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Audiosparx
Old 28th July 2013
  #31
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This has got me thinking actually. I had an email from them the other day about the Viacom deal and needing members to sign over publishing to them to opt in.

In the email was a list of their biggest buy out tracks. So I had a listen to see what I need to be doing to be on top and the quality was really bad. Awful quality Coldplay Clocks ripoffs etc. I've heard better hold music.

If I was to approach libraries, which do you think are a step up from Audiosparx? Everything I've got on their is old music apart from a couple of tracks I did just to put up there. I don't want to be doing anything else to upload to them if I can get in with a better library.
Old 28th July 2013
  #32
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Quote:
Originally Posted by Amber View Post
This has got me thinking actually. I had an email from them the other day about the Viacom deal and needing members to sign over publishing to them to opt in.

In the email was a list of their biggest buy out tracks. So I had a listen to see what I need to be doing to be on top and the quality was really bad. Awful quality Coldplay Clocks ripoffs etc. I've heard better hold music.

If I was to approach libraries, which do you think are a step up from Audiosparx? Everything I've got on their is old music apart from a couple of tracks I did just to put up there. I don't want to be doing anything else to upload to them if I can get in with a better library.
Try this site for many companies pmamusic.com.
There are 5 or 6 I have dealt with and worked for.
Old 28th July 2013
  #33
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That just seems to be a site that Library Music companies sign up to. Am I missing something?
Old 28th July 2013
  #34
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Quote:
Originally Posted by Amber View Post
That just seems to be a site that Library Music companies sign up to. Am I missing something?
Yes! They are an organization that further the interests of all library companies and sometimes I don't know if that is a good or a bad thing.
You will find the biggest Library Companies there,
Killer Tracks and APM are among the biggest.
Many are exclusive but then that is where the real money is and I have done it for a couple decades.
Right now I have a mix of Non exclusive and a few exclusive deals.
I have music at Audio Sparx and have sold tracks via there download distributors in Europe.I sold more yesterday than those downloads pay and dont have any bigger licenses sold @ Audio Sparx but elsewhere make regular money which means fairly consistent sales.
Me and my partner end up with a couple grand a quarter each.3 Month period and we do this part time.
Old 29th July 2013
  #35
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Quote:
Originally Posted by Amber View Post
This has got me thinking actually. I had an email from them the other day about the Viacom deal and needing members to sign over publishing to them to opt in.

In the email was a list of their biggest buy out tracks. So I had a listen to see what I need to be doing to be on top and the quality was really bad. Awful quality Coldplay Clocks ripoffs etc. I've heard better hold music.
I got that email, too. Funny, they've been complaining about my 60 and 30 second tracks not being long enough for a while, and now in that email, they have a section literally entitled: "Making 30-sec and 60-sec tracks can be rewarding." They seem pretty clueless as of late.

They also say with this Viacom deal that they "by far will provide the largest number of tracks of any competing library" - - I don't know if that's a good thing, and they don't appear to have much rhyme or reason to their work. After reading that email and the recent agreement changes, I just realised what their business model must be like:

They try and get in with big companies like Viacom, offer them gratis licenses on anything they want, then proceed to just take in any track - good or bad - in the hopes that one or two land in the lap of a music supervisor. They accept everything and anything. I think they know how bad some of their music is. A lot of it is totally un-reworked, out-dated and simply bad writing and as you said, a whole lot of coldplay and U2 soundalikes. Most of the deals and buyout licenses they make are famous classical pieces. I've only realised the quality of their library after I got more higher tier, custom library work.

I like having little jingly tunes and beats up on audiosparx though because it doesn't hurt and from time to time you can land pretty neat placements, if you're lucky. You can land a good commercial who pay a small sync but pay good backends.

If there was more quality control and a fairer cut, it wouldn't be that bad. You're allowed to price you're own tracks too, but the thing that annoyed me was that after a track of mine made a couple of placements they would up the sync fee of that track to a ridiculously overpriced level and it wouldn't get another usage for ages and ages. Their business logic just seems desperate and messy.

