Paolo

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Viewing 15 posts - 31 through 45 (of 87 total)
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  • in reply to: need advice for a midi controller keyboard #20728
    Paolo
    Participant

    Thanks Michael and wooddenis for your feedback.

    it really depends on what kind of music you do

    I write mostly acoustic and electric guitar-based rock/indie/hybrid rock. And at times, I’m adding an orchestra instrument(s) if I’m doing hybrid-rock.

    So the the midi controller keyboard I need would be for Logic Pro’s automation (writing automation for faders, pans, FX on/off, etc) so I wouldn’t have to use the mouse to write automation.

    Vizzahh – what controller are you currently using? Is it with Logic Pro?

    novation Impulse 49, ok for synth parts

    I’ll check out the Impulse 49. Do you have Logic Pro and find it controls everything intuitively?

    And you’re doing fine without the automapping – so that shouldn’t be a deal-maker/ deal breaker?

    Thanks!
    Paul

    in reply to: need advice for a midi controller keyboard #20719
    Paolo
    Participant

    ^ bump ^

    in reply to: Blurred Lines verdict #20682
    Paolo
    Participant

    That is a possible defense if the earlier work is in the public domain

    Ahhh…thanks Michael.

    I wonder if it would have been noticed if when Thicke was promoting Blurred Lines, he hadn’t said he always liked Marvin’s “Got to Give It Up” and wanted to write something that had a similar feel.

    in reply to: Blurred Lines verdict #20676
    Paolo
    Participant

    Would citing an earlier example of a similar groove/feel, which predates both parties, be an effective argument/defense?

    i.e. if composer A wrote a song with a green onions, bo diddley or a jazzy minor blues groove and composer B wrote a song with a similar groove/feel AND subsequently sues artist A for copying him, would citing the “origin groove” be something that would help composer A in court?

    in reply to: Longer list of recent comments #20630
    Paolo
    Participant

    aha! Thanks Art. I had thought it meant “with permission” (for subscribers) 🙂

    in reply to: Longer list of recent comments #20618
    Paolo
    Participant

    just curious – what does the “WP” stand for?

    in reply to: 15, 30 and 60 second edits #20616
    Paolo
    Participant

    Don’t forget if you’re close, you can time-stretch or shrink the audio

    when your 30-60 seconds or full versions come up a 1/2 a second to a second short

    the last beat hitting at 28.5, but also give them the option of letting the tail ring out

    these are excellent ideas; Logic Pro X has flex-mode so that’ll make adding or cutting a few ticks/samples easier and faster.

    in reply to: Hope For The World. #20568
    Paolo
    Participant

    enjoyed that very much.

    in reply to: Unanswered Qs … #20559
    Paolo
    Participant

    Hey Minkus,

    Could anyone tell me how common this is?

    My experience (and seems to be similar to others on the forum) is 50/50 split on sync and 50/50 split on royalties (100% writer share to you and 100% publishing share to library).

    Not sharing sync with you seems greedy on their part.

    Paul

    in reply to: Just Say No #20554
    Paolo
    Participant

    LOL! I just finished shoveling 8 inches (New York) — could really use that dog sled now 🙂

    in reply to: Composing for indie projects – How much to charge? #20544
    Paolo
    Participant

    Thanks for sharing that video – I was laughing so hard I couldn’t breath.

    Beautiful – that’s the way to handle horrible offers – have fun with it.

    “Is Art the name of your friend director?” LOL! I’m going to have to watch that video again 🙂

    in reply to: No Sync Fees? #20201
    Paolo
    Participant

    Hey Trackmaster,

    Would you make this deal?….All input is appreciated

    I’ll share my input and take on this – since you’ve asked 🙂

    I decide based on numbers and also gut feeling. Money-wise, will the upfront money plus (estimated) backend mean your composing fee continues to increase over these five years? Would it leave you feeling fairly compensated?

    And the intangibles: does it feel right? will this bring you further ahead and into the direction you want to pursue?

    Paul

    in reply to: How to add pseudonym to BMI account? #20162
    Paolo
    Participant

    tried to call BMI (with no avail)

    Hey Overdub,

    I don’t have an answer to your question – but wanted to share that you still may hear from them and get your answer in a few days.

    I don’t know if they’ve had cut-backs in their Writer Relations department but my experience has been what used to typically get answered with one phone call now, more often than not, requires leaving a message and then receiving a callback in a few days.

    Paul

    in reply to: Tunesat Detection #19933
    Paolo
    Participant

    Tunesat is actually easier if the track is exclusive. With non-exclusive you have to do a bit of detective work to find out who placed the track

    I see now – thanks!

    in reply to: Tunesat Detection #19923
    Paolo
    Participant

    Thanks again Mike and composer,

    won’t be able to tell you which library placed the track

    it’ll report based on that particular filename

    okay… that makes sense. It leads to a bigger question:

    How do you make tunesat useful when you have two titles for one fingerprint? Or is Tunesat useful mainly for non-exclusive music?

Viewing 15 posts - 31 through 45 (of 87 total)
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