1,729 thoughts on “General Questions”

  1. Anybody had any dealing with True Talent MGMT.

    Jennifer Yeko supposedly owns the company, but according to a quick google search, the reviews have been kinda shaken of other composer dealings.

    Any thoughts?

  2. Re: using loops and samples is ‘lazy’.

    I decided to be lazy with this one. It’s arranged to brief, not a library track. If someone else comes up with something just like it, good for them. Some things just make it easier with deadlines. And of course, if the production company don’t go for it, I can always bag it, tag it and upload it to JP. 🙂

    http://soundcloud.com/cruciform/redemption-for-the-fallen

    • Really nice work Rob!

      Is the trumpet CB? Just got CB.

      Really like the way the track evolves.

      Cheers Mate,

      Michael

  3. Does anybody know how much a composer is likely to get paid for a UK television sync, channel 4 documentary or drama background music? Iv had an offer from a library that makes some UK TV placements but im finding it very difficult to make my mind up wheather to go exclusive with them with all my new work. I have no experience with exclusive libraries so I cant tell if it will be worth my while putting all my eggs in one basket. Any information would be helpful as Im at a decision making point, wheather to move to exxclusive or stay with non ex libraries.

  4. What do you do when you get a ‘major ad placement’ and the licensing company does not pay you according to their agreement terms for payment?

    • There may be a breach of contract. I do not know, because I haven’t read the contract. There may be some conditional “if and then” clauses, like thresholds, that haven’t been met. In which case, there may not be a breach. You should consult with an attorney.

      However, the measure of damages in a contract case is generally the difference between the contract price (what you’re supposed to be paid) and what you were paid.

      Thus, if you were supposed to be paid $1,000 and you only got $500, the amount of damages is $500. It is often not a question of whether you can afford a lawyer, but whether or not you want to spend a few thousand to recover a few hundred.

      One of the things that this forum does is provide you with an opportunity to inform others of this kind of conduct. You may want to let us know which library you think is not abiding by its contract, as Art did with Audiotrove. That will give them an opportunity to set the record straight and maintain their “goodwill” among composers.

      Good luck,

      Michael

      • Thx everyone.

        I got them to finally do it.

        I am a lucky one…

        I will be giving up names if this happens again though..
        Composers need to stand together against any scam or misuse.

  5. Anybody using Alchemy? Downloaded the demo. I really like it but it’s also pretty expensive when you consider I have Omnisphere that has like 7000 sounds for about $100 more. Alchemy just sounds different in a way I like though but after you buy it you still have to buy sounds for it.

    • Alchemy is great! But Omnisphere is great also. Definitely each one has its own color. I think there are two approaches one faces while buying new gear/samples/VSTs:

      1) The more samples/VSTs u have, the wider colors palette you can choose from.

      2) The less samples/VSTs u have, the more creative you become (and the better you know what you own already).

      Choose which approach suits you best personally, I guess..

      • I aleady have Omnisphere which is nice but I don’t use it as much as I thought I would but the fact that it’s multitimbral is to me one of the best features besides the sound.
        With Alchemy, I want it but my finger seems to freeze on the “$250 plus more for sounds” button. Going through therapy to fix that now so I can press the buy button.

        • Hi Pat,

          The thing with Omnisphere is that it’s really easy to modify the sounds to make them your own.
          Plus, there are so many features that you could spend a lifetime digging into it.

          I highly recommend downloading and watching all of the video tutorials from the Spectrasonics website.

          If you have Stylus RMX, you can groove lock RMX, Trilian and Omnisphere. It’s very cool.

          Cheers,

          Michael

          • I actually have all three though now that the Trilian sounds are in Omnisphere, I don’t use Trilian to save resources. The thing that kind of put me of is the load times not really helping my quick sound search workflow but now I’m thinking about breaking out all those videos and getting back into it. I even bought the MacproVideos tutorials for it as well.
            I might pick up Achemy as well which I think some of Camel Audio’s atmospheric sound packs they sell would work great for sites like Ambient Music Garden.
            Talking about it here has made it all sound kind of new again.