Sorry for the lengthy post, Amber. I think anyone researching or has any interest in joining them should have as much info and perspective as possible before doing so.
Old 29th July 2013
  #36
You guys. Thanks so much for all this info. I can't believe how incredibly resourceful this community is. Saved me days of rolling around, probably chasing my own tail.

Quote:
Originally Posted by Amber View Post
I prefer to stay anonymous here. Especially as I talk about clients, problems etc. Don't want someone googling me and finding me asking how to do something I've told a client I can do!
Good idea. I can't find a way to change my username here. Is it possible? Maybe I'll just have to re-register.
Old 29th July 2013
  #37
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Quote:
Originally Posted by jazz4 View Post
I got that email, too. Funny, they've been complaining about my 60 and 30 second tracks not being long enough for a while, and now in that email, they have a section literally entitled: "Making 30-sec and 60-sec tracks can be rewarding." They seem pretty clueless as of late.

They also say with this Viacom deal that they "by far will provide the largest number of tracks of any competing library" - - I don't know if that's a good thing, and they don't appear to have much rhyme or reason to their work. After reading that email and the recent agreement changes, I just realised what their business model must be like:

They try and get in with big companies like Viacom, offer them gratis licenses on anything they want, then proceed to just take in any track - good or bad - in the hopes that one or two land in the lap of a music supervisor. They accept everything and anything. I think they know how bad some of their music is. A lot of it is totally un-reworked, out-dated and simply bad writing and as you said, a whole lot of coldplay and U2 soundalikes. Most of the deals and buyout licenses they make are famous classical pieces. I've only realised the quality of their library after I got more higher tier, custom library work.

I like having little jingly tunes and beats up on audiosparx though because it doesn't hurt and from time to time you can land pretty neat placements, if you're lucky. You can land a good commercial who pay a small sync but pay good backends.

If there was more quality control and a fairer cut, it wouldn't be that bad. You're allowed to price you're own tracks too, but the thing that annoyed me was that after a track of mine made a couple of placements they would up the sync fee of that track to a ridiculously overpriced level and it wouldn't get another usage for ages and ages. Their business logic just seems desperate and messy.

Sorry for the lengthy post, Amber. I think anyone researching or has any interest in joining them should have as much info and perspective as possible before doing so.
Appreciate the lengthy post. I'm a fast typer and always seem to have the longest posts.

Think I'm going to try and get in touch with a few of the big libraries. I don't think what I do will work for Jingle Punks however.
Old 29th July 2013
  #38
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Quote:
Originally Posted by jazz4 View Post
I got that email, too. Funny, they've been complaining about my 60 and 30 second tracks not being long enough for a while, and now in that email, they have a section literally entitled: "Making 30-sec and 60-sec tracks can be rewarding." They seem pretty clueless as of late.

They also say with this Viacom deal that they "by far will provide the largest number of tracks of any competing library" - - I don't know if that's a good thing, and they don't appear to have much rhyme or reason to their work. After reading that email and the recent agreement changes, I just realised what their business model must be like:

They try and get in with big companies like Viacom, offer them gratis licenses on anything they want, then proceed to just take in any track - good or bad - in the hopes that one or two land in the lap of a music supervisor. They accept everything and anything. I think they know how bad some of their music is. A lot of it is totally un-reworked, out-dated and simply bad writing and as you said, a whole lot of coldplay and U2 soundalikes. Most of the deals and buyout licenses they make are famous classical pieces. I've only realised the quality of their library after I got more higher tier, custom library work.

I like having little jingly tunes and beats up on audiosparx though because it doesn't hurt and from time to time you can land pretty neat placements, if you're lucky. You can land a good commercial who pay a small sync but pay good backends.

