1,729 thoughts on “General Questions”

  1. So a question about using Apple loops. I have used the Apple loops included in Logic for parts of quite a few of my tracks. So I went on to Macloops to see what they had to offer, I found this:

    “All of the Apple loops that Macloops offers are free for you to download and use in your music. If you wish to use our apple loops in any type of professional or commercial capacity you must purchase those loops from the original sample source to be licensed. We provide links to the original source of all the loops available on Macloops.”

    I take it that the reason for this is that these loops are from 3rd parties.

    Any thoughts or experience with these?

    Thanks

    • I don’t use Apple Loops or Garage Band. Some libraries do not like them.

      I’m guessing that if you’re going to make money with the product, Apple wants you to pay for a license –plain and simple.

      Cheers,

      Michael

    • Gary

      It looks like that site (Macloops) is a separate commercial entity that sells the Apple loops format, some of which are free. Like any loop library some restrictions may apply.

      The bundled Apple loops library is definitely royalty free without restrictions. Some of those loops have been on Usher and Rhianna tracks.I even heard one of the music tracks on a major telecom commercial here in Ireland.

      • Denis:
        That is what I thought, but wanted to be sure. Yes, I too have heard many Apple loops from Logic on a few different TV shows, and docs.

        Thanks

        • “Some of those loops have been on Usher and Rhianna tracks.”

          I’m surprised. You learn something everyday.

          Michael

            • Thanks for the link Denis.

              I guess I spend too much time hanging out in another forum, where everyone seems to write for film & TV, and Garage Band and Apple Loops get dissed all the time.

              Cheers,

              Michael

              • TBH most of the Logic ones aren’t great and the
                Time strtching algo is not in the same league as Stylus RMX

                • I find them (Apple Loops) very useful in writing World music ( Indian, Middle-Eastern, Latin etc.) and really do not use many of the others.

                  The quality of the loops are very good, but as Denis said time stretching is better with others. Also, if you try to record in 24/48, there is a bit of “phasing” that goes on with them.

                  Still pretty useful for me, and have had no negative comments.

                  • Gary

                    Yep the world ones do have a use, and I have used them. Bearing in mind they are free
                    I am not complaining , I just find the others catagories lacking.

                  • For world loops I use Stylus RMX (check out the new taiko drums from 9volt) and MOTU’s Ethno.
                    The time stretching /syncing with Ethno is pretty good.
                    For world sounds, I use RA, SIlk, SD2, and Gypsy.

  2. What are the back-end royalties for Q3 from.

    Some say they are from a year behind.

    Is this true?

    thx

  3. Do Libraries do something to keep their online music at the same volume? Some of my cues could be a little louder but when I try and push it it gets a big smeared, loses some definition and I like it better but sometimes am concerned about whether the volume wars is alive and well in library music.

  4. I’ve got a cue that reminds me of elevator music. Any particular libraries come to mind? Not my favorite type of music to write but if I can license it, it will become my favorite type real quick.

    • Hi Pat, a particular library doesn’t come to mind but one tip is if it sounds like elevator music to go with that and eq it as if it were being heard in an elevator. Cut all the lows, and highs, give it a real small midrange speaker sound. Then call it Elevator Music Cue One or something like that!

    • LOL Pat, you and I think a little too much alike! AudioSparx has a deal with Muzak and a few other similar music services. I think I’ve seen your name in AS right? If so, go to the knowledge base (“KB” tab under “My AudioSparx”) and search “Muzak” the Artist Communique’ for more info.
      Cheers!

        • No Pat, I think I started with about 10-15. I had a sale in my first week, then nothing for 10 months. I’m hoping my luck will change though (aren’t we all). Read up on them here though. All the great comments about what great people they are to work with a true.

          • Thanks for the input Alan. I wrote this cue. It’s corny but sounds like something you’d hear while waiting in a waiting room to get your tooth pulled. I remember some guys here saying if you really want to make money doing this, it’s a good idea to have some non-exclusives,exclusives and also some Audiosparx kind of stuff out there so maybe I’ll try that as well.

        • Pat,

          You can submit demos directly to Muzak. Don’t bother with sub-publishing through another library if you don’t need to. Nothing against AS, but your first responsibility is to yourself and there’s no point losing cuts through sub-pubbing if it’s not necessary.

