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Old 27th June 2018
  #31
the other thing that sucks about this deal... the splits and payouts of profits have to be decided within two weeks after getting a license... And they pay out twice a year.

But how do they know if they are going to be profitable in the first month or even the first 5 months of a 6 month pay period??? The only time you are realistically even going to be able to make any money is at the end of a pay cycle if the company has been able to pay all its bills for the last 6 months.

And they say that getting paid is every unlikely... if you re-read...

Quote:
Because there are unlikely to be Profits for many distributed Final Products due to the high cost of production (e.g. for television),
the irony is this company does not ever pay for any of its own production costs to produce the music for TV or film?!?!!? so how are high production costs going to eat up profits if they aren't the ones paying for production and are merely licensing already produced content?!?!?!?!?!

they are basically saying, "because we are so expensive, there are never going to be any profits so you as the content creators have to pay our salaries and our bills and will most likely never get anything in return".

Then they go on to say

Quote:
the Company will seek to obtain amounts for the Discretionary Profit Pool through negotiations with distribution partners. This may include specific, budgeted line item amounts that will be dedicated entirely to Contributing Artists or specific fees for the Use (as defined below) of a Final Product, whether alone or as part of a larger work. These amounts are likely to vary over time and be subject to the vagaries of arm’s length, free market negotiations.
which please read that a couple of times. they are basically mocking their own content creators.

they are saying since there will never be any profits, we are going to create a "Discretionary Profit Pool". Which is basically a pool of money they can use to pay their friends. This money will come from negotiated blanket deals and will be allocated to content creators at the will and whim of the company. And then they literally say the amounts you will get paid are vague and are as arbitrary as a person's arm length?!?!?! Are you kidding me?

To the OP who said he made $2000 in one year with this company. I guarantee you probably made about $40,000 or $50,000... of which they gave you $2000. And next year with more people in the "pool" your $2000 will drop to $200... and then the year after that it will drop to $20... and so on.
Old 27th June 2018
  #32
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Quote:
Originally Posted by Etch-A-Sketch View Post
the other thing that sucks about this deal...
Within about 30 seconds of reading their contract -- which IMO is a 30 seconds of time wasted, that I'm never getting back -- it became evident that they have a TON of money to pay their attorney(s), and very little to none to pay their composers.

An obvious lose/lose situation IMO.
Old 27th June 2018
  #33
Quote:
Originally Posted by drBill View Post
Within about 30 seconds of reading their contract -- which IMO is a 30 seconds of time wasted, that I'm never getting back -- it became evident that they have a TON of money to pay their attorney(s), and very little to none to pay their composers.

An obvious lose/lose situation IMO.
I don’t know man, that agreement does not sound like it was written by any sort of lawyer, it feels more like it was written by some millennial snow flake who read short book about licensing intellectual property for film/tv and decided to have their VC mogul dad help them start this company so they can have a job now that they dropped out of community junior college.
Old 27th June 2018
  #34
Here for the gear
Quote:
Originally Posted by Etch-A-Sketch View Post
figured I'd post some of the interesting stuff from their "agreement" as an FYI.


Man... my laywer would have a field day with this. LOL

Here's one for everyone to ponder... throughout this entire agreement they only ever refer to "profits, if any, ..." They are never giving any of the content creators 50% of any actual licenses or gross revenue. They only give 50% OF THE PROFIT, after any and all company expenses have been deducted... which is complete [email protected]#$. They didn't make the content, they didn't have to pay for the equipment and the musicians to create the music. all they are doing is creating a portal through which to share your music and then they are going to "try" and license it for you.

With companies that split licensing, they do just that, they split the licensing, not the profits.

who is to say how much the company's operating costs are? The content creators don't get a say in that. If Gordon and the other execs are taking high 6 figure or 7 figure salaries at some point, that is part of the operating costs... so tough to the content creators, all of your licensing goes to pay their salaries... if there is anything left, THEN and only then do you get HALF of it (not even all of it!) So not only is this company taking all of your money to pay themselves... when there is excess money left over, they take an additional 50% for themselves and you are left with the remaining 50%.

