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I wouldn’t Anglicize it either, Hans Zimmer, A.R.Rahman come to mind.
You do not have permission to view this content.You do not have permission to view this content.You do not have permission to view this content.You do not have permission to view this content.You do not have permission to view this content.PS…@Advice, Great Cartoon!!!
Very good and so true.
@Wildman I am at an age where I used RMS and PPM meters on real desks so I am aware of what they do, as I said in my previous post I miss read the crucial RMS addendum on your post about Production music .
You are of course correct, unfortunately one can’t erase erroneous posts on this forum LOL.
As a matter of interest the BBC still uses PPM as its standard
http://www.bbc.co.uk/guidelines/dq/pdf/tv/tv_delivery_of_programmes_to_worldwide_v1.0-2011.pdf
and the EBU
http://tech.ebu.ch/docs/r/r128.pdf
something different.
Minefield…
Although this is for final mixed broadcast one can run into issues, if a spot is very music orientated with no vo for example. A lot of time transfers are done by video editors who will take your BWAV file and just plonk it on there. The EBU standard is “meant” to combat loud commercials against “normal programming”. Compressed music may actually cause problems as to the “Overall Loudness” issues. It may end up quieter as a result.
Anyway, sorry for hijacking the thread.
One thing I do know is that when a lawyer answers a question, be sure to read exactly what they say or write. Its their job to be precise !! LOL
Production Music/Royalty Free Music
– master around -12dB to max -11dB RMS and you`ll be save
– some libraries prefer louder mixes (always ask)Sorry mea culpa, I missed the RMS bit ( very old school ) even so, a bit overly complicated me thinks. Most DAWS just have digital meters and while RMS is a good measure of loudness I don’t think its relevant today with all the new average loudness/EBU/K metering stuff going on now.
Production Music/Royalty Free Music
– master around -12dB to max -11dB RMS and you`ll be save
– some libraries prefer louder mixes (always ask)I dont really understand what you mean here, delivering music/stems to be mixed for a movie or TV is a different issue and should always be checked with the client but..
If you are talking about Music libraries your 2 track master should be CD standard level. I deliver at peak -0.5 dbfs. If you are talking about dynamic range or the amount of limiting, thats a different, maybe aesthetic issue. I cant see how reducing the level to -11 db rms makes sense? Am I missing something ?
http://www.youtube.com/user/masteringmedia/videos
is a good resource
What I would want is for the library to handle all of the descriptions, tagging, and all other administrative work for each batch of submissions. I don’t think composers like typing up descriptions of their music and entering all those boring tags like “happy” , “Up-beat” , “sad”…Please hire a tagger and describer, let composers focus on writing great music.
This is a good idea or at least have a list of tags that can be checkboxed. Professional taggers and describers will do a more consistent job i think.
I had a cue test mastered at JT’s studio by his ME. It’s very loud, it mostly sounds good but in the end I decided too much was sacrificed for loudness. The test wav is available for anyone to download. http://soundcloud.com/cruciform/prey-for-your-life-fcr I wouldn’t suggest against using them or going that loud, but for me, the trade-off is too great.
Sounds great to me, I dont have the original of course to compare HUGE !!!!
The music business is changing daily, and our corner of it just as quickly. There is no point complaining of what it used to be like, I would regularly get €10-15k commercials gigs in Ireland !!!! That was 25 years ago, if keep pining for that I would go mad.
There seems to be a lot of focus on AJ, and I get the model, what really irks me is the PRO thing. I really don’t see the issue and it seems very unfair especially in the situation where the licensee does not pay a performance royalty.
I’ll repeat, once again, a favorite phrase I came up with years ago.
“Music is business, business is war, war is hell, adapt or die!”
or
Hunter S Thompson
“The music business is a cruel and shallow money
trench, a long plastic hallway where thieves and
pimps run free, and good men die like dogs.
There’s also a negative side.”