          • Thanks Rob! I’m embarrassed that I hadn’t looked into that. I remember when I first started arranging (with pencil and paper!) I would think “I know I could write for Muzak if I only I could get my foot in the door.”

            Well, here’s the door:
            http://www.muzak.com/contact/artist-label

            Anyone out there have any experience or advice regarding direct submissions to Muzak?

            • No worries Alan. It’s hard enough to build up a solid income in this business without unnecessary cuts being taken 😉

              To your question, I have no experience with Muzak though.

            • Yes, I submitted to Muzak last year. I sent them an email asking if it was alright to send music. They said yes so I mailed in a CD. Unfortunately my material was rejected. It took a few months for me to get a response. Give it a shot.

              • Hi Synth player. Thanks.
                I sent an email last night. I’m wondering if they would be most likely exclusive or non-exclusive. I don’t have enough material to not shop while waiting months for a response. Otherwise, I’ll give it a shop

                • I do not think they are a traditional music library. I may be wrong but I think they make their money from blanket fees and single license fees. I think the writer(s) get 100% of the writer’s share and the publisher(s) gets 100% of the publisher’s share from PROs. At least that is the impression that I got.

  5. I have a song recorded that I did in 2 different genres. The original is an Indie rock track with mostly real instruments. I also recorded an electronic/hip hop version of the same song. The instruments are different but the melody and structure are the same. I wanted to see how it sounded the second way. Well, I like the way they both turned out.
    So, my question is, how should I title them? Should the original be xxxxx and the second be a variation, like xxxxx-electronic ver. or should I just treat them as two different songs?
    They would be going into non exclusives.

  6. Recently I was accepted to audiosparx. According to their site, I have 30 days to commit to a list of sale types before they lock it up for good. The only one I’m sure about is that I don’t want to do exclusive yet.

    My question is this: I can read all of the documentation that they provide. I am just curious if anyone here would turn any of these options down. The 30 day limit makes me a little anxious. I don’t want any regrets, if you know what I mean.

    The options are:

    EXCLUSIVE ARTIST – This artist is selling all tracks uploaded here exclusively at the AudioSparx family of sites (enable if true)
    To learn more info about this topic, please read this KB article.

    ENABLE LICENSING ON AUDIOSPARX.COM – Check this box if you wish to sell this artist’s audio content online at AudioSparx.com. For additional details about this, click here (pop-up). By checking this box you agree to the terms of the AudioSparx Vendor Agreement (pop-up).

    ENABLE LICENSING ON STOCKMUSICSITE.COM – Check this box if you wish to sell this artist’s audio content online at StockMusicSite.com. For additional details about this, click here (pop-up). By checking this box you agree to the terms of the Stock Music Site Vendor Agreement (pop-up).

    ENABLE LICENSING ON CUSTOMLABELMUSIC.COM – Check this box if you wish to sell this artist’s audio content online at CustomLabelMusic.com. For additional details about this, click here (pop-up). By checking this box you agree to the terms of the CustomLabelMusic.com Vendor Agreement (pop-up).

    ENABLE SALES VIA EXTERNAL RINGTONE & DIGITAL DOWNLOAD PARTNERS – Check this box if you wish to sell this artist’s audio content as ringtone, ringback and digital download content via external partners of AudioSparx. For additional details about this, click here (pop-up). By checking this box you agree to the terms of the External Digital Distribution Agreement (pop-up). Make sure to NOT participate in this option or any of the sub-options below if your tracks here are already involved in an exclusive digital distribution deal with some other company.

    ENABLE EXPORT VIA COMPILATION ALBUMS – This option allows your music to be selected for inclusion in music compilation albums containing music tracks from multiple different artists. The albums are then distributed for sale as digital downloads at over 300 retail outlets around the world including iTunes, Amazon and many others. The music is only for personal listening by end clients, not for any type of commercial use whatsoever. You earn your standard prorata share of sales revenue for each track or album that is sold at any of the retail outlets.

    ENABLE LICENSING VIA AQUASOFT – This partner sells software to create slideshows. They have a base of several hundred thousand clients. They are developing in-app music licensing for both personal users and commercial users of their software. Much like iTunes, personal license uses will be around $1.00 per track, and commercial royalty-free licenses will be sold at the same rate we charge for the tracks at StockMusicSite.com. Aquasoft may create small bundles of a few tracks to allow clients to easily purchase a few tracks at once. You earn your standard percentage of net revenue for all sales.

