What I do is keep track of what I’ve made in stock music sales over the last couple of years I’ve been doing it and actually estimate (at today’s rate of sales) what I would earn per song on average over a period of 3 years. Then I divide that by the amount of hours I believe it took me to create each song. I use that as my hourly rate, and multiply that by the amount of hours I think it will take to do the freelance work.
This is kind of complicated, but it gives me some assurance that I’m not losing money by doing freelance. One mistake I made early on was to charge too little in the hopes of being competitive, but the problem with that is that I felt rushed in the studio, or even a bit self resentful because I knew that I could be creating a royalty free track with that time and making more from it. I would rather lose a freelance bid than feel like I’m doing sub-par work in order to make money from it.
Obviously if your motivation includes building up your list of clients you might have reason to charge a little bit less at first, but don’t lowball too much.
For me it was and remains music first – I have very few connections. Really I’ve just uploaded songs and relied on sites like AJ to market them. I don’t recommend this strategy but I have very limited time to devote to music, unfortunately.
The connections I do have are mostly VideoHive collaborators. A couple of key VideoHive collaborations have probably been the single best boost to my sales on AudioJungle.
I would imagine that most top authors would stress taking advantage of popular social media tools, maintain a web site showcasing the music, make videos on YouTube, Vimeo, etc. I have no doubt that if I had the time to do any of these things I could increase my sales that way as well
Is it only me, or everybody on audiojungle (and on other royalty free music markets) are using the same chords to make to ultimate corporate-positive-motivational music?
It’s C-G-Am-F everywhere I go…
The same piano arpeggios with coldplay-like drums and the same delayed U2 guitars…So boring
That’s 33% more chord than a lot of blues bands I’ve heard
@fxprosound – Thanks for the ideas! I did check the grounding and the XLRs, but I’ll take another look at the interface to see if something’s awry – maybe this mic is particularly sensitive or something.
What do you suppose LDC mics eat for dinner? If it’s high quality vocal performances, I’m probably starving the poor thing
Hey, that’s pretty interesting! I’ll give that a try before sending it in. Something like moisture buildup could be a symptom of letting it sit in a case for a while, especially as the temperature has changed from summer/autumn to winter.
Thanks! Who knows – that might save me some postage and a couple of months without the mic
Just an update – apparently the warranty period for a 214 is 3 years – not bad! I’m going to just send it in and see what happens (if I can dig up the receipt…).
Though I’d still love to hear if anybody’s run into this problem and has any advice on fixing or preventing it.
Thought I’d ping the general population about a distressing mic problem I’m having to see if anyone has run into the issue.
I’ve got an AKG 214 LDC that is relatively new (less than 2 years old but past warranty period, of course). I haven’t used it much, probably less than 10 times, because I’m using another mic as my main vocal mic, and also I haven’t done much in the way of vocals recently.
I always keep the 214 in its case unless I’m using it, and it had been sitting in the case unused for several months before I pulled it out this weekend to lay down a vocal track. Right away I noticed a problem – this should be a relatively quiet mic but there was quite audible hiss this time, and as I sang into it it would occasionally make this weird whooshing noise like a big bird flying by. Also handling it even gently causes some crackle. The few past occasions I’ve used the mic I never had these problems.
I did all the various tests (tried on 3 different preamps and cables, and also switched out other mics on the same pres), and everything points to the 214 as the source of the problem. I guess my questions are:
1. Is there any known problem with a mic sitting dormant for any length of time? I know you have to be careful with placement of ribbon mics but never heard anything about condensers.
2. Any idea what might be causing it, and how to address it? It’s possible that the connectors are at fault based on the handling crackle, but they look clean to me.
3. Can you think of anything that I may have done to cause damage to an LDC , like switching the phantom power on or off at the wrong time, etc? I try to be careful regarding this and haven’t had a problem with other condensers, but I’m paranoid that if I did cause this and replace the mic down the road, I’ll do the same thing to the new mic. The 214 is relatively spendy but not the end of the world if it’s beyond repair – a U87 would be a whole different story.
That’s a great track and an excellent start!
607 sales x $13 = $7.891×0,7 = $5.523
Actually, if you account for extended license sales (and I think I remember a post from Tim a while back that it was around 20%) it’s actually far greater even than that
My apologies to Tim for continuing the conjecture on his personal income , but his success is the best way to underscore the potential that AudioJungle has for authors that can deliver both with their product and their ability to market themselves.
And also (to pick up on the other aspect of this thread) it certainly lends credence to the “stick mostly to your strengths” and “try to encourage repeat customers” approach. I think experimenting with other genres is healthy (I just got done with a few tracks outside my comfort zone myself), but once you get enough exposure you’re going to get a reputation for a certain type of music, and it’s probably not a good idea to go all New Coke on your devoted customers in an attempt to break into a seemingly more desirable category.