A: I don’t think they ding you for being exclusive/non exclusive. It’s really a choice you make. From my experience, the other stock music sites either don’t move as much product, or they will not accept your if your stuff is on AudioJungle anyway. No one is going to be promoting your music either way, that is up to you. They promote their site. Sometimes they will promote people within the site through featuring and other methods. From a business perspective, It’s BETTER for them if you are non-exclusive, because now they have to pay you less when you sell a track, and really, most of the other stock music sites aren’t much competition for AudioJungle. I am non-exclusive and I feel like I am losing out on money, but I like to upload my tracks to other places, just so I can upload some of my rejected tracks too.
B: I don’t think there is such a FAQ, just ask some people who have been around for years, they will tell you that sometimes review queues are short, sometimes they are long, it really depends on how well they are staffed. The amount of authors/submissions keeps growing at a steady rate, so they need to keep hiring reviewers to match that rate, but they are pretty fickle and selective about who they hire. I’ve seen review queues from 2-10 days, so I would generally expect anything between that at any random time.
No, AudioJungle should not restrict new authors. IMO, they already go to great lengths to restrict tracks. These are the metrics of capitalism and globalism at work, and it can’t be changed, because that is the way the world now works. Hard work is not enough, you now need to work HARDER than everyone else to succeed, but you can’t succeed by knee-capping old and new competition. Yes, there are already lots of tracks and authors, but music is a CONSTANTLY EVOLVING PHENOMENON and you need new tracks and authors to keep up with emerging trends. Probably not too many clients will be buying the same stock music 10 years from now as they are today – probably some will – you need a good mix of new and old, and that applies to both authors and songs.
Technology can sometimes seem like a double edged sword – 50 years ago, 99.9% of us would not be generating any money from music. Now, at least some of us can get a tiny sliver of the pie. The downside is that competition has increased 99.9%, because anyone with a computer can now make music. There will always be a “golden age” when it comes to technology, where early adopters are going to make bookoo bucks because they are ahead of the curb. We are past the “golden age” for Audio Jungle and stock music, but you can’t force a second “golden age” by artificially restricting supply.
Sadly, rejection is par for the course around here. People can tell you that this sounds dated, or that they don’t like the particular way you mixed a certain element, but the truth is nobody will ever know why it was rejected, except for the particular reviewer who rejected it, and will never really know why they rejected it unless you press the issue, so anyone’s guess is as good as anyone else. To me, your track sounds passable. Just try to keep writing and submitting stuff. Some of it will get through, and some of it will get rejected. Sometimes you think stuff that will get rejected gets through and vice versa. It’s all part of the Audiojungle experience.
As far as sample libraries go, yes you will hear a lot of clicking and popping on PLAYBACK because, no matter what, at some point every sample library has to stream/buffer from the hard drive and unless you have a SSD, you are going to hear a lot of crackle crackle with playback at low latencies…unless we are talking about libraries that are small enough to fit into memory. MIXING DOWN/EXPORTING, it shouldn’t be a problem, especially if aren’t using any multi-threaded libraries, because – and I’m only 98% sure on this because I can’t say for sure exactly how every DAW is programmed – but based on what I know about programming and computers, on something with non-essential timing like mixing down or exporting, the DAW should wait for processes to complete. In other words, the DAW should wait for your sample library to buffer-in all those floats and shorts before it moves on to the next sample-buffer, because that just makes programming sense. To program it any other way would be extremely poor, half-assed programming. You’d have to go out of your way and put in extra effort to program it that badly.
I will say that I’ve had some experience with noise and pops when it comes to EFFECTS PLUGINS and TEMPO CHANGES. This is especially apparent with something like ALTIVERB. If you are using a lot of vst processing/effects plugins and have some tempo changes going on, this might be something to look at.
There is some foamy noise (I can only assume it is reverb) coming through after the percussive hits on your track(s) that sound a bit harsh/bit-crushed/lofi. It’s less noticeable in the second track, but still sticks out to me.
They better be making new libraries, with all that money they are raking in. These Unicef libs always seem like a good value.
No one has had the curious experience of having a track sit around for a year and then sell?
In the end I don’t think it matters much. Like you guys say, most people probably filter by popularity and sales. The people who are willing to dig for tracks, I’m not sure it will make much of a difference having to dig through 300 tracks instead of 500 tracks. Maybe it would, who knows. Either way, the market is going to be hugely over-saturated, just based on the number of authors alone. From an author’s perspective, you probably want the most tracks on the site as you can have, because this doesn’t “clutter” your profile, it adds to your footprint. Really, the only way to get noticed is to have a big portfolio; more of your tracks will pop up in more search results and you will get more sales. Having a small portfolio full of your best selling tracks sounds like a good idea, but as an author I think you are really shooting yourself in the foot. Removing or limiting tracks won’t do anything to cull the over-saturation or the competition…everyone will just have less tracks, there will still be the same amount of authors and relative tracks and relative competition. Do most sales come from someone clicking in a search result or from someone perusing your portfolio? I’d bet the former, but I really don’t know.
This has been discussed quite a few times. The short answer is, no one really knows. The long answer is, check the sticky, “General Commercial Viability & Music Acceptance Tips” and if you still aren’t clear on what is required, listen to some approved tracks, and if that confuses you even more, well, what can you do.
Things seem to be a little more focused on the commercial viability aspect these days, as most of the people uploading know how to mix and master a track (like your track).