If there was more quality control and a fairer cut, it wouldn't be that bad. You're allowed to price you're own tracks too, but the thing that annoyed me was that after a track of mine made a couple of placements they would up the sync fee of that track to a ridiculously overpriced level and it wouldn't get another usage for ages and ages. Their business logic just seems desperate and messy..
What happens,and I have seen it on my PRO statement from some of these companies is your tracks get used but for very small portions of time and location within a given show unless you get the theme.
Your music is weighted as to Backround,Theme,Song with Lyrics,and paid accordingly from your PRO then usually that means no front end licensing whatsoever.That is where the gratis deal with a whole hard drives worth of mine and your music gets licensed for a set fee which the library owner takes the biggest portion,you would if you were in business,and then from there the editors use the tracks they have chosen for said show and you make backend down the road.
Now when your music gets used on a big show,example,The Voice,Made,MTV Moms,primetime shows etc......
then the backend is pretty good for usage though MTV has a two tiered system.
One for signed artists and one for the rest of us.You know who gets more.....
Your best scenario is to try to work specifically for the production company or bigger libraries that can pay you up front,have the best connections,and have a reasonable contract to sign,with a clause to get your music back if no placements occur within a set period of time.Option there is don't give more music to companies that don't move it,simple.
Old 29th July 2013
  #39
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I should say it was easier said than done,it friggin took years to tell that scenario.
Old 29th July 2013
  #40
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Quote:
Originally Posted by dan p View Post
What happens,and I have seen it on my PRO statement from some of these companies is your tracks get used but for very small portions of time and location within a given show unless you get the theme.
Your music is weighted as to Backround,Theme,Song with Lyrics,and paid accordingly from your PRO then usually that means no front end licensing whatsoever.That is where the gratis deal with a whole hard drives worth of mine and your music gets licensed for a set fee which the library owner takes the biggest portion,you would if you were in business,and then from there the editors use the tracks they have chosen for said show and you make backend down the road.
Now when your music gets used on a big show,example,The Voice,Made,MTV Moms,primetime shows etc......
then the backend is pretty good for usage though MTV has a two tiered system.
One for signed artists and one for the rest of us.You know who gets more.....
Your best scenario is to try to work specifically for the production company or bigger libraries that can pay you up front,have the best connections,and have a reasonable contract to sign,with a clause to get your music back if no placements occur within a set period of time.Option there is don't give more music to companies that don't move it,simple.
Yes, I am aware of how the licensing works and I also do exculsive custom material for other libraries. I have just started working for a production company who make all these reality shows and they recieve sync fees on top of backends which we all split.

I never signed the contract for Pump Audio, they probably have the worst artist percentage cut I've found.

It's the fact that audiosparx accepts almost everything they recieve and don't do a lot with it which is why I branched out. It took me a few years of constant composing and enquiring with other libraries though. You need to have a fairly impressive catalogue to do do exclusive stuff for much higher tier libraries.
Old 31st July 2013
  #41
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neeko's Avatar
Quote:
Originally Posted by jazz4 View Post
[...]It's the fact that audiosparx accepts almost everything they recieve and don't do a lot with it which is why I branched out. It took me a few years of constant composing and enquiring with other libraries though. You need to have a fairly impressive catalogue to do do exclusive stuff for much higher tier libraries.
I got denied recently so I guess they do not accept everything Still looking for THAT library that will prove useful to me. Great thread by the way!
Old 26th August 2013
  #42
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Do you guys file a form SR for every piece of work you submit?
Old 26th August 2013
  #43
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I didn't.
Old 28th August 2013
  #44
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To Jazz 4, You could not be more wrong when you say that we accept everything that comes our way. Every month, several hundred new artists/composers apply to participate here. We sign only a small percentage of them to participate here.

And for the tracks that get uploaded by new and existing composers/artists, we review them and prioritize them based on our assessment of their quality. This prioritization affects a lot of things about how a track will perform, where it is featured (or not), etc.

Unlike PumpAudio, We are completely up to date on our PRO registrations, we don't take 2 years to intake a new artist's content, we are operating five different web sites, we have just closed a major deal with Viacom (the world's 4th largest media company), we operate RadioSparx.com, a commercial background music service that is growing ... it is just not fair to say we are clueless or that we have no rhyme or reason to our work. The facts speak otherwise.

It's a competitive business, and there is also a certain amount of luck involved. We do have artists here making decent money, and its growing, and we do license a substantial amount of music for TV, radio and Internet commercials, and this means a lot of 30 and 60 second spots are sold.

Bottom line is we work VERY hard to try to make things better for the artists and composers that participate here. We are always working on new deals and new development projects.