Let me give you a cost' breakdown of how this works... A license for TV and film is around $1000.

Let's say they get 1 license a day for the next 180 days... that is $180,000. Yay! The company has 22 full time staff in the Los Angeles area. 22 staff with an average salary $50,000 (that is say $25,000 for entry level employees and over $100,000 for President and other execs). That is $1.1 Mil a year... or $525,000 every 180 days. then you have an office space to house 22 people, which will cost anywhere from $10k to $20k a month in LA... so lets say $15k. So that is an additional $90,000 for six months. Then you have server and hosting costs, internet costs, etc which can all add up to about $5000~$10,000 per month. so let's say $8000. That is $48,000 in 6 months.

Total rough overhead for the company in a 6 month period is probably around $663,000. How much licensing is needed to pay for all that? That's about 3 or 4 licenses a day... probably more because they will probably license stuff waaaay below market value because they think they can "gain credits" by doing so. So it will take them 10 licenses a day or more just to stay afloat... all the while you, as the content creator making the stuff they are licensing... gets $0.

Now... once they do pass the $633,000 in six months mark revenue wise... THEN profit starts kicking in. So if they make $700,000 in a six month period... then there is $67,000 in profit... wahooo!!! Oh wait, the company then takes half of that too!... so there is $33,500 in the "profit pool" to then be split between the thousands (or 10's of thousands) of people who's intellectual property just earned $700,000 in revenue....

and then the company decides how much your share of the 50% should be. You can contest it but there is nothing binding the company to listen to you instead of listening to someone else. And in the comments for the intellectual property, anyone can comment on what they think the splits should be, not just the interested parties. So someone could come along and say your contribution isn't valuable and the company can decide to go with that instead of your claims. So maybe you are Aloe Blacc and you write the song "Wake Me Up" and post it up on the site. A DJ named Avicci comes along and just adds a house kick drum to your song and puts a filter sweep across it in one point... that is it. But now because some idiot in the forum says they feel the kick drum really makes the song, you are deemed to only get 10% of the 50% profit while Avicci gets the other 40% because, hey, someone in the forum said the kick drum really makes the song and the committee at the company saw that and agreed with it... so the fact that you wrote the lyrics, melody, chord progression, tracked all the instruments and sung on it yourself means nothing to them... congrats on your 10%!

And then you can't even get paid until each piece of intellectual property has accrued $500 in payouts... and even then the company can decide to delay your payment for up to a year.

Wow. that sounds like a great deal to me!

To each their own, definitely enter at your own risk. I don't care who is associated with it or how much they have been paid off by a VC firm to be the spokesperson for the company... the devil is in the details. And the details for this company do not look that good.

And just as a final note... people get very emotional and very aggressive when it comes to percentage splits of intellectual property they have created. It has even created some of the most deadly feuds in the music business (Tupac and Biggie hated each other because they couldn't agree on splits for a song they wrote together... they actually started shooting at each other over the mixing console in the control room. True story). And now some arbitrary company is going to tell you how much your creative vision is worth AFTER THE FACT?!?!? That is messed up. just my opinion.

Ok that kick drum/filter % statement is not true. Also not the way it plays out. They ask the producer of every project how the percentage pie should be shared out first. And it works by what artist consumed the larger % from instrumentation/vocals. Then the % boils down to who did the least. That's how they come up with the % pie for each track. Then they post the proposal and give people a chance to say if they think it’s fair. It's actually very straight forward. I have done it before....I was the main producer of a track and they emailed me an excel file to give my opinion and then there was an open debate on if people thought it was fair.

“ The percentage is not distributed by who they think is the best. It was by time consumtion in a track.”

