USB 3.0 is…pretty fast! compared to SATA III, it’s only like a gigabit slower (about 5 Gbits/sec or 600+megabytes-per-second). Either way, your 7200 hard drive is probably going to have a max read speed of around 1 gigabit/second (around 120 megabytes), so that’s going to be your bottleneck.
No, but I don’t think it’s terribly important. I have pretty good pitch and interval recognition, and I can usually transpose music with a bit of effort. I think maybe it’s more important to have a good library of sounds in your head. For instance, if someone were to play f and a-flat, I’d probably think of the beginning of clair de lune and either my hands would know what those two notes were or my brain would. Or if someone played e f e f e f I’d think of Jaws and know those notes…so I guess you can say I have a lot of built-in reference pitches. Perfect pitch is probably a really good asset to have if you want to be something like a virtuoso violin player, but as far as composition gos, I think it’s pretty far down the list of useful skills. Interval recognition is probably far more important, just being able to sit down at a piano and write or improvise music – perfect pitch doesn’t really help any of this. For awhile when I was younger I would try to build up my pitch recognition with online pitch-training sites, but after awhile I realized it’s probably far better to just listen to and transpose as much music as you can, because music isn’t just a series of individual pitches, it’s how those pitches harmonize and work together, and the space in between.
I know we have gone over this before on previous posts, but it seems to me based on what I see on TV, Media, and hear with today’s music that people are using 8-bit music more and more. Retro music seems all the rage now. I think opening up this genre as a submittable one would be a nice addition. This is one of my favorite genres of music as I am a avid retro video game nerd if you will. I guess my question is why would these tracks not be deemed sellable for today’s projects?
Just seems like one of those things where Envato would have to bend the rules on the”sample library quality” issue and it would open up a whole new can of worms in regards to people complaining about rejected tracks. I can see it now, “Hey, that track got approved with a crappy chiptune bass, but my track got rejected!” I agree there is probably a market for it – especially considering all the retro games being made these days – but at the end of the day, the sound is so different (and to a degree standardized) from anything sold on AudioJungle now, I’d be quite surprised to ever see it happen.
Yup I got your point. Same thing happened here. I knew for sure my latest track would never end up here but… You can never know! Loved your track man, I don’t know if it was intentional but it kind of reminds me of Beck.
I think also it’s the fact that when you have worked on something for 10-20 hours and it gets rejected, it’s hard not too get at least a little emotional about it, but time heals all wounds. Anyway, interesting thread!
You know, for all the complaining people do about rejected tracks, going through my rejected tracks I realize two things. 1. Most of those rejections were fair and I’m glad they didn’t get approved. 2. I have far more approvals then rejections.
Maybe I wouldn’t feel this way if I uploaded more, because I’d likely have a lot more rejections, but there it is. Anywhere, I’d like to share a track I uploaded knowing that there was almost no chance of it getting approved, because it’s not really AudioJungle material, but sometimes you have to say what the hell and attempt it anyway.
I think the problem will always be infinite supply vs finite demand. Because of globalization, we now have a near infinite supply of things like music, limited only by the number of people on the planet who are willing to make it. It used to be there were gatekeepers, entities, and companies you needed to get by, or you needed to have really strong connections, in order to get your music heard. Since the internet, we now have a more level playing field, but at the same time, by letting everyone play on the field, we have a grossly overcrowded field. It doesn’t matter how good you are at what you do, or how good your product is, promotion now matters more than anything, I repeat, promotion now matters more than anything. You have to be able to somehow distinguish yourself from the sea of white noise. However, we now have a situation where the majority of people realize they need to promote themselves, and we are all drowning in a sea of self-promotion, so even there, it is difficult to distinguish one’s self. Music promotion is really, really hard. It’s really, really difficult to get anyone to willingly listen to your music. Even if it’s good, most people simply don’t have time to listen to your music. One could make the argument that popular and successful music is only popular and successful because someone has paid massive amounts of dollars to promote it and make it so. Fortunately, a stock music site is quite a bit different, as you already have a built in audience of customers willing to listen to and buy music. I think here it’s really going to come down to how much traction you can pull and get from the site itself. Naturally, the best way to do that is to write good tracks and have some nice sales numbers, so that you have some kind of presence on this site. Everyone on this site will not be able to achieve such a presence, as is the case with everything in life, there’s only room for a few truly successful people, but I think there’s room here for varying degrees of success. The market is ever only going to be able to consume a finite amount of product, well conversely, the pool of product is increasing daily. The fact that you are making tracks everyday shows that you have the commitment it takes to be successful on this site.
Audio Jungle: at least a third of your uploaded tracks will get rejected, and at least a third of the tracks that do get accepted likely wont ever sell. In other words, it’s pretty easy to get discouraged here, only the stubborn survive. The important thing is not to take things too personally. Sometimes stuff that should get approved doesn’t and vice versa, after all, we are all human. As far as feedback gos, it’s very rare you will ever get more than standard boilerplate critique, which is why the Facebook group is so invaluable. People on there aren’t afraid to tell you what the problems are with your tracks. most people only like to hear positive feedback, but people in that group will hear things that you don’t hear and tell you about it, and if you have 3 people telling you the same thing…well, they are probably right. Unfortunately, a lot of the posts that get through on there seem to be, “Hey, check out my new track on AudioJungle,” so I can see where Mihai_Sorohan is coming from. I’m not sure what people are trying to accomplish by promoting and spamming their tracks to other Audio Jungle authors.
Interesting stuff to be sure, and the grandfather of the modern synthesizer, but seems like a lot of work! Technically, all you really need to produce a pitch is some kind of waveform like the ones drawn here that you iterate through so-many-times-a-second. Computers are really good for this, analog synthesizers and oscillators too, but to hand-draw or cut these waveforms…eesh, not sure how you’d make it work without putting a lot of work into it. You could just have a roll of sine waves (or triangle or sawtooth or whatever) that you spin on a wheel and adjust the speed of the wheel to produce higher or lower pitches, but I’m not sure how you would automate/compose with that. Convert that information to voltages and you have sound. It feels like what they are doing is quite the opposite – having the wheel or whatever mechanism spin at a constant speed and spacing their waveforms out to create lower pitches and scrunching them in to create higher pitches…which would be a hell of a lot of work.