Regards,

Lee Johnson
[email protected]

Commercial Music for Video, TV, Film and Media from AudioSparx.com
In Store Music, Internet Radio, and Background Music Service for Business
www.musiccult.com
www.facebook.com/audiosparx
Old 28th August 2013
  #45
Here for the gear
 

To Jazz 4, You could not be more wrong when you say that we accept everything that comes our way. Every month, several hundred new artists/composers apply to participate here. We sign only a small percentage of them to participate here.

And for the tracks that get uploaded by new and existing composers/artists, we review them and prioritize them based on our assessment of their quality. This prioritization affects a lot of things about how a track will perform, where it is featured (or not), etc.

Unlike PumpAudio, We are completely up to date on our PRO registrations, we don't take 2 years to intake a new artist's content, we are operating five different web sites, we have just closed a major deal with Viacom (the world's 4th largest media company), we operate RadioSparx.com, a commercial background music service that is growing ... it is just not fair to say we are clueless or that we have no rhyme or reason to our work. The facts speak otherwise.

It's a competitive business, and there is also a certain amount of luck involved. We do have artists here making decent money, and its growing, and we do license a substantial amount of music for TV, radio and Internet commercials, and this means a lot of 30 and 60 second spots are sold.

Bottom line is we work VERY hard to try to make things better for the artists and composers that participate here. We are always working on new deals and new development projects.

Regards,

Lee Johnson
[email protected]

www.audiosparx.com
www.radiosparx.com
www.musiccult.com
www.facebook.com/audiosparx
Old 28th August 2013
  #46
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Quote:
Originally Posted by AudioSparx View Post
To Jazz 4, You could not be more wrong when you say that we accept everything that comes our way. Every month, several hundred new artists/composers apply to participate here. We sign only a small percentage of them to participate here.

And for the tracks that get uploaded by new and existing composers/artists, we review them and prioritize them based on our assessment of their quality. This prioritization affects a lot of things about how a track will perform, where it is featured (or not), etc.

Unlike PumpAudio, We are completely up to date on our PRO registrations, we don't take 2 years to intake a new artist's content, we are operating five different web sites, we have just closed a major deal with Viacom (the world's 4th largest media company), we operate RadioSparx.com, a commercial background music service that is growing ... it is just not fair to say we are clueless or that we have no rhyme or reason to our work. The facts speak otherwise.

It's a competitive business, and there is also a certain amount of luck involved. We do have artists here making decent money, and its growing, and we do license a substantial amount of music for TV, radio and Internet commercials, and this means a lot of 30 and 60 second spots are sold.

Bottom line is we work VERY hard to try to make things better for the artists and composers that participate here. We are always working on new deals and new development projects.

Regards,

Lee Johnson
[email protected]

www.audiosparx.com
www.radiosparx.com
www.musiccult.com
www.facebook.com/audiosparx

I can only write from my personal experience and share that information honestly for the benefit of other composers. I don't deny that I have done well with you (see the other page). In fact, I have directed other composers and even clients to your site many many times.

I would say that Radiosparx is amazingly dissapointing money-wise though. I don't deny the growth of your business at all, but for composers, things like Radiosparx aren't an amazing incentive. Not if the composer is earning a dollar a quarter from it.

Being totally honest, when I first joined audiosparx, the quality of music was highly inconsistent. I don't know when you implemented quality control, but hearing from another user, the fact you have started denying music that is unsatisfactory is great. That's the thing that'll make audiosparx amazing.

...And hey, I'm not defending Pump Audio...

You may not even see this, Lee; Most people from these companies create accounts on forums to defend their business and never return. I thought I'd drop you a line anyway.
Old 1st September 2013
  #47
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Quote:
Originally Posted by jazz4 View Post
You may not even see this, Lee; Most people from these companies create accounts on forums to defend their business and never return.
Proof.
Old 8th September 2013
  #48
I tried Audiosparx about three years ago. It took me far too long to upload songs so I eventually closed the account. After seeing some of the new terms for this company posted on MLR, I am glad that I left.

They just do not seem to be much more different than other sites as far as catalog promotion. The new term about not being able to remove music is nonsense.