All the other stuff you are talking is not concerning to people like me. For me it’s a matter of uploading my music to soundcloud were no 1 will ever hear it or join something like Hitrecord and maybe get some money for my music and people actually do listen to each other’s stuff. Like I said before if you’re a pro I don’t think the place is for you. It's more for artist doodlers like myself I guess. I don't make music professionally. I wouldn't imagine Drake would join because of obvious reasons. But the rapper M.C After Shave and Guitar Bob down the street and myself still like to make music and instead of being a Needle in a haystack on Soundcloud we can join a welcoming community and maybe even get a few bucks out of it.

Also I wonder if any 1 has a problem with websites like Myspace, Soundcloud or Youtube for the sake of hosting your music. Unless your name is Justin Bieber you are uploading your music to thin air. AND NEVER will be played. In fact you need a following = to Justin to generate a profit from Youtube. I was able to get close to $2000 out of Hitrecord. I am a NO 1 on Youtube and Soundcloud. I posted my music on both and YEAH Who the F is going to look for it and with that said WHO will pay me for it??? So yeah if you’re a Pro "Do your thing" I think you guys are right if you are connected in sync licensing or got some other solid way of generating money from music GO FOR IT. But if ya didn't know 99.9% of us don't make money from music. Plus 99.9% upload are **** to Soundcloud and Youtube and the only people that know it's online are friends and family…. MAYBE….. Also what money are these other websites offering? Hitrecord is the only 1 saying that they even have an opportunity for that.

Yeah I know you can use Soundcloud and Youtube to help promote your music and if it takes off then you can use your following as leverage. Good luck with that.

May The Music Money God Be With You.

Last edited by Sillyrobin; 27th June 2018 at 04:13 AM..
Old 27th June 2018
  #35
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Quote:
Originally Posted by Sillyrobin View Post
Ok that kick drum/filter % statement is not true. Also not the way it plays out. They ask the producer of every project how the percentage pie should be shared out first. And it works by what artist consumes the larger percentage from instrumentation/vocals. Then the % boils down to who did the least. That's how they come up with the % pie for each track. Then they post the proposal and give people a chance to say if they think it’s fair.

All the other stuff you are talking about I'm not sure about though. Also not a concern to people that take the whole thing lightly. For me it’s a matter of uploading my music to soundcloud were no 1 will ever hear it or join something like Hitrecord and maybe get some money for my music and people actually do listen to each other’s stuff. Like I said before if you’re a pro I don’t think the place is for you. It's more for artist doodlers like myself I guess. I don't make music professionally. I wouldn't imagine Drake would join because of obvious reasons. But (M.C After Shave) and myself still like to make music and instead of being a Needle in a haystack on soundcloud we can join a welcoming community and maybe even get a few bucks out of it.
Is there a link to your music i can check out?
Old 27th June 2018
  #36
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Quote:
Originally Posted by Etch-A-Sketch View Post
I don’t know man, that agreement does not sound like it was written by any sort of lawyer, it feels more like it was written by some millennial snow flake who read short book about licensing intellectual property for film/tv and decided to have their VC mogul dad help them start this company so they can have a job now that they dropped out of community junior college.
haha!!! You're probably right.
Old 27th June 2018
  #37
Here for the gear
Quote:
Originally Posted by JohnFulford View Post
Is there a link to your music i can check out?
Sure

HITRECORD

YouTube

Real Life Silly Robin | Free Listening on SoundCloud
Old 27th June 2018
  #38
Quote:
Originally Posted by Sillyrobin View Post
Like I said before if you’re a pro I don’t think the place is for you. It's more for artist doodlers like myself I guess. I don't make music professionally.
It’s all good my man. Thanks for sharing your story.

