchestra to be fairly light on CPU/RAM demand. Garritan doesn’t have that blockbuster epic movie trailer sound if that’s what you need, but it’s useful for adding realistic orchestration.
They have an Instant Orchestra and a Personal Orchestra – each for around $150 – and as Mike pointed out, you can check-out their walk through videos and sound samples.
Hey angopop,
I upload my tracks to the copyright office –it’s so EZ (although I miss my bike ride to the post office and chatting with the folks on-line).
Here’s what to do if you want to give it a go:
— after you pay the copyright fee (via credit card), you’ll be brought back to a page where you’ll be given the option to upload your files. Upload your MP3s (much faster). You’ll get a confirmation receipt email that they’ve received your files.