        • Hey Pat,

          Just my 2 cents. I own both and think both are great. Very different sounds. Omnisphere is VERY deep, much more so than I’ve been able to utilize. I’ve been very happy with Alchemy as well and would definitely give two thumbs up to Camel Audio. They are constantly running promotions for sounds, donating proceeds to worthwhile charities, very responsive. Top notch imo.

          Kevin

            • It’s worth adding if you’re a registered Alchemy user, they frequently do special offers and deals on soundpacks.

              The latest guitar mutations and steamworx soundpacks are superb, worth every penny.

  6. I love you all ! ha good conversation, and one which will always come up time and time again in this buisness. for my input I will say, the most important thing is to get that track out… in a place for people to listen to. Quality is important, because everyone knows a catchy song that sounds good over one that doesnt. Quantity is important also as youve got little chance in having a small portfolio getting listened to. A mixture of both, ok quantity and ok quality, middle of the road. Ah I am going all Zen on you, yes, the turtle loses race from speed, the hair makes bad music but the lion how moves steadily creates a solid output.

  7. Most composers are not successful because they do not make enough songs. Quality is not really that important. Just crank out music, upload it, and repeat. It sounds crazy but it works.

    There are a good deal of composers that are making steady incomes solely from music just because they have the persistence to crank out 500 songs/beats/loops/etc a year. This isn’t music that is meant to top the charts. It is meant to be background music for video.

      • I just don’t understand the either/or part of that debate.
        Who doesn’t want to produce as many good tracks as possible?

        • To me, it is not an either/or issue. I know that my songs have a default level of quality based on my experience and the samples that I use. So all I have to do is cook up my beats fast and send them out.

          I am no Danny Elfman, Hans Zimmer, or other big shot composer. If I was at that level or even close, I would not be posting here. I am an Average Joe putting in work to make extra scratch from my ability to make songs. I have the skills to make songs and I am making a little money here and there. Nothing else really matters.

  8. “Definitely Gary. Quality tracks can be produce very quickly using samples, loops, and a DAW.”

    Quality tracks aren’t produced by using samples and loops. Quality tracks are produced by hiring orchestras and great musicians.

    If you use a sample, someone else can use that sample so it’s lazy and of course, you’re not creating bespoke music.

    This is why there will always be room at the top for those wishing to go the extra mile whilst everyone else seemingly strives to crank up Stylus and Omnisphere, knock out a quick ditty, tag it, snag it, bag it and upload it to JP.

    And then complain 2 years later why their music never gets used.

    My motto, do it properly or not at all.

    • “Quality tracks aren’t produced by using samples and loops.”
      really?
      “If you use a sample, someone else can use that sample so it’s lazy…”
      Using samples just lazy? really?
      So if we don’t hire an orchestra we can’t make any quality music?
      Glad I do electronic music for whatever it’s worth. Pretty stuffy on the other side where the only true greatness is. I like JP too.

    • So not true! Evidently you have massive amounts of money to be able to do that.

      Also interesting that you have posted a number of times here under different names but the same IP address with conflicting information.

      • I think he’s full of crap saying basically if you don’t do what he does how he does it, you’re not doing it right and couldn’t possibly be making “quality” music. This guys laughable. Just shows if your attitude stinks no matter how much money you make you can still be a failure.

        • I hear a LOT of Stylus and Omnisphere stuff on TV… plus if you know how to orchestrate you can do some good stuff with Vienna Symphonic or East West.
          I think the clients dont care much about your hardship and your costs creating the music, why would they? If it sounds right to them, the price is right and they need it urgently (and they always need it yesterday!) – they gonna buy it. No matter if you used samples or a whole orchestra.

    • @Roger

      Here’s a reality check —all samples, not a live orchestra — from Thomas Bergersen.

      http://www.virtualinstrumentsmag.com/down/6-7-06/From_Sketch_Score/Mojo_Madness.mp3

      And, check out this thread from Mike Verta. Listen to the mock-ups in his first post, especially the ones where he was speed writing.

      http://vi-control.net/forum/viewtopic.php?t=15017&highlight=&sid=ae1d82efb4b362cf26704942d48e4de8

      Still think that you can’t make quality music with samples?