Doodle away!
Old 27th June 2018
  #39
Gear Maniac
 

Quote:
Music sounds pretty good to me.
Old 28th June 2018
  #40
Here for the gear
Quote:
Originally Posted by oscarproducer View Post
Music sounds pretty good to me.
Thank you ! Really appreciate the kind words!
Old 28th June 2018
  #41
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Is that you rapping?! Forget about JGL you should be working with JCF. I'll pay you upfront. Great music!!
Old 28th June 2018
  #42
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Originally Posted by JohnFulford View Post
Is that you rapping?! Forget about JGL you should be working with JCF. I'll pay you upfront. Great music!!
lol Thanks Bud. And yes that's me rapping.
Old 15th July 2018
  #43
Random Video

Old 15th July 2018
  #44
Gear Head
 

Hey, thanks for that DI.

I really must sign up for this. The dude is gonna tell me how I can make hundreds of $$$ a month from stock music. Plus, I can find out the secrets of how to put stuff on Pond5. OK, so there's a bit of a joining fee but looks well worth it and one of the testimonials gave it 9/10 so it must be really good.

Think I'll go for the value pack cos that gets me 2+ hours of videos, 6 song critiques, 2x30 min coaching sessions and best of all, lifetime email advice!

'The Stock Music Alliance'

$129 - Just the basics.
$299 - value pack

Hurry! The class closes in under 5 days.
Old 16th July 2018
  #45
Old 16th July 2018
  #46
Gear Head
 

Quote:
Originally Posted by JohnFulford View Post
Really enjoyed listening to that. You speak alot of sense! (and don't charge for it).
Old 17th July 2018
  #47
Quote:
Originally Posted by JohnFulford View Post
John, thank you for your Podcast. This was hands down some of the best advice I have heard regarding music licensing. I got a good deal of info out of this one. I definitely have some things about music licensing that I need to reconsider.
Old 17th July 2018
  #48
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Quote:
Originally Posted by JohnFulford View Post
Hi John!

Thanks for the podcast. Interesting perspectives, and while I agree with a lot of your thoughts, I can't agree across the board. I think there are many ways to "skin the proverbial cat" and make a good living, so to speak.

1. I agree with you on the "full time vs. part time" thoughts.

2. re: your "non-exclusive" thoughts vs. exclusive placements. I'm about 50/50 with you on this. I used to believe as you believe. I've pretty much turned a 180 at this point. I have many friends breaking the 6 figure barrier with me that would disagree with you as well.

As of this point in time, I'm keeping my copyrights as much as I can (i.e. staying Non-Exclusive) because I believe the industry is going to change radically in the near future. Putting my music in a A list library that's firmly entrenched in the past is NOT where I want my music unless they are paying me well over $1k + musician costs as a buyout in advance.

In your viewpoint - as best I can tell (not trying to put words in your mouth), you're pointing towards a paradigm of the past, and I'm hedging towards the future. Both are legitimate viewpoints IMO. At this point, it's pretty tough to live off of advances (at least in the way I'm accustomed to living), and the whole streaming issues for back end scares the living crap out of me as more and more of my shows are ending up on Netflix, Amazon, Hulu, etc. -- which are paying about 1-2% of what they paid on cable/network. The "back end royalties are that backbone of your income" paradigm that we've based our business's on over the last 20 years is closing out IMO.

While I don't believe in putting my music in 15 non-ex libraries, but I DO believe in being selective and holding the copyright and master rights to hedge my opportunities in the future - and utilizing micro-sync's instead of advances and back end possibilities to put bread on the table - today - as BMI/ASCAP, etc. royalties soften up. I've tripled to quadrupled my BMI placements over the last 5-8 years, only to see minimal growth in my PRO 'back-end" royalties. Of course, BMI is dodging any responsibility in the matters..... A harbinger IMO.

Oh, and BTW, calling all music that's NON-Exclusively placed as "s h i t" (to quote you) is offensive and cheapens your credibility. I can see how it may be shaking things up in a traditional business paradigm such as the one you espouse, but the artistic value of music is not defined by how much it sells for or how it's placed. My best remains unused most of the time, while stuff that I wrote for $$ that was done quick and dirty gets used all the time. Go ahead and call the bottom feeding what it is, but don't insult those working hard to make the best music they can.

And, yeah, along with you I abhor the 9.99 per month subscription music plans. Just when we thought the industry couldn't stoop any lower.....

