BTW I’m an iLok fan!
Haha….good for you
Only joking about the ilok really If you read all of the Soundfix post…i think that’s one of the most amusing posts in the last couple of years along with Dollar and Jeremy of course…imo, Mat’s pics really made me chuckle
Personally i hate the whole dongle thing, i’d rather be restricted to the use of one computer which is ok for me as most of the stuff i do is in my own studio. It’s a bit off topic but i think the waves copy protection system is really good as it gives you options, it also gives you the option to add your licenses on your own usb stick, thats the way to go for me I’m sure you already know that though…just putting it out there.
ILok is crap, I never pass up an opportunity to badmouth ILok and Pace. If your ILok breaks, they want to charge you double the cost of a new one to replace it and transfer your licenses, what a scam!
Fun fact, there are really only 24 major and minor keys (one minor and one major for each key on the piano), but if you build keys on the cycle of fourths and fifths (and take into account C Major and A minor), you end up with 30 keys, why? Because some of them are redundant, and have enharmonic equivalents. C-Flat Major for example – most people would just call that B Major, and indeed, The 5 accidentals in B Major are easier to keep track of than the 7 accidentals in C-Flat major, but the notes in each key are identical. Likewise, most people will take D-Flat major over C-Sharp Major, again we have 5 accidentals vs 7.
The thing I’ve always wondered about though, and what keeps me up at night is F-Sharp vs G-Flat. Same exact number of accidentals – one is sharp and one is flat – but is either key redundant? Does it matter? Anyway take away the six major/minor keys that are enharmonic equivalents and you get 30-6=24. Magic!
All that being said, I tend not to think about keys too much and just focus on melody, harmony, and intervals – the key only really comes into play when I go to notate my music, and usually I end up having to pick the “closest” key and add some accidentals here and there. I don’t think you even need to stick to a key to have a commercial or successful sounding track.
Yes, it usually sounds a bit weird to me when violins aren’t panned left and cello isn’t panned slightly right. I think most problems occur when trying to blend different libraries, because most often it will not sound like your strings are sitting in the same space. Your cello sounds much more exposed and in a different room than your violins. Yes, you can address this a bit with reverb, but I think best practice is just to avoid blending libraries, whenever possible. Blending different choirs of the orchestra sure, but strings…the room or concert hall they are played in just effects the timber and characteristics too much. For me, +1 to Spitfire stuff, because it’s all recorded in the same hall, so the solo strings blend very well with the Sable and Mural strings.
I Used to spend massive amounts of time mixing Vienna strings with different reverbs and pannings to try and get a realistic sound, but for me, an orchestra recorded in a nice hall with baked-in reverb will always sound more convincing. One day I got the feedback from Audio Jungle about my strings sounding “dated,” and I realized it was time to move on.
Now of course, we are strictly speaking about realistic strings. I don’t think strings necessarily need to sound realistic, and indeed, in 99% of Audio Jungle tracks they probably don’t sound realistic at all, but since your composition predominantly features strings, they are exposed and need to sound ultra-convincing.
Personally, I find the whole “realism” thing a bit chuckle-inducing when it comes something like orchestral strings and stock music. Sometimes the only way to make an orchestra sound convincing is through use of dynamics – or at least by not over-compressing your mix – but we all know dynamics and stock music are natural enemies. mix.
Not trying to sound pretentious, but I used to go to a lot of open mic nights and I’d get pretty inspired by everyone playing G-C-D chords and thinking, “I can do better than that.” Listening to music and thinking “I can do better than that,” can really inspire you in the opposite way that hearing a beautiful piece of music and thinking, “I’ll probably never make something as good as that” can.
Ah yes, the old loop-and-poop.
The size of the portfolio is most crucial. With three tunes, I’m afraid I won’t make big sales, unless you get lucky and one of the tunes manages to become trending the moment it’s published and stays trending for a long time. Otherwise you will lose search visibility in a few weeks. Only way I’ve managed to get to 600 sales has been to constantly keep building up the portfolio, diversifying the genre carpet and using different titles / tags to make sure I’ll keep up with as many search results as possible. Other tactic is to try and get lucky with single items, but it is all the time harder because there’s just too many good tunes here.
+1 for the hardest working Panda in the music business.
Sounds like traditional house clap and snare sounds? Like 808’s and 909’s? Those sounds are fairly ubiquitous, there are a few companies trying to make money from sampling/modeling vintage drum machines(Arturia Spark for example) but generally speaking, that stuff is out there for free.
This site seems pretty legitimate – just a collection of free VST’s/plugins – and they even provide links to the original websites – so I think you are a good to go.
Also, EULA sounds like typical sample library-boiler plate.
That’s some pretty fast composing.
Old thread, but seeing as how the stock music world (and Audio Jungle itself) has changed quite a bit in the past few years, it’s probably worth revisiting.
Personally, I think it depends on if you are driving traffic, and where you are driving traffic to. You can drive traffic to this site or another stock music site, and probably end up with comparable sales, considering the library of this (and every other stock music site) is getting to be quite large, unless you already have traction at one place or another, you are probably going to be generating a good portion of sales yourself. I’m not saying being an exclusive author here hasn’t worked out fantastically for a few people, or can’t work out great for you, but for me personally, I think it’s better to spread my stuff around.
I went non-exclusive awhile back, and I don’t know if I’ve necessarily benefited financially from it (still an experiment in progress) but I will say it does feel good to not be bound to one place, and to retain the right to do whatever you want with your music. Also, it’s no longer a big deal when Audio Jungle rejects your track, because you just throw it up on 5 or 6 other marketplaces.
I think it’s also worth noting that from a financial perspective, it’s probably better for Audio Jungle if you are non-exclusive, because they retain a higher percentage of your sales, but of course, that gets balanced out by exclusive authors driving traffic to this site only.
One also has to think about the advantages and disadvantages of marketplaces in general. The obvious advantage is that they expose your music to potential customers, but again, as marketplaces grow the potential for your music to get lost in the shuffle also grows. If you do quite a bit of marketing/promotion yourself, and know how to build a website, it’s not all that difficult to license your music directly as well as through 3rd party marketplaces, and being non-exclusive is obviously a huge advantage there.
I still consider Audio Jungle to be “my main” marketplace, as it’s still were I mostly sell music (and of course the community is the best) but as paradigms shift, one should not be afraid of constantly reevaluating the state of stock music and one’s place in it.