    ENABLE LICENSING FOR CONSUMER/RETAIL MUSIC STREAMING SERVICES – Check this box to include this artist’s music in consumer-oriented retail music streaming services which can include music streaming subscriptions, on-demand music streaming over the Internet, mobile devices, radio and TV. Note: This usage is ONLY for personal listening, NOT for business music services to play at business or store facilities. You earn your standard percentage of proportional net revenue based on uses of your tracks.

    ENABLE EXPORT TO CLEAR CHANNEL iHeartRadio – This partner sells on-demand music streaming subscriptions with an option for clients to purchase individual tracks for immediate download in MP3 format. You earn your standard percentage of proportional net revenue based on track usage and your standard percentage of net revenue for digital download sales.

    ENABLE EXPORT TO KIRUSA – This partner sells pay-per-track and subscription services for music for mobile phone clients, and also distributes content for sale as ringtone and ringback content. You earn your standard percentage of proportional net revenue based on track usage (for subscriptions) and your standard percentage of net revenue for per-track, ringtone and ringback purchases.

    ENABLE COMMERCIAL MUSIC SERVICE (CMS) USES – Check this box if you wish to have this artist’s audio content be monetized via commercial background music deals. AudioSparx is engaged with multiple external partners to monetize music for commercial background music uses. This can include in stores, restaurants, hotels, theme parks, on-hold music and all types of commercial facilities needing background music.

    ENABLE EXPORT TO MUZAK, LLC – Muzak is the world’s leading CMS provider
    ENABLE EXPORT TO SUBWAY RESTAURANTS – Subway is the world’s largest restaurant chain
    ENABLE EXPORT TO PLAYNETWORK – Playnetwork is a large CMS provider
    ENABLE EXPORT TO DMX – DMX is a large CMS provider

    ENABLE INTERNET ROYALTIES – Check this box if you wish to have this artist’s audio content monetized when possible to earn Internet royalties. This happens in relation to the use of music by clients in videos which are deployed to various sites around the Internet, including at YouTube and other similar sites. For additional info about this program, click here.

    • Paul:
      I am on Audiosparx myself. I have opted-in to all of these options, except the last one, and I am non-exclusive with them.

            • I know Crucial has a problem with using Rumblefish, but not sure if any of the non-exclusive have a problem with collecting Internet royalties.

              • JohnTOJ,

                If you read AS’ knowledge base article KB2316, it explains their policy on the internet royalties programme.

                • From what it reads Rob, I don’t qualify for Internet use anyway. It states that one must have an exclusive licensing relationship with AudioSparx, which I don’t.

    • I’ve made two good contacts through FMN. I submit now and then to listings that grab my attention. The people who run it, Mark and Robyn ( ? – my memory fails me), are very helpful and approachable.

  8. Can any of the more knowledgable members help me with understanding what “moral rights” means? As in ‘Writer waives all so-called “moral rights”.’ Any help or feedback is appreciated.

  9. A friend of mine asked me today, if I had any idea home many people are recording at 48Khz or 96Khz. I told him I’d put the question out there.

    So…anyone recording at 48Khz or 96Khz?

    Cheers,

    Michael

    • Most of what I do is 44 or 48. It depends on what I am using on the track. If it’s software instruments (MIDI) and real instruments I will usually record at 48. But if I am using loops of any sort I record at 44 because the loops can get a bit phasey at 48. I only recorded at 96 one time when I did an all acoustic guitar track, and to be honest with you I could not tell the difference…

      Gary

    • I record everything at 44, and I bounce out a 48 aif or wave file since most libraries want 48/16. That might not be the best thing to do, but I’ve had a ton of placements and several commercials and never received a complaint. And, to be honest, I can’t tell the difference either way.

      In fact, now that I think about it, I have had several network and cable placements that used Mp3’s. So I don’t think its that big a deal what you record at as long as its at least 44/16. At least in the production music world.

    • I work in 48/24 when recording.
      Also, I bounce all midi tracks in project to 24/48 audio wavs (trying to use 24bit libs – esp. orchestral ones).
      Then mix them all creating an additional project (in Pro-Tools actualy).
      I think the 48/24 quality can be heard primaly on live instruments or vocals – where the capturing process is essential.

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