3. On your "you can't write everything" thoughts. I'd agree on "theoretical" principal, but disagree in common practice. Again, they way you delivered it was kind of a put down bro. I have music in at least 20-25 radially different styles out there making me money every day. I get it that you come from a more pop/contemporary "song" type perspective. But as a serious composer, I am willing to take on almost anything that comes my way - as long as I have the time and money it takes. It's what I trained for decades ago. I'll stay away from certain ethnic musics that are microtonal, and musics that fall to the extreme fringes, but all the traditional stuff? Sure - I'd give it a go. I understand most modern (and vintage - cause I lived thru a lot of it with older mentors) production techniques, and if I don't - the internet is a great educator. I'd be willing to take on any of it given the motivation, time and money. (Oh, and the available talent, which is really the key to getting great stuff if you're not super comfortable in the wheelhouse you're writing.) IMO, having a wide diversification is the key to longevity. That is unless your game plan is to score large right now, and invest in index funds for your long term viability.

4. Interesting thoughts on "foreign" songs. Something I'm not too interested in, but I get it. There's no doubt that there is a lack of songs, with a large upscale for growth.

Cheers,

bp

PS - this is not to be argumentative, but instead, to offer what I believe is a valid - yet contradictory - perspective.

PPS - as perspective, I'm making my living primarily in writing music for libraries, and a bit of custom writing. 100% music. And living very well, thank you. I can pick and choose what I want to do - or not do, and take vacations when I choose.

Old 18th July 2018
  #49
Gear Head
 

very informative episode john...if i may ask, how much do you pay upfront? and is it excl (perp)? (PM if needed) thanks
Old 18th July 2018
  #50
Gear Head
 

Quote:
Originally Posted by Jeff Hayat View Post
Do I have a signed contract in my hand that stipulates this, and that also says that the music will not be used for anything else, before I submit anything?
Of course not SillyJeff
Old 19th July 2018
  #51
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Quote:
Originally Posted by drBill View Post
Hi John!



3. On your "you can't write everything" thoughts. I'd agree on "theoretical" principal, but disagree in common practice. Again, they way you delivered it was kind of a put down bro. I have music in at least 20-25 radially different styles out there making me money every day. I get it that you come from a more pop/contemporary "song" type perspective. But as a serious composer, I am willing to take on almost anything that comes my way - as long as I have the time and money it takes. It's what I trained for decades ago. I'll stay away from certain ethnic musics that are microtonal, and musics that fall to the extreme fringes, but all the traditional stuff? Sure - I'd give it a go. I understand most modern (and vintage - cause I lived thru a lot of it with older mentors) production techniques, and if I don't - the internet is a great educator. I'd be willing to take on any of it given the motivation, time and money. (Oh, and the available talent, which is really the key to getting great stuff if you're not super comfortable in the wheelhouse you're writing.) IMO, having a wide diversification is the key to longevity. That is unless your game plan is to score large right now, and invest in index funds for your long term viability.


Composer 1 : "I can do almost anything, I'm willing to give this a go, although I may not be comfortable in this wheelhouse".

Composer 2 : "This is my specialty, I'm a student and a fan of this genre. You came to the right place for this".

Who would you rather hire?
Old 19th July 2018
  #52
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Quote:
Originally Posted by JohnFulford View Post
Composer 1 : "I can do almost anything, I'm willing to give this a go, although I may not be comfortable in this wheelhouse".

Composer 2 : "This is my specialty, I'm a student and a fan of this genre. You came to the right place for this".

Who would you rather hire?

Depends. It could go either way. I'd base it on other productions of theirs that I've heard. I've heard guys in the composer 2 slot who can talk a good game who can't put out. I've heard humble guys in the composer 1 slot who can pretty much do whatever they set their mind to. So....it just depends.