I would not say that AS is horrible, but it certainly was not for me.
Old 14th September 2013
  #49
Gear Nut
 

Quote:
Originally Posted by Desire Inspires View Post
I tried Audiosparx about three years ago. It took me far too long to upload songs so I eventually closed the account. After seeing some of the new terms for this company posted on MLR, I am glad that I left.

They just do not seem to be much more different than other sites as far as catalog promotion. The new term about not being able to remove music is nonsense.

I would not say that AS is horrible, but it certainly was not for me.

why would you not say that?

im new and have 50 audio clips that would
like to upload somewhere but i have no idea where
it would be best.

reading what was said here about audiosparx, two
things are clear to me: i cant remove my tracks
ever ever ever(although i'm the composer, not them!)
and i only get 40% for something
i worked for and invested in.

from the point of view of someone who wants to make
a profit, although i never interacted with audiosparx,
i can say it really sounds like horrible deal. from a newcomer's prspective.

personally i dont see why any site should get more
then 30%. the apple store seems a fair deal. why cant
royalty sites do like appstore?
Old 15th September 2013
  #50
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Quote:
Originally Posted by skepsys82 View Post
why would you not say that?

im new and have 50 audio clips that would
like to upload somewhere but i have no idea where
it would be best.

reading what was said here about audiosparx, two
things are clear to me: i cant remove my tracks
ever ever ever(although i'm the composer, not them!)
and i only get 40% for something
i worked for and invested in.

from the point of view of someone who wants to make
a profit, although i never interacted with audiosparx,
i can say it really sounds like horrible deal. from a newcomer's prspective.

personally i dont see why any site should get more
then 30%. the apple store seems a fair deal. why cant
royalty sites do like appstore?
You have it all wrong here.
The app store/i tunes is where most music is sold/downloaded,I tunes get major label promotion Ie $$$$ spent to promote.
They just don't put out your CD on the main promotions page.
Majors have publicists who handle the job of promoting you everywhere
but thats not to say you cannot use social media to further your interests.
With 50 tracks you may find a home for them if they are up on the level
quality wise.Don't expect a 50/50 split as I only have a couple of companies that pay me 50/50 split and I sell tracks every week,you can find them though.
MLR:Music Library report will give you the discussion by the players who make money in this business but you wont hear from the most successful ones.They evade the discussion to protect their best interest,their Music
and those are the exclusive guys mostly..
My other experience is one of connections.
You get the top work when you are connected through family,and you don't even have to be that good.Ego's get in the way in this biz,they call it TIB.
THis IS Business.....
Old 24th October 2013
  #51
Here for the gear
 

AudioSparx works for me

While the upload process at Audiosparx is a little tedious, I find it helpful to be able to configure a lot of metadata information about my tracks. It helps to distinguish my music from the other 200,000 + tracks on the site. Everything I configure for my tracks becomes searchable text for when clients are searching for something specific.

And I've had solid sales with them too, making steady 5-figure income for the past three years running. Their pay-per-click option helps to get my tracks to the top of track pages. It may not work for everybody but I'm happy with their results.
Old 24th October 2013
  #52
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What's the pay per click option? I'd be interested in that. I think my music is better than a large majority of what I've heard on there and since it's there already, I think paying to getting it at the top of a page is worth it since I've already been paid to compose all the music I've uploaded.
Old 24th October 2013
  #53
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I heard they stopped that pay per click thing but then brought it back -- Much to the dismay of some composers.

Pay per click is essentially a way for the composers to get more exposure during search results by paying Audiosparx a fee. I don't really like the idea of this because, no matter what quality your tracks are, you can just pay for the popularity. It leaves composers who don't wish to participate in such a thing 'demoted.'

I actually don't mind the amount of metadata, tagging and description writing needed for this site. It's needed, and a bit of extra work in this area can advertise your tracks successfully. But the pay for plays idea seems like an unethical one, considering you're already giving them a 60% cut.

Again, if there was some screening process for PPC to ensure only top quality tracks had this priviledge, I'd think a bit differently about it, but as far as I am aware, anyone can do it.

