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For example, I pretty much stopped using pick-up notes to the melody. It is almost always on beat one or after.
Yup, screaming at screen “why did I do that !!!!”
I have never done a 30 sec edit from scratch ever, 99% I do from the master and occasionally I recut the original session. I do have Alt full length like Bed, DnB, No drums etc that sometimes get used but rarely again. Crossfading is a key here to make edit better, 2/4 bars work sometimes as does taking out bars.
99% of my tracks are to click at a contact tempo, I always leave a gap at the start that is a relevant musical measure , whole note, half note depending on the tempo. I import the master track into a fresh session and set the tempo the same and then set the track to usually 2.4.4 so it is actually starting at 3.1.0.If you then set your snap to 1 bar its very quick to audition a drag whole sections into a new track to make up edits.This in Cubase but all DAWS have something similar. What is great in Cubase and Protools is the you can set a timeline ruler in seconds to start anywhere, so at bar 3 it 00 seconds, very easy to see your timings.
Hope this helps.
Interesting enough how some members say they use a same bed track but change a melody around a little and use that as another track.
I have repurposed tracks a few times ONLY for non exclusives and the resulting track would be very different from the original, a EDM version of rock track for example. I always call them by the same name with an addendum like Redux or similar.This makes sense if a popular track works musically in a different genre (most don’t) and someone may seek more than an Alt track.
In general it makes no sense as its quicker to start from scratch, as well as the legal and ethical minefield if you did this with exclusives. As LA writer said you build up reputations with these libraries and something like this would flush that down the toilet.
Bad idea.
Just to be clear, IMO of course, my choice to spend 10’s of thousands of $$$ on analog gear is it’s the impact on the person CHOOSING the music and on my connection with what I’m writing – not what you can discern under dialog and SFX. You could produce on your iPhone if you judge it under those conditions.
Not debating your choice at all, if it makes you feel and sound better go for it, I have a different perspective on priorities thats all. Sorry back on topic as this is a sideline.
I will clear one thing up as I know Zack (the composer) and his dad Lou Hemsey. Lou is not only a composer but a mastering engineer and he mastered “Mind Heist”. Lou uses analog gear when mastering so he takes the mix outside the box before rendering the final.
Fair enough, good info. Point being that analog mixing/tape recording is not the holy grail of sound for library music especially when the need to turn around cues for TV is concerned. It is simply impractical for making fast recalls etc. Also in our world ” not the Hans Zimmer one” where music is buried under dialogue and has gone through various stages of broadcast compression would anyone be able to tell wether a mix had gone through any kind of analog chain. If composers want to go that route I don’t have any issue with that but I would suggest in terms of priority it should be well down the list. To clear up any possible confusion I think Mind Heist is brilliant. As usual YMMV
– your music has to be not ITB produced. Not all samples, not all plugins, not mixed ITB with no “real gear”, microphones, outboard, consoles, etc. attached to it.
Not wishing to get into a debate about this and go off topic BUT “Mind Heist” probably the most successful trailer/library music of the last decade was done “in the box”. I am of an age where we mixed on SSL etc you can have terrible sounding music on either platform, IMHO of course.
I can only speak for Ireland but I assume other PROs do the same. Any unclaimed royalties are put into a pool and after 3 years are paid out to the Irish PRO members pro rata.You can search for unpaid tracks in the Irish PRO. Can you do the same with Ascap/Bmi if you are not a member ? I am nearly sure PRS members can do this in the PRS data base
“Hail Mary” bars for us old timers (bars of 2/4) LOL. Also depending on territory some TV station require slightly less than 30 sec so audio doesn’t line up when played together.
Similar situation here, upgraded from PT and obviously PT 10 won’t open on new Mac system. However in going through 30 sec edits from Masters I have yet to be defeated in making edits in Cubase.
Crossfading is your friend !
By straight forward I mean signing to Universal/Emi/Warner publishing etc as a songwriter. Its then their job, hopefully to place you with other writers as well as exploring your catalogue. Usually these deals work in the recording artist sphere. Of course these deals are exclusive and would cover your entire catalogue for a set amount of time.
I think spreading tracks around all spheres is a good idea, as far as RF goes check around this site and see which ones people go for, cant mention them here as its for forum members only but you can see them in the library reviews section.
Hi Amanda and welcome,
I live in Dublin so double welcome !!! The question you asked would fill a novels worth of answers , there are so many variables. However for songs with lyrics and non exclusive, Crucial Music is a good place to start. When you get into Exclusives then its a different ball game. You may be better trying to pursue a straight forward publishing deal in some cases. Most non ex (but not all ) cater for an underscore web/TV market where the inclusion of lyrics could be a distraction.
Not always. Not in 2012 when they entered all of their composer’s music into rumblefish without the composer’s permission or consent and then refused to remove all of the false copyright claims appearing on our client’s youtube videos.
Mark is correct , initially they put all your tracks in.
I think that stems from when Crucial was involved with Rumblefish ? They are not now, Mark, I am sure will clarify.
Art, what would you do with the sites that prohibit AdRev.