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Youtube does not pay a synch fee for audioswap use.
I think Adrian is just referring to the revenue from the ads that are placed on the video.That did it. Thanks Adi.
I think I will add a link to this tool to our ML composer accounts.Hi Adi,
Looking good.
I’m not able to get it to copy to my clipboard. How do I get a copy of the list of tags I create?Yes the copyright still stands on an edit from an already copyrighted piece of music. It does not become a new piece of music simply because it has been edited.
Sounds great!!
You’re probably not going for RF libraries but we would distribute your catalog in a hot second.And I will probably need some form of contract too. Anyone know where I can get a template?
Here is a work for hire contract template
https://www.docracy.com/4834/work-for-hire-agreementAlso they have been in touch asking for the stems of the track now, should I ask for more money?
I would ask for as much as you charged for doing an edit for delivering separate stems.
So what do I charge them for an original 90 sec piece of music?
When clients ask me if a composer can create custom music for them I give pretty much the same basic quotes as what Tbone outlined in his post.
All depending on complexity and duration of course…
$500 for non-exclusive rights
$5000 minimum for exclusive rightsBut I have heard of deals where composers crank out exclusive rights tracks at $1000 a pop.
Your client would definitely need to realize that you what they are asking for is no longer in a P5 type price range. Most clients don’t realize the huge price difference between royalty free music that is licensed thousands of times and exclusive rights to bespoke music.
Good luck and congratulations on making direct connections with your clients.
Hi Chuck-
I agree with the comments above. Especially the drum sounds and the instruments not being in the pocket.
To be honest the production, your final mixes, could use a lot of work.
What I would suggest is to find music tracks that you like that are similar in style to what you are recording and then experiment with matching the production, match the EQ placement, the stereo spread, etc, as much as you can to get your mix as close as possible to an already great sounding mix.Creature Features
For example, take a listen to this track by Chris Hodges here…
http://www.musicloops.com/music-download/roughneck-rock-5007016/
Everything has its place, the guitars, the bass, the drums, all clearly have their place in the mix. You can hear everything individually and it comes together as a cohesive whole.Now listen to a similar track from your playlist
https://soundcloud.com/chuck-mott/creature-featuresA good goal for you might be to get your mix to match the one in the example posted above.
If nothing else you will learn a lot in the process.Snow Day
Another example is the whistling pop song, which is very good but the production is just not there. It could be a great track but is simply lacking in the recording quality.Here is your whistling pop track
https://soundcloud.com/chuck-mott/snow-dayNow compare that mix to this similar track by Christian Rønn
http://www.musicloops.com/music-download/whistling-song-5002564/You might want to take your same track and try to match the sound quality to this example from Christian.
Extreme Max
Another mix comparison for you would be your track Extreme Max which again, the idea is good but the mix really needs help.https://soundcloud.com/chuck-mott/extreme-max-2
Now compare that to one of my favorite composers Denis Woods.
If you can get your track to sound even 30% closer to Denis’s mix quality you would really have something
http://www.musicloops.com/music-download/overdriver-5006057/Or to this really popular pop rock track from Michele Vanni
http://www.musicloops.com/music-download/frat-party-1592/I hope I am not coming across as harsh, just trying to give an honest constructive critique.
– Mark
Here’s one of my favorite songs that my wife and I wrote for Disney.
‘It Just Doesn’t Seem to Add Up’
My first placements were working in collaboration on a series of featured songs on the Disney Channel’s Adventures in Wonderland TV series.
We wrote and recorded the music, wrote the melodies and the lyrics and then the actors in the show sung the lyrics over our recorded music.
Our writing team (me, my wife and a third partner) came to be known as Partners In Rhyme at that time and we earned an emmy nomination for our work on that show.
We also earned handsome royalties for quite a while (featured songs are just under theme songs in terms of high paying royalties) but I think our employer, Mark Mothersbaugh, earned a whole lot more than we did for each of those songs.
We went on to do music and sound design for a bunch of high profile TV commercials and video games and then went on to start our own music production and distribution company, Partners In Rhyme Inc.Have we really dumbed down to the point where even period music has to have a beat?
Nothing at all to do with having a beat. Tons of music we sell doesn’t have a beat. I’m just speaking from actual data from our site.
Straight classical guitar performances don’t sell well unless you produce it up a bit, add strings, make it big and interesting.It is also a matter of quantity. There are a million versions out there of these public domain classical pieces because the person creating it does not actually have to write any music, so competition for the few clients who need something like that is high.
A solo classical guitar is usually not the instrumentation of choice to set the tone for a period piece. For example if a producer needs a recording of Greensleeves they would probably go for more of a medieval instrumentation rather than a classical guitar.
I suspect that most of the music the OP is considering recording was written at least a few hundred years before the classical guitar was invented.There is no money in classical guitar library music. Trust me on this.
I will second that.