The way I became fairly successful with them was through becoming a featured artist. Exposure definitely helps. Paying for the traffic to your tracks however just seems a bit cheap (figuratively speaking). You had to earn the exposure, but I don't know about that anymore. I'm not sure how such a model can work in the long run since every composer could sign up for that, but then what? Apart from giving Audiosparx a nice chunk of change, I am not sure how beneficial it can be to composers.

Also, I don't really know if such a thing can justify the expense. You may see yourself with hundreds more plays, but plays don't necessarily mean purchased licenses.

I still think understanding what people might be looking for musically, translating that into a viable product, realising the likely uses of your music and advertising it through well written descriptions and effective tagging can do wonders for your time at audiosparx. The people there are extremely nice and helpful, too.
Old 24th October 2013
  #54
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Sam, did you become a featured artist close to the time you signed up?

I had tracks that become 'featured music' within a few weeks of getting accepted and tracks uploaded which people paid to use.

I wonder if maybe they do that on purpose? It'd make sense to me as they seem to often feature people who have LOADS of tracks and a lot of these people with a massive amount of content have some questionable music. I had an email which showed their best artists and composers in each section and it doesn't say what they've licensed their music to but the music I did check out was pretty bad IMO.

Obviously they're probably accepting that they're not going to be competing with the like of Extreme or Megatrax. I think maybe they're focusing on quantity (hence trying to keep the people with a ton of content interested) over quality. Or maybe I need to put the tin foil hat down and get some sleep.
Old 24th October 2013
  #55
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Quote:
Originally Posted by Amber View Post
Sam, did you become a featured artist close to the time you signed up?

I had tracks that become 'featured music' within a few weeks of getting accepted and tracks uploaded which people paid to use.

I wonder if maybe they do that on purpose? It'd make sense to me as they seem to often feature people who have LOADS of tracks and a lot of these people with a massive amount of content have some questionable music. I had an email which showed their best artists and composers in each section and it doesn't say what they've licensed their music to but the music I did check out was pretty bad IMO.

Obviously they're probably accepting that they're not going to be competing with the like of Extreme or Megatrax. I think maybe they're focusing on quantity (hence trying to keep the people with a ton of content interested) over quality. Or maybe I need to put the tin foil hat down and get some sleep.
I think I had been with them for 6-7 months and they actually requested more music, so I gave them more. Then about a year and a half after I joined them they wanted to feature me but I didn't have enough tracks to be in that category. I ended up getting MORE tracks on there and then they finally featured me and had me on the homepage in rotation, so you could be right about the quantity thing. Thing is, they are a totally different marketplace to businesses like Extreme. Audiosparx is a big shop like Tesco and Argos...they want as much stock as possible to sell to every single demographic.

To be honest, I haven't read much of their latest communiques so I don't know how much their business model has changed since I joined. What I do know is that I don't get nearly as many sales as I did when I gave them exclusive material. This whole PPC thing came back in and they're getting more and more material everyday. Perhaps I need to provide even more 'stand out' tracks, but I haven't had the time since I started doing exclusive work. I got a phone call from EMI recently, so hopefully I'll start working with their KPM library next year. Audiosparx is still a neat place, though.

It's always best to be wary though, Amber. You never know...they might go all Pump Audio on us and take a 70% cut. I know they don't allow you to remove your music anymore. Didn't really like that.
Old 24th October 2013
  #56
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Amber's Avatar
 

Quote:
Originally Posted by jazz4 View Post
I think I had been with them for 6-7 months and they actually requested more music, so I gave them more. Then about a year and a half after I joined them they wanted to feature me but I didn't have enough tracks to be in that category. I ended up getting MORE tracks on there and then they finally featured me and had me on the homepage in rotation, so you could be right about the quantity thing. Thing is, they are a totally different marketplace to businesses like Extreme. Audiosparx is a big shop like Tesco and Argos...they want as much stock as possible to sell to every single demographic.

To be honest, I haven't read much of their latest communiques so I don't know how much their business model has changed since I joined. What I do know is that I don't get nearly as many sales as I did when I gave them exclusive material. This whole PPC thing came back in and they're getting more and more material everyday. Perhaps I need to provide even more 'stand out' tracks, but I haven't had the time since I started doing exclusive work. I got a phone call from EMI recently, so hopefully I'll start working with their KPM library next year. Audiosparx is still a neat place, though.