Sounds like you've had bad experiences with composer1's- so I get your bias. That doesn't preclude the real deal composer1's from writing in an amazingly diverse set of styles though.
Old 19th July 2018
  #53
Quote:
Originally Posted by drBill View Post
Depends. It could go either way. I'd base it on other productions of theirs that I've heard. I've heard guys in the composer 2 slot who can talk a good game who can't put out. I've heard humble guys in the composer 1 slot who can pretty much do whatever they set their mind to. So....it just depends.

Sounds like you've had bad experiences with composer1's- so I get your bias. That doesn't preclude the real deal composer1's from writing in an amazingly diverse set of styles though.
I agree.

I don’t know of any music library composer who “eats, sleeps, and $hits” drone or tension cues. People just listen, practice, create, and correct as time goes on.

I grew up on Hip Hop and R&B. Why in the heck would I make drone or tension cues? Because as a music library composer, I learned to expand my repertoire. Even studying a style and creating horrible music in that style has given me a few new tricks to add into stuff I am familiar with and enjoy.

It’s all about gaining knowledge in the end. You get that by doing, and doing, and doing, and failing, and doing again.

Last edited by Desire Inspires; 19th July 2018 at 11:37 AM..
Old 19th July 2018
  #54
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Quote:
Originally Posted by Desire Inspires View Post
Even studying a style and creating horrible music in that style has given me a few new tricks to add into stuff I am familiar with and enjoy.
Funny how that works, eh?
Old 19th July 2018
  #55
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VitaEtMusica's Avatar
 

Quote:
Originally Posted by JohnFulford View Post
Composer 1 : "I can do almost anything, I'm willing to give this a go, although I may not be comfortable in this wheelhouse".

Composer 2 : "This is my specialty, I'm a student and a fan of this genre. You came to the right place for this".

Who would you rather hire?
This has pretty much been said, but...

Composer 1 should be thinking more like a music house and less like a single entity. When asked whether you/your company can do any given style, you say of course we can. Then you employ whoever it takes to get it done right. The problem is when the composer truly believes he is the master of all trades, which no composer is. Yes, a composer can write convincingly in a number of styles, but he/she should also know when it's time to get a team together. With a global team you can call on, one can answer yes to any music request.

I should add that some of my favorite projects have been born of pairing writers with completely different genre strengths. Or even asking writers I know are really good at one style to take a crack at something way outside their wheelhouse. Always makes for really interesting and fresh music.
Old 19th July 2018
  #56
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Quote:
Originally Posted by VitaEtMusica View Post
Or even asking writers I know are really good at one style to take a crack at something way outside their wheelhouse. Always makes for really interesting and fresh music.
Yes! Those are often some of my most favorite projects - often resulting in music that transcends what I might have come up with had I stayed in my favorite genre's.
Old 19th July 2018
  #57
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Quote:
Originally Posted by VitaEtMusica View Post
This has pretty much been said, but...

Composer 1 should be thinking more like a music house and less like a single entity. When asked whether you/your company can do any given style, you say of course we can. Then you employ whoever it takes to get it done right. The problem is when the composer truly believes he is the master of all trades, which no composer is. Yes, a composer can write convincingly in a number of styles, but he/she should also know when it's time to get a team together. With a global team you can call on, one can answer yes to any music request.

I should add that some of my favorite projects have been born of pairing writers with completely different genre strengths. Or even asking writers I know are really good at one style to take a crack at something way outside their wheelhouse. Always makes for really interesting and fresh music.
In that case lemme do one of those "news packages"!

In my podcast I was addressing the single entity music producer that says they can do everything.

For instance right now I'm working on an African House album, I spoke to a couple of "jack of all trades" producers. One mentioned they'll "just go on splice to find some vocals", another expressed hesitation about meeting the deadline and another politely asked for more money so he could hire some buddies..

Instead of dealing with that noise, I spoke to one of my YouTube subscribers in Africa. He already had SEVERAL ALBUMS worth of material in various stages of completion, with authentic and exclusive vocal lines in a variety of local dialects.

