I thought that it’s not important to include many cuts as the buyer can make them on their own, but recently, this forum thread given me second thoughts about this:http://audiojungle.net/forums/thread/ferrari-video-10-or-15-seconds-lenght-music/129848
The buyer says there:
I’m not able to do it! i’m a video editor but i’m not good with audio!
I wonder if there is a significant portion of our buyers who also don’t feel like editing the audio themselves and would like to have ready-made cuts exactly matching their applications. If this is the case, I think it might be good idea to include a few additional cuts of the song with lengths matching typical lengths used in TV advertisements, like multiplies of 5 seconds (because TV ads almost always have length of multiplies of 5s like 10, 15, 20 or 30 seconds).
I think I’ll try to make such cuts from some of my songs, and see if I can make really interesting cuts several seconds long from 2min songs.
I remember it was required to use constant bitrate, and in CBR, 128kbits is pretty low – the MP3 encoding losses are easily audible, unless you listen on very cheap equipment. I always upload previews in 160kbits CBR, I think it was somewhere explicitly required when I joined AudioJungle. Maybe the requirements have changed since then.
The fixed version sounds really nice to me Good luck with next project.
I’d like also to suggest one additional method for future mixing that sometimes is helpful for me when it comes to drums timing. I don’t know how can it be done in your DAW, but I record each instrument group to a separate WAV file and then I mix them in multitrack audio editor. There, I can see a waveform of each group and zoom them in. I’ll zoom the tracks near the point of beat and look on the shape of waveform if attack of kick or snare is properly aligned with attack of lead instruments. This way I don’t control the timing only with ear, but also with eye. It’s sometimes hard to head milliseconds of timing error, but it’s easily seen when zoomed in.
It doesn’t mean that I quantize and align all the instruments precisely to the beat, but I control their alignment and I can delay some of them deliberately. But some sounds, like lead instrument or kick, sound very sloppy if they are several ms behind accompaniment instruments. I often put them a bit a head if this sounds good. Also, slow attack instruments can be aligned in time much better if looking at their waveforms instead of looking at MIDI data.
It seems that music packs are waiting in the queue as long as new music tracks. My upload is 50% now after 5 days. I hoped packs go faster because the items have already been accepted but it seems they wait in the same queue. Only editing the item and fixing a soft-rejected item are faster than normal upload.
Composing takes between a few hours and a few months for me. The tracks composed in few hours sell better than the ones composed in few months, but the more difficult ones allow me to develop my skills and also they add some nice quality to the portfolio even if they are not that commercial.
Recording and mastering of composed track almost always takes me a few weeks that adds to composing time. I need to listen to the working mix many times on different equipment in different places, letting the ears rest, and after all major changes in mix and mastering settings I need to listen again, and it takes a lot of time. Whenever I didn’t spent additional few days listening after a change, I have regretted this later, because it turned out that I would change something more and it was too late and the track was already accepted. Of course the track can always be edited later for such fixes, but it’s better to upload it in the ultimate version.
But it would help if the review times were more consistent and you could plan when your upload appears on the new item list. Right now it’s a lottery.
So everybody would aim to get the track published on monday morning, or in the beginning of month, and as a result, at these times the items would get burried on new item list even faster.
New items list is not the way to good sales, quality is.
For sure weekends are a bit worse because of lower total web traffic, but good items can sell on Sundays without problems. My latest track has been accepted on Sunday evening, and it had a sale almost immediately, but it’s really a fast-selling one, so I’ve never been that lucky before.
My best selling track has got 3 ratings when it was close to 20 sales, so don’t worry that yours hasn’t them yet. Good luck!
There’s something deeper that causes this “injustice”. It’s true to all my portfolio actually – the tracks that have taken weeks or months to make, with refined musical themes and arrangement, usually sell much worse than tracks made as a whim, in a few hours or at most 1-2 days.
I keep thinking about the reasons, and I’m starting to find out that it’s not injustice, it’s the way how music and probably other art forms work.
When we make a sophisticated track, we try things that are a challenge to our skills. We try to make our best by trying to do things we think are great, but we haven’t really mastered them yet. It’s necessary for a composer to do such difficult tracks, because this is when we develop our skills. But such tracks, even if they sound good and get some critical applause, don’t sell well usually.
From time to time, I set myself a ridiculous goal to complete a track in a very limited time, a day or a few hours perhaps. Strangely, such tracks are always my bestsellers. You can sort my portfolio by sales and I assure the top tracks are the ones composed in no more than 2 days plus mixing, sometimes even shorter.
There is a reason why it happens. When trying to compose a track quickly and easily, the composer resorts to things he’s most comfortable with. I know which chord progressions and rhytmic structures are sure-fire, I use only instruments easy to program, and I structure the song the way I know that will work. And this way, I’m actually using the best part of my current skills, and without difficulties to worry about, I can let the emotions flow in the music as freely as possible. Without thinking about progressions or rhytms or arrangement, I’m automatically focused on emotions and attitudes.
And emotions and attitudes are the things that make the track sell.