[soundroad]

Hi Paolo, thanks for your comment!

Sure I understand what you’re saying about the quality.
I’m not a newbie in making music, but however I had never the reason to consider myself as excellent. 🙂
I noticed that exclusive libraries often publish collections in particular styles/genres, thats why I came to this question. Thinking this way I just suppose that it would be more convenient for the library to get a bunch of tracks in one genre than very mixed stuff. But maybe it’s just my mistake.

[soundroad]

Hi guys,
I have a similar question about the genre of tracks.

I plan to create about 10 -12 tracks and offer them to the exclusive libraries.
My main genres – pop/soft-rock (indie, alternative, rocktronica, mostly with positive mood), rock (hard-heavy, modern) and acoustic (simple, happy or country-blues).

What do you think, would it be better to do this tracks in one particular genre or in different genres?

[soundroad]

Just take a look at Pond 5’s MoM (Media of the Moment).
Believe me, almost everything from those tracks (no matter what quality it may be), being sold a lot. One of my tracks periodically gets there. And with $40 it’s still double priced in respect to many competitors! It hurts a bit :(.

I experimented on Productiontrax changing prices from 30 to 80 and back, I can’t tell I’ve noticed a difference in overall income. Same on P5, reducing prices from 40 to 30, gave me absolutely no sales increase.
I noticed one thing, if the sales go down they just go down and basta.
It doesn’t metter what kind of manipulation I do with the prices.
Sure it’s just my personal experience.

[soundroad]

Since the start of this topic, subscription fee was changed to $99 for a year :).

Before I came to PT (version 6), I worked with Cakewalk, Cubase, Nuendo, Logic, Samplitude. I would probably stay on Logic cause I loved it, but I’m on Windows.
Since upgrade to PT 11, I’m absolutely happy with it! It’s much more stable and less CPU hungry in respect to PT10. Some projects that I can’t even play in PT 10, run with 40-50 % CPU in PT 11 on the same computer. You can try trial version before upgrade. Avid made some very unfriendly movements for the last year, but the last 12.3 update looks very promising and timesaving. I tried S1 and Reaper, but was disappointed with interface. Sure it’s very individual impression. I think, Logic can be good alternative to PT.

[soundroad]

Hi adigold,
thanks for the info.
Sometimes Avast goes crazy.:(

[soundroad]

Avast says – “the site is infected”.

[soundroad]

Just bought it. 26.4 GB – about 8 hours of downloading for my internet speed…
I’m absolutely not orchestral guy, but sometimes I do simple christmas tracks or need some strings parts for pop-rock. The orchestral patches from Structure sounds too thin for me and most special orchestral libraries are too expensive. I find it’s a good deal, hope it will fit my needs.

[soundroad]

My Tunesat (free) account shows me much more detections in compare to that I was paid from PRS. Some tracks Tunesat has detected I’ve never seen in PRS statements. Do somebody know if PRS will accept the Tunesat records?
Thanks!

[soundroad]

Yes, sometimes it’s not easy to do the short versions because of the tempo and chord progressions. I don’t cut them from the full tracks, I do it in my DAW project. There you have more flexibility to edit the length of different parts of the track.

[soundroad]

Hi MichaelL,

thanks for your advice!

Something tells me that my DMCA notices for the monsters like YT or iTunes will be like a mosquito bite to an elephant:).

[soundroad]

Dear colleagues,
I have not expected that my question will come to such hot discussion.
Thank to all of you for your comments. I think we have a lot of useful information in this thread even if the main discussion went away from my question. 🙂

My question was “How to stop the systematic violator of copyright?”
So the right answer – lawsuit. Technically it sounds for me like “no chance” at least if you’re not a very rich guy…
It’s very difficult for me to communicate in English, so maybe my question was not quite clear.
The main problem for me is not that the guy who stole my music, put it in the Content ID. The problem is that companies who take music on the distribution does not check its purity! They all “are more than protected with their legal documentation.”
Last year one company (IndMusic) signed a contract with the thief, I have achieved a stop the illegal distribution. This year, another company (the Orchard) has signed a contract with the thief, I have a problem again.
Once I solved this problem, how many companies still remain? … 10? … 100? And every company can sign a contract for stolen music, and not be responsible for it. YouTube can put stolen music in the CID, and not be responsible for it. They all can behave arrogant, do not reply to my letters, for them it is not a problem, they are not guilty of anything, they are rich guys.
Preparation of claim letter from a lawyer is worth $ 700. And it does not solve anything, it’s just the beginning of your expenses if you want to protect your rights legally. And to whom you will send a letter of claim, if the thief use the pseudonym and you do not know who he is? Hire a private detective?

[soundroad]

Soundroad, it is difficult to get past the first line of defense with Orchard. PM me here on MLR and I will send you direct email addresses for the contacts that work for me.

Hi Mark, thanks for your suggestion!
Unfortunately I don’t know how to send you a private message.
I found six of Mark in the list of participants of the forum, but none of them are labeled as just “Mark”.

[soundroad]

So far I’ve tried to contact the thief thru the comments to one of his YT video – he just removed it.
I’ve sent an email to The Orchard Music – no answer.
I’ve sent 5 (!) emails to copyright@youtube – no answer.
It seems like I try to communicate with robots :-(.

[soundroad]

Despite the fact that I accidentally found at least one video with my music with almost 1.5 million views, I do not enter into the content ID to avoid creating problems for libraries. But as it turned out, this does not solve the problem!
Story with violator of my rights has been going on for almost a year. The situation in which I found myself, showed me that I’m completely unprotected.
Why, if the buyer receives a claim, the library turned to me with a request to solve the problem? Money from the sale we share 50/50, but I have to solve the problem alone. So far it looks as a very imperfect system.

[soundroad]

Yes Mark, you’re right. I really hope for improvement of actual system.
Currently honest buyers spend time dealing with claims that are coming from scams. I spend days in searching the truth. And the thief gets the money. Something needs to be changed, right?

[Author]

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