Posts by nahkaorava

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nahkaorava
says

Hi,

Because of the drop of sales that I’ve been experiencing lately, I’ve been toying with the idea of going non-exclusive. If I go non-exclusive and later decide to switch back exclusive, will I regain my old author rate or do I start again from the bottom?

And if I make it over a threshold while being non-exclusive, will that count when if I decide to back to exclusive?

172 posts
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nahkaorava
says

I wish one day Envato would start accepting PRO registered music. That’s the biggest issue ATM. But I guess it’s not gonna happen.

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nahkaorava
says

I think never ever big company should grant such access. This is not fair to independent SFX authors.

I am on the side of the indepentd authors, but still: When has business ever been fair? It all about making money. And that applies to Envato, too.

172 posts
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nahkaorava
says


This could a be stupid question, but is there a way to download a document that shows my actually earnings? I want to have a document that shows what I’ve actually earnt after all these fees subtracted.

Not yet, but they are working on it.

Read this post from Collis: http://audiojungle.net/forums/thread/more-on-financial-tools-and-vat/161572

Cool, that’s some good news! Thanks MusiDale! :)

172 posts
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nahkaorava
says

The new monthly invoice is about the “fee’ you “owe” Envato. The same logic applies there. The amount you see is your actual earnings plus the author fee, which together constitute your gross earnings.

So, under “sales” is your gross earnings, under rate is the percentage of your author fee, and under “amount” is the author fee you “owe” Envato. When you subtract “amount” to “sales” you should come up with your actual earnings.

Hope it helps :)

EDIT: Raquel beat me to it!

This could a be stupid question, but is there a way to download a document that shows my actually earnings? I want to have a document that shows what I’ve actually earnt after all these fees subtracted.

172 posts
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nahkaorava
says


And this is where I’ve been getting stuck. My RF musical output is very low (probably because I’m not a ‘professional composer’, coming from a Dance music background and have a limited musical knowledge – so it takes me a very long time compared to other composers to get things sounding ‘right’) yet when I do make tracks, I prefer to create specifically for the RF market, as this is best suited for the music I create.
Wow, considering your background, I must say that your productions sound fantastic!

My thoughts exactly! Maybe it’s time to AlumoAudio submits his material to some bigger libraries. :)

172 posts
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nahkaorava
says


I know its tempting to see where our work ends up but using Tunesat to track AJ tunes sounds like torture mate.. I use it for my PRO stuff but thats it.. Until AJ step it up ignorance is bliss :)

Haha, tell me about it! I’ve done pretty well until now not to log in and check TuneSat for the very reasons you mentioned..

But when one is receiving messages and comments daily from YouTube users on my videos saying “it’s that song from so and so commercial” and ‘I heard this last night on so and so show” I cracked and had a little peep. Bad idea! It basically resulted in a knee jerk reaction from me to be honest. That’ll teach me! :bashfulcute:

Matt,

may I ask if you are signed with PRO at all? I have no knowledge of these things, but maybe it’s something you should consider doing with your future tracks. :)

172 posts
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nahkaorava
says

Yes I’m with a pro from another country than my home country. Had no problems. This might not be the best choice for everybody, but it was for me. It depends a bit on where you are located, where your majority of placements will be etc as moneyflow between some countries can be very slow.

Okay, thanks for the info! That’s something to consider!

One more thing. I thought that if I removed my tracks from here, re-titled them and then registered under PRO, I assume then my AJ-customers wouldn’t be approached by my PRO?

172 posts
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nahkaorava
says


PRO systems haven’t really been able to offer much more than “everything under PRO control or nothing under PRO control” type of solutions.
This simply is not true for all PRO`s. I`ve said it before and I say it again. Don`t always go with your national PRO. Shop around and choose the one that best fits your needs. Some PRO┬┤s are really bad choices for library writers, and other have solutions that work great for library music.

Musidale, may I ask if you’re are member of your non-national PRO and how your experiences have been? Have you had any difficulties?

I also agree with Michikawa. “everything under PRO control or nothing under PRO control”, that’s very well put.

That is really what we have in Finland. Joining my national PRO seems like a bad deal. If I would join them, all the music I’ve written would automatically be monitored by them. This means that if I joined my national PRO, i could no longer submit tracks here. Of course I want my “real” music be registered under a PRO, but I don’t necessarily need to register all the library music I have here, for example. It really stinks to choose between these two.

Do other PRO’s let you decide which of your tracks are under their “control”?

172 posts
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nahkaorava
says

Thank you all for your replies and input, I am investigating this matter. Already called my national PRO, they asked me to e-mail there specialist on this thing.

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