It's always best to be wary though, Amber. You never know...they might go all Pump Audio on us and take a 70% cut. I know they don't allow you to remove your music anymore. Didn't really like that.
I think I'd best forget Audiosparx. I'm not interested in targeting every genre etc anyway. I feel like I'm just making second hand versions of average music. I've not produced anything specific for them as it was just commissioned music that was on my hard drive.

It's hard to know what to focus on library wise. Seems like anything with too much of a signature sound doesn't fly with the good libraries, yet it has to be very good. I feel like I'm best focusing on finding people who like the score/film music I do (which I guess has a certain signature to it) and going from there. Any commissions coming in for U2, Coldplay, Zimmer style a likes etc are fine, but maybe not worth my time producing a library of music for.
Old 25th October 2013
  #57
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Quote:
Originally Posted by Amber View Post
I think I'd best forget Audiosparx. I'm not interested in targeting every genre etc anyway. I feel like I'm just making second hand versions of average music. I've not produced anything specific for them as it was just commissioned music that was on my hard drive.

It's hard to know what to focus on library wise. Seems like anything with too much of a signature sound doesn't fly with the good libraries, yet it has to be very good. I feel like I'm best focusing on finding people who like the score/film music I do (which I guess has a certain signature to it) and going from there. Any commissions coming in for U2, Coldplay, Zimmer style a likes etc are fine, but maybe not worth my time producing a library of music for.
Absolutely. If you can find a library who dig your style, that's a great thing. People usually contact me because my music is a bit lighter. It seems they come across a lot of composers who JUST make big heavy sounding tracks that can't stray away from that.
Old 26th October 2013
  #58
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Quote:
Originally Posted by jazz4 View Post
Absolutely. If you can find a library who dig your style, that's a great thing.
^ This. I can say that spending the time to develop your own style is worth the trouble (obviously it has to be marketable, not much call for "Mongolian throatstep jazz"). I'm now on my 5th project within 12 months for one exclusive.

On a more general note, getting less than 50% of license fees is actually very common even if the deal says 50/50. Exclusives who use sub-publishers! If the sub-pub licenses a cue they get 50% and then you split the other 50% (assuming that's your cut) with your publisher. That gets smaller again if you have co-writers.

One might end up with a label that does none of their own licensing and they sub-publish even in their own territory. Kinda sucks but that's the reality. One way around it is building relationships directly with music supervisors and other end users. That's often easier said than done. Accepting some compromises can be necessary so as to get on with the task of writing rather than sitting around waiting for the 'perfect' deal.

But that's a digression from the AS topic.
Old 10th November 2013
  #59
Here for the gear
 

Check out our Facebook page to see what's hot and what's selling

Hi guys, I thought you might enjoy LIKING us at:

www.facebook.com/audiosparx

We set up the Facebook page so we can be more in touch, and share with our composer community information each day showing you what's selling well during various seasons, plus tips about trends and fun videos - plus recently we had a Horror Music Marathon (during Halloween) and earlier did a "Tango Marathon Day" highlighting some of our composers' great music, plus orchestral vids of Piazzolla and his famous compositions, etc.

We do screen new applicants joining AudioSparx and try to work with those composers who understand the music biz is a marathon, not a sprint. If you only upload old music to your present catalog, and don't continue updating your catalog with new ideas, there is a big chance your are hurting your chances for sales at our site.

The business is constantly changing and you can look at our top sellers here to review what types of music they are uploading and why it guarantees their continuing sales:

Music Artists Directory | Composer Directory | Creative Digital Audio Content Sources at AudioSparx

Take care and enjoy the day.

Barbie
Creative Director, AudioSparx
Old 17th March 2014
  #60
Here for the gear
 

I just recently started uploading my music to online libraries like tunesociety, productiontrax and pond5, and when I got to Audiosparx the contract 'in perpetuity' really throws me off... on the other sites I can delete my stuff in seconds. I intend to keep contacting as many libraries as possible with my music, what happens if I someone offers me an exclusive deal and I can't delete from AS? I don't have much experience with this, would love some feedback.

Cheers
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