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AS also have different rates for different usages.
I would keep everything as a 50/50 split, however if you think you have spent a much greater time on producing the master recording then put a monetary figure on that. You then ask for that figure to be paid to you from any master synch licences before the split comes into play.
In our end of the business we follow trends, we don’t create them. That’s just common sense, it’s not blatantly copying something. Our marketplace dictates that. What he is saying in the vid is nothing new and has been the state of play for decades.
My theory on U2 and Coldplay is that it’s very safe, non-offensive music, that was originally popular, when today’s corporate decision makers were in their teens and twenties. That was their favorite music. I think they key is safe and non-offensive music that appeals to a very wide demographic.
Spot on, The Edge has been doing that dotted 8th thing for 35 years now! It has crossed a whole generation, what he did for the guitar Coldplay did for the piano arpeggio LOL. It is very safe music for a type of client who thinks its pretty radical, cutting edge and current. Even if your clients “hate” rock music U2 and Coldplay would be an exception in their minds.
he even admits it himself.
@woodsdenis Do you not see READ FULL here.
You guys love to fight over simple things. It is right there with a link to the full article. Its call an “excerpt” post.
“Quotation marks(“) are used to enclose words that are quoted from the original source, or to set off dialog from narrative. They always come in pairs—open quotation marks and close quotation marks—which in most typefaces (albeit not this one) are typographically distinct. We’ll help sort this all out, and show you how to quote things “properly.””
read full here
http://www.wikihow.com/Use-Quotation-Marks-Correctly
See what I did there , makes it easier doesn’t it. You and I know its an “excerpt” post because, wait for it, it has quotes around it.
Wether you like it or not it has been a standard convention in grammar for as long as I remember.BTW It is not a fight , I am simply correcting you. Don’t change the issue or point of my post. You may choose to continue on in error, at least now you know that you are doing so. Crediting original work correctly, is very important.
@bigg rome .The text in your post is copied from the article, it should be clear that it is, and the source credited. It comes across as your original writing, which it isn’t .
@ handy pandy . One thing you should learn is that professionals don’t take anonymous personal potshots at other pros or their music. Grow up.
To be blunt, there is no good or bad library music, only library music that sells or doesn’t. Ultimately that is the business we are in, or at least I am. Do I take pride and effort in what I do, of course, but that doesn’t pay my mortgage.
AS is by far my best earner.
Just started using 64 bit versions of Studio One and Live, Only recently have all the plugins I use been updated . I going to try live without VEPro for a while and see how it goes, it was essential for a 32 bit world as it hosted all my Kontakt instances in a 64 bit server when the DAW was 32 bit.
If you open up your template and have a full orchestra at your fingertips, and your FX routing set up, you are going to be able to work quickly. It’s the same no matter what genre you’re working in.That’s how top recording engineers work.
This a vital step, I have a few templates for different things. VEPro is also handy for this. I also use the Waves signature series plugins a lot as they get you 60-90% there very quickly. I also have a few mastering templates too that I can recall setups very quickly. It really is worth spending a day organizing this. Also learn what a compressor and eq actually does, I am lucky enough to be trained in one of the last big studios when a compressor was a large silver box.
Looking back at my workflow and catalogue I average 80-100 cues p.a.
They are submitted by the production company and then edited and added to by each individual actor, artist etc. They basically get their credit information directly from the credits of a movie.
You can login and submit uncredited work as well but it goes under some kind of review.I only realised very recently that I was credited there, all came from production companies, somewhat incomplete though.
@MarkL, Amazing body of very interesting work. Love to hear about that stuff.
Important to note the different requirements in different territories, the EBU requires silence at the beginning and ending of audio for TV commercials. I cannot remember what it is right now, but it is measured in frames ( 25 f.p.s ) over here. Bottom line a 30 sec spot does not have 30 secs of audio, it is in the region of 29.?? secs. They are very strict about it and will reject anything that is over. Worth while checking out before you spend hours doing edits that won’t be right.
I’ve smacked my head against that brick wall a million times. Everyone (except you and Art) sees the word “library” and thinks that it means one thing. It doesn’t. Different business models, different goals, different clients AND different musical requirements.
Too true and even then every RF library has a different selection of clients and styles. There are no absolutes in this business and even attempting to get a “one size fits all” solution is futile.
This thread has great info in it if you can skip the hysterics.
The music industry, like life, is full of surprises and opportunities, you just need to be ready to grasp them when they are there. I have enough experience of both of them to realize that riches in both take time, patience, talent and luck.
One way I’ve recently tried dealing with the no-up-front-pay exclusive problem is as follows:
This is specifically what Richard is talking about, so while the usual revolutionary chatter has its merits, it unfortunately derails what is an interesting proposition. I think its better to listen to the composers on this forum who actually do submit to exclusives, they probably have more of a clue about it, and a better insight.
Personally I don’t submit to exclusives yet, so I cant comment on the merits or not of Richard’s idea.
Edouardo
First of all great track, you really have to look at the license agreement for each sample you use, there is no one answer, they all might be nuanced differently. As far as the cymbal at the end of a track. if you are concerned just add another one underneath it.The example I gave you was Spectrasonics way of dealing with it which is the most sensible IMO, however loop libraries are different and are really trying to stop “composers” just uploading their loops with nothing else there, so I can see their point.