Forum Replies Created
-
Posts
-
What CLA does do is to condense the the track count down to 48 at most, then each element goes to the same track with the same inserts on the console, so the bass will always be on track 12 with an 1176 etc, nothing ever changes. This makes his workflow very streamlined, Bob Clearmountain does something similar. The way to duplicate this on a DAW is to have channel templates if possible, or if not, send individual tracks out seperate busses. I have Vox, All Music, Bass, Drums, FX, EFX busses set up in my composing template . It make mixing and overall changes much quicker, it really emulates the way we used to work on large format consoles, but with instant recall ability.
Generally, my mixing technique has evolved to rough mixing as I go. Usually when I need a little break from writing. About 3/4 of a way through I’ll spend a bit more time to tighten it further. By the time I’ve finished writing, the mix is fairly complete. I used to spend way too much time tweaking.
Very similar, its mixing as I go. I do a rough and leave it a day, usually the obvious sticks out then and I adjust. I do have my 2 bus chain setup and I have a sub group template I use all the time in my composing template.
If a client merely downloads the song the day before the 3 year reversion clause takes effect, and it’s the first time any client has shown any interest, irregardless of whether they will eventually use it or not, the song will not revert to me.
You could look look at it like this, if the client does this one day after it will revert back to you. Contracts have to be precise, thats the point. I think a reversion clause, if there is no upfront is reasonable. A time frame of 2-3 years seems reasonable too.
I get occasional cheques from them for session work I did, very small amounts.
That is brilliant, Piano tuners are a breed unto themselves, a dying art possibly.
what stops unscrupulous people from uploading music to Content ID and trying to steal the Youtube royalties this way
As Mark knows, and quite a few of here have found out, libraries who should no better, have uploaded their entire non-ex catalogue, sometimes tens of thousands of tracks, without any consent from the composer, to content id.
The first we hear of it is through someone like Mark, whose clients have legitimately licensed the track from him, and get a “this track is owned by xxxxx library” when put on YT. They, quite understandably get a little annoyed.
One thing to be aware of with stems is sample library licenses and conditions, a drum track stem may contravene that, for example if you are using sample lib loops as the main element. Spectrasonics have conditions about their sounds in isolation too, be careful.
..I should also add that the 4-track in question had most of it’s knobs ripped off and looked like someone had spilled coffee all over it!
Check this out, using a four track cassette live!!!!!
Amazing for free, Don’t know if its worth the proposed asking price of $200 +.
To get back on topic, streaming royalties pay so little because the money is not there yet. Where does the money from all royalties come from? Advertisers!
If its Spotify we are talking about its a subscription based service that generates their revenue.
I am sure I will get shot for this but here we go, if its a cue that doesn’t have a blatantly exposed solo horn or strings piece, use samples, and we are talking about library music here. IF we are talking about a totally orchestral piece, then unless you have the the arranging chops, samples are going to stick out.
Check out Mike Cinesamples youtube channel, he is actually using older libraries for the earlier stuff and gets great results, more than good enough if used as underscore and more. Mike is a top class arranger and orchestrator.
Would it sound better if played by 80 players in Air, definitely, its all down to usage and budget.The income from streaming is to low, no doubt about that. But with all respect, if your songs were listened to 20,000 times from cd it would probably not earn you money to buy any 8dio stuff either.
Kenny, if you had 20,000 plays on Radio in the UK the numbers are below
Anything from £789,200 to £28,400. Ok we all know the arguement that Spotify claims, but the disparity in the figures, even for one smallish territory are astonishing.
per 3 min track
Radio 1,2,3,4 and 5 – £39.46
Capital Radio London GLR – £6.05
GMR (Greater Manchester Radio) – £1.42
BBC TV Network – £226.71
ITV Network – £309.54
I think that anyone who is in favour of a fixed copyright term of 20 years cannot be a composer themselves, it only makes sense if you are using out of copyright material/public domain/trad arr in your own tracks/beats.
However, licenses for “third-party created product,” such as synchronization rights for television and performances at live venues, would exist outside this new blanket license.
Kinda means it excludes us to an extent ?
Providing stems for tracks with exposed loops can be a violation and that goes for some synths as well.
Good point Vlad, Spectrasonics don’t allow this.