I’m really excited about this contest and I started working on a composition today. However, most of the examples for the type of trailer music that is needed is very epic in nature. Is it okay to write a more cinematic yet sentimental or adventurous style of trailer and still be qualified for the contest?
Yes, the trailer music does not necessarily have to be epic (that is simply more common), but it should be composed for trailers in that it has a nice dramatic arc and structure to it that works well for this type of cinematic production. In other words, a simple underscore is not likely to stand out. All of the trailer music for this contest will be judged together, by the community.
See that’s what I was thinking as well BladeEmpireRecords.. Submitted for review, or submitted for the contest?
Eligibility is based on the date your item is submitted to the marketplace. If you are soft rejected and resubmit, we go by the date of the final submission that leads to approval.
So as long as you submit your item to the marketplace by the end date of the contest, you’re good to go! We usually wait a week or so after it closes to make sure all files have been processed through the queue.
Music2Sync saidAnd I’m afraid there’s another over here.
TimMcMorris saidGlad I wasn’t the only one thinking this!
these prices are not fair to authors vs the type of use.
Hey guys, I understand pricing is a sensitive topic, and may not be quite what everyone was expecting or hoping for.
We arrived at these prices after a great deal of market analysis, community feedback, and internal review. As with the licenses themselves, it is always a challenge in striking the right balance, and bringing real value to both authors and buyers alike.
It’s important to keep in mind that as a high volume, non-exclusive stock music licensing platform, AudioJungle is unlikely to have the same type of rates that bespoke music or custom licensed material may see for similar uses. This focus on value, volume, and accessibility (along with the talent and quality the authors and music of course) is a big part of what has made AudioJungle such a success, and we believe we’ll see that continue here.
That all being said, as you know we are always actively monitoring and looking at how to best optimize pricing across all of the marketplaces, and will be very closely following the roll-out of the new music licensing with this in mind as well.
Any problem if i out my item in this catgory – Music-
>Cinematic-> Dramatic, Action, Adventure and not this one AudioJungle > Music > Cinematic ?
If that is a problem how do I change it?Tnx.
Yes, “Music > Cinematic” includes all its subcategories as well, so that’s are exactly where you should be uploading this type of music. Sorry if that was not clear, I’ve added a note on it in the announcement.
My only thing is the standard license gives to much usage rights, maybe less than 1 million broadcast viewers or no broadcast at all, although local tv stations buy a lot from here and I know their budgets are tiny.
Well it will be interesting to see how the buying patterns play out. I wish the standard license wasn’t so encompassing, but I also realize that if we raise prices too much we’ll lose a significant amount of customers.
In our initial feedback with both authors and buyers, making sure we continue to take care of the “little guys” was an important point that came up on both sides of the conversation. Remembering that not all broadcast projects are popular national TV campaigns, we feel that including some limited broadcast usage in the base license to cover smaller broadcast projects will ultimately benefit the community, both in accessibility and in earnings.
Moving on to the broadcast licenses. A lot of countries in Europe have less than or around 10 million population which makes their national TVs always fall under the 3rd tier license. They would never have to buy the 4th tier license for national broadcasts. Moreover, the standard license (1 million audience) would probably cover their smaller local TVs! I don’t know if you guys thought about that when you came up with these numbers.
A suggestion, replace audience size with a system based on territory. Break things up into local/national/worldwide. This would work well for non-internet related broadcast use. It’s like audience size but not dependant on the number of people that view it, just potential numbers. This feels a bit more concrete to me if I were someone looking to purchase music for this sort of broadcast type since I can’t control, or really accurately keep track of, my audience size.
In considering our diverse and ever-growing global marketplace community, we have opted to avoid geographical restrictions for broadcast in our Music Licenses, and move toward something more balanced, universal, and forward looking, that could effectively handle both traditional broadcast as well as the growing number of online broadcast substitutions available.
Different countries around the world of course have different physical sizes, different types of localities and regions, and different populations. A fixed sized geographical area in some parts of the world may only encompass a smaller region, and elsewhere an entire country. With audience size, the licensing is better able to reconcile these market differences between Broadcast for large or metropolitan areas compared to smaller or less populated regions of similar geographical nature (e.g. New York City vs. Omaha, Nebraska, or even Denmark vs. the entire USA for example). Finally, as we continue to see more and more online substitutions for traditional broadcast, geographical boundaries become less and less relevant.
As a general rule of thumb, an audience size up to 1 million tends to be more for local and hyper-targeted broadcasts, 1-10 million is more on the regional-to-national scale, and above 10 million is typical for national and international broadcasts. This of course may vary depending on the specific broadcast location and target market.
With so many factors it’s certainly a challenge to find a happy medium, and we could have easily ended up with a dozen or two different license tiers . In the end we aimed to keep things simple, understandable, and accessible in a way that balanced the growing needs of our author and buyer community.
Looking at the prices, I wonder if the time-length price determination is now going away. Will all of the music tracks on AJ follow this same price structure regardless of track length? Or will the price tiers proportionally decrease depending on track length? Sorry if this is explained somewhere and I just didn’t see it.
Hey PZ, the prices shown in the blog post are just for the $18 tracks (most common). The tier prices are multipliers on the base price, so they will adjust depending on track length as they do now, as well as with Logo & Ident prices, etc.
ToxicRecordings saidyes, one prize per person, that’s why I’m asking. If you won 2 prizes, then you will get the biggest one? Probably stupid question, but I just want to understand all details.
Dexart saidNot sure if i understand you 100%, but if I do Dexart, then i can answer that with that you can only win one prize per person.
Hey, could someone explain me please: if your items get for example 1st and 2nd winning places, which one you win?
Yes, one prize per author, so in your example you would win the 1st place prize, and then 2nd place would go to the next highest scoring track/author.
This is very cool!
Do we have to follow a particular theme? e.g. jungle, space, industrial etcalso, can the Mobile GUI pack and Background asset pack have similar theme? e.g. Mobile space game GUI pack Game asset – space game background
“In order to be eligible for the above prizes, complete Game Kits must include all assets needed to successfully create a full game concept, including sprites, tilesets, user interfaces, and backgrounds (as applicable). We also have prizes for individual game asset types”So, as long as your Game Kit has the same theme for all the elements, that’s fine If you want to upload individual game assets, they will be judged separately to the Game Kits.
Yep, as Kate says a Game Kit should only include assets intended as part of the same theme/game. But the Most Wanted contest itself is open to Game Assets items of any style or genre! Shooters, builders, platformers, puzzlers, sci-fi, fantasy, adventure, casual, kid friendly, retro, and anything else you can think of!