That being said, here are some of my releases slated for 2018. If anyone wants to "give it a go" on spec, feel free to send me some music. I'll report back to the forum (with your permission) if i end up buying any tracks.

Berlin Techno (Instrumental or vocal...the vocal better be in German!)
The Trak Kartel - Take No Prisoners (full rap songs)
International Incidents Volume 3 (Chinese, Japanese, KPOP, Arabic, Spanish, French, Russian language songs)
Complextro (Instrumental)
Urban Assault Volume 5 (Instrumental)
4AM Toronto Volume 2 (Instrumental)
Crumb Crunchers Volume 1 (kids music instrumental)
Latin Trap (Spanish rap songs)
Deep House (Instrumental)
Electro (Instrumental)

Also in case I didn't mention...lemme do one of those "news packages"!
Old 20th July 2018
  #58
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Amber's Avatar
 

I used to stay in my arena style wise, but think some of my best and most successful albums are ones I didn't really do before. I just have to be into it.
Old 20th July 2018
  #59
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VitaEtMusica's Avatar
 

Quote:
Originally Posted by JohnFulford View Post
In that case lemme do one of those "news packages"!

In my podcast I was addressing the single entity music producer that says they can do everything.

For instance right now I'm working on an African House album, I spoke to a couple of "jack of all trades" producers. One mentioned they'll "just go on splice to find some vocals", another expressed hesitation about meeting the deadline and another politely asked for more money so he could hire some buddies..

Instead of dealing with that noise, I spoke to one of my YouTube subscribers in Africa. He already had SEVERAL ALBUMS worth of material in various stages of completion, with authentic and exclusive vocal lines in a variety of local dialects.

That being said, here are some of my releases slated for 2018. If anyone wants to "give it a go" on spec, feel free to send me some music. I'll report back to the forum (with your permission) if i end up buying any tracks.

Berlin Techno (Instrumental or vocal...the vocal better be in German!)
The Trak Kartel - Take No Prisoners (full rap songs)
International Incidents Volume 3 (Chinese, Japanese, KPOP, Arabic, Spanish, French, Russian language songs)
Complextro (Instrumental)
Urban Assault Volume 5 (Instrumental)
4AM Toronto Volume 2 (Instrumental)
Crumb Crunchers Volume 1 (kids music instrumental)
Latin Trap (Spanish rap songs)
Deep House (Instrumental)
Electro (Instrumental)

Also in case I didn't mention...lemme do one of those "news packages"!
Let me hear some of your news music. I've certainly done a crapload of news music over the years, but wouldn't consider myself a news music writer. But I'd done enough styles competently to be hired for the job. I've been involved in the making of every style you've got listed there, except I've only had songs sung in German, Spanish, and Portuguese. I don't think I'm great at all of those, but I am very good at dissecting songs, getting sounds, and bringing in help when I need it.

I agree with you, I don't like when guys say they can do something only to find out they are a hack, but that happens plenty even if hip hop is their strong suit and I ask them to do hip hop.

One of our most successful library writers comes from a strictly rock background- a virtuosic guitar player, but his trailers rarely have any guitar in them.

All this being said, things are different now than they used to be. In the "old days" you had to use the guys you knew, typically local, to do all the music that came your way- no matter what the genre. Now you have a world of talent to choose from. But it's pretty rare to find people who can do their genre authentically, AND produce it well, AND be willing to do library music. So, yeah, you end up getting guys doing Bachata who aren't Prince Royce's band, are white, and live in Switzerland, but they can certainly cover the style. I think that covering many styles proficiently is part of being a great musician, writer, and producer.
Old 20th July 2018
  #60
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veks's Avatar
Ubisoft has strange praise of today's youth on Youtube (like: I am throwing my money to the monitor right now). That was probably a joke but the attitude IS that Ubisoft should have more money than it has right now. The better graphics the game has, the more and more they have bugs to fix (and the games are shallower, and shallower). In the end it will be good iff you sucseed to start a game or an app.
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