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Hi
Your music is very good, stay clear of long intros like in Splinter IMO.
However here is the cruncher, no matter how good your music is or how I like to or not, the real question is how licensable is it?
There is certainly a market for this type of music I don’t think the RF model would be best suited. An exclusive library perhaps and even better if you had an album of similar material with edits etc might get you in the door.Done on VSL I think.
Great post ML and Happy Holidays to all.
I think Crucial accept much less instrumentals than songs to their catalogue.
Chuck Open the NI Service Centre, it will tell you if there is an update for Kontakt , you can then download and install it from there. The latest one is Kontakt_5_541U. All NI stuff (Service Centre/Kontakt 5 standalone etc) is in the Native Instruments folder in Applications.
Michael is right about opening the standalone first, one of those things you learn about NI along the way.
I downloaded the Mac version it to check it out, but it crashes every time I try to launch it… Anyone else have that happen?
Works here Blind 10.9.5.
If you are on a Mac highlight file, right click and use compress in the menu. This is the native Mac zipping utility and I have never had an issue with it.
http://www.kvraudio.com/forum/viewtopic.php?f=43&t=425407
Probably the best source
these new flags are coming up because either someone is being a crook or someone has added my music to a project (podcast etc) and then registered the project with content ID.
I get you, that is a real pain. When libraries have done this to me a brief concise note pointing them to the TOS on the Google Content ID page has been sufficient.
As a composer I have been hit a couple of times by so called reputable companies putting my non ex music in content id, thankfully alerted by a very diligent library owner and sorted it out quickly. At this point I submit to literally a handful of RF sites because of this.
I do not see RF sites going exclusive at all, no composer is going to commit unless it can be shown that the particular library can boost their income to the level that makes it attractive. I think after the initial rush of new libraries in the late noughties, the realisation has hit new library owners that it isn’t that easy to survive. There are far too many RF libraries to service the demand at this point surely. Realistically the ones that are on top now are the ones that we will survive in the future.
The game changing idea initially was using the internet to browse music, download and license easily, as opposed to the tedious method of using CDs from from one of the majors. Also to tap into the huge amount of music that was being created outside of the traditional music studio environment. That model has been refined now, it works for those libs who were in it initially, I can’t see any of them going exclusive soon. As long as they continue I can’t see an exclusive RF model succeeding.
Looks good, a Mac version should be a priority as a large
portion of music creators and administrators use Macs now.Its working in the sense that it picks up cues daily, wether its picking up all airings IDK.
Good list DI
Orange Tree Samples are fantastic, in the medium well known bracket
Actually there a distinct difference I think in approach, playing a rehearsed piece of music with all the intracacies that involves, would undoubtably fire up your synapses, where as just sitting and playing whatever comes into your head and getting lost in the music, is more of the opposite. A brain massage. I tend to do more of the latter. Composing is something different again.