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I feel genre writing, either done by purpose, or falling into it! Becomes more about focusing on control, meaning after awhile you find you do have a better bearing and understanding of who your target audience, publishers, production companies, and potential licensing/sales are who work in it and that becomes who you present it to. So it becomes opposite from say blanketing music styles or waiting on ups/sales to find your tracks. It empowers you to have a specific product which you can drive people to that you know utilize it. And like it or not, you become more of an authority on the genre by working in it. If you love scoring it all the merrier!!
Oh yeah and add me to that poll of full time pro who’s been working ten hour days six days a week in the spare room, lol!
“Before you dis “bedroom” music makers” you might want to do a pole of the full-time pros here to find out how many of us are working in spare rooms.
One of the most high profile, and high earning” cues, that everyone knows, “Mind Heist” (the trailer for Inception) was written and produced in an alcove in an apartment, with Logic and VSL.
You need to get hip to the fact that its a brave new world and very high end music can come out of small home-based spaces.
Never under estimate the competition.”
This is a perfect statement to me, it’s always seemed like a lame sales tactic to undermine the competition implying where it’s created is lesser or inferior thereby discouraging them from producing in general. Sad really.
Hi, interesting topic!
I’m personally looking at RF clearly for what it is as another income stream flowing right with PRO back-end writing, usual suspects, etc. Simply another source that exists to admin existing tracks to. And to my current feeling of the writing game, something to pursue.
I should probably come out and say I feel I’m nearing the end of Composing personally. I’ve grown tired of the game that comes with it, that’s just me! Having been Composing full-time for ten years, between writing direct for shows, exclusive and non-exclusive catalogs, I am now just getting a chance to come up for air, and I’m kinda meh about the game! 🙂
I’m looking at the admin side of the RF market positively and heading there. I found I’ve personally amassed over 6000 finished tracks in ten years of writing that I have not deployed yet to any publishers, and an additional 3500 at last count already in shows, productions, exclusive and non-exclusive catalogs. Sound crazy!? probably yes! but full-time twelve hours a day that long and that’s where I’m sitting! So where does that put a guy like me in the RF mix?
I’m always looking at things positively but I’ve grown personally outright tired of the gate-keepers, the catalog owners who reject 99.9 percent of the non exclusive music offered for back-end and advertise proudly that they do, ummm yet the same companies readily put their entire catalog on display on their websites online, to think some of those rejected Composers might be savvy business people?? and take it on themselves to simply copy the blueprint of music on their respective sites and deliver it to every other catalog out there? hmm?
I’ll see how it goes but I’m looking at RF open minded and open eyes and seeing where it fits in the current business model positively and moving forward.Thanks Art!!!
Appreciate doing this across the boards. My question is def in regards to who has the best upload process, good call. I’m internal with a bunch of companies where I utilize ftp protocol but I’m so on the hunt for organizations that have great streamline services. I really like the workflow of Audiosparx, and I think they are a great example of a good workflow. Would love to find more!! 🙂