      It’s the carpenter my friend — not the tools.

      Cheers,

      Michael

      • If he had said samples were capable of producing quality music in only the most capable of hands, I still wouldn’t have agreed but at least I could see his argument but he was completely dismissive. Then added if you use samples you are simply lazy. That’s a pretty broad paint brush.

        • “If you use a sample, someone else can use that sample so it’s lazy and of course, you’re not creating bespoke music.”

          @ Roger, so, if you hire a violinist, and someone else hires the same violinist is that lazy too? Is the music lacking individuality?

          That’s problem with Beethoven and Mahler you know. I can’t tell them apart. They used the same darn instruments. Lazy SOBs!

          Wait didn’t the Stones and the Beatles both use bass, drums and guitar? Lazy unoriginal buggers!

          @Pat read Roger’s post again. He didn’t say that you could create quality music with samples. He was quoting John (the other John’s) reply to Gary, not agreeing with it.

  9. Ulla:
    I so agree, it (technology) has made the composing and recording process so much easier. I’ve come a long way from my Tascam 4-track 10 or 11 years ago!

  10. I have a question for those of you that have been around this part of the business for awhile.

    Do you think that the accessibility to home recording for just about anyone, is causing a glut of product, good and bad out there and making it more difficult to get into libraries, and more difficult to get sales than say a few years ago? And causing more and more selling on the cheap?

    I’d like to know what this was like say 10 years ago. Less or more competitive?

    Looking forward to hearing from some “vets” out there!!

    Thanks
    Gary

    • “Do you think that the accessibility to home recording for just about anyone, is causing a glut of product, good and bad out there and making it more difficult to get into libraries, and more difficult to get sales than say a few years ago?” Gary

      Definitely Gary. Quality tracks can be produce very quickly using samples, loops, and a DAW. 20 years ago I recorded tracks in a pro studio ($85 an hour). I was lucky to add a track once every couple months. Now I produce about 5-6 tracks a week. I just finished a piano solo CD (10 tracks in less than two weeks). In the past signing one track at a time was the norm. Now as many as a thousand tracks are loaded into libraries at a time. I wonder how much quality filtering can be done with that amount of tracks.

      It will be interesting hearing from others.

      • Even in the pro recording industry this is now the norm. Nobody uses SSL studios to record in, unless they need multi mikes or need a the big room. Big name producers have home studios with a high quality recording chain to record vocals. Most records are mixed in the box aswell. The proliferation of the high quality home studio affects all areas of the biz..

    • Interesting discussion! I try to see this in a positive light, I think it really comes down to skill, perseverance and flexibility. I definitly think you got a point there Gary, but after all it does take more than just glueing together some samples. I started making music about 15 years ago with hardware and to be honest… I think its great to have a more portable studio and being able to rely on samples here and there to speed up the creation process 😉

    • “Do you think that the accessibility to home recording for just about anyone, is causing a glut of product, good and bad out there and making it more difficult to get into libraries, and more difficult to get sales than say a few years ago? And causing more and more selling on the cheap?”

      That, and the fact that people are putting the SAME music in 10 different libraries.

      • I think the accessibility of home recording gear is a two edged sword, it removes the barrier to entry for many talented producers but it is also filling the libraries with a ton of sub par material. My experience has been that in an odd way the sub-par material can help you. Buyers look for tracks that have sold in the past and start there, they also look at portfolios of tracks that are produced well to avoid trolling through the muck.

        I live in Nashville -music city USA and think the music business as a whole is going through dramatic changes. On every level, budgets and prices are getting squeezed – I think it is just where things are at today.

        • @Tim:
          I think Napster/ Itunes really did in the record business.
          These days the only deals out there in the media business are licensing deals
          of which some here are a part of. The Digital landscape has yet to be conquered by the
          biggest companies.Technology is moving too fast to see where it all settles but along the way
          some will find ways to make money from their content.

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