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Looks like Audiojungle is stepping it up... Virtual Instrument Plugins
Old 17th September 2014
  #1
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Philososaxter's Avatar
 

Thread Starter
Looks like Audiojungle is stepping it up...

(Kind of)

So I, like many other composers starting off, began on Audiojungle. I had no idea what I was doing at the time; I just liked making a bit of income on the side without having to do any of the work (I always just uploaded bits and pieces of cues that had been made specifically for commissioned jobs).

Of course, within a year of being in the game, I realized what terrible deal it was and stopped uploading to Audiojungle. I now submit with Jingle Punks, Music Dealers, and a couple others but I left my old (and quite crappy) cues on AJ. My old AJ cues still bring in electricity money each month, so I'm happy with that and I doubt those cues would sell anywhere else.

But now, well, I might just have to try Audiojungle out again. They just announced the inclusion of two new types of licenses, one for $144 and the other for $306. I realize that's still a bit low, but considering the increasingly miserable royalties from network TV--royalties that you often have to wait up to a year to finally get--and the volume of stuff that a professional composer could sell on a library populated by mostly hobbyist composers (and I'm certainly not using that term as a pejorative), well, it might just be something to look into for some of your old and/or not quite up to par cues.

I dunno, what do you guys make of this?
Old 19th September 2014
  #2
Quote:
Originally Posted by Philososaxter View Post
(Kind of)

So I, like many other composers starting off, began on Audiojungle. I had no idea what I was doing at the time; I just liked making a bit of income on the side without having to do any of the work (I always just uploaded bits and pieces of cues that had been made specifically for commissioned jobs).

Of course, within a year of being in the game, I realized what terrible deal it was and stopped uploading to Audiojungle. I now submit with Jingle Punks, Music Dealers, and a couple others but I left my old (and quite crappy) cues on AJ. My old AJ cues still bring in electricity money each month, so I'm happy with that and I doubt those cues would sell anywhere else.

But now, well, I might just have to try Audiojungle out again. They just announced the inclusion of two new types of licenses, one for $144 and the other for $306. I realize that's still a bit low, but considering the increasingly miserable royalties from network TV--royalties that you often have to wait up to a year to finally get--and the volume of stuff that a professional composer could sell on a library populated by mostly hobbyist composers (and I'm certainly not using that term as a pejorative), well, it might just be something to look into for some of your old and/or not quite up to par cues.

I dunno, what do you guys make of this?
$306 for a Music Broadcast or Film License which includes:

Quote:
Use in one end product, free or commercial. Most web uses. Unlimited copies of a downloaded or physical end product. Plus an unlimited broadcast audience, or a theatrically released film. The total price includes the item price and a buyer fee.


Do they not realize the standard/going rate for this type of use is actually around $2500 for source music and $10,000+ for a featured placements? Do composers not realize this either? Why are they selling themselves so short like this? It just baffles me sometimes.
Old 19th September 2014
  #3
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Jeff Hayat's Avatar
 

Quote:
Originally Posted by Etch-A-Sketch View Post
Do composers not realize this either?
No, actually they don't.
Old 19th September 2014
  #4
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I think that Audio Jungle is not being on the up&up.
Can we get their top composers to tell us they are making that kind of money
from 100's of purchases,lets hear it from the main money makers if thats for real,
i think not........Its selling hype and I have listened to those tracks.Most of it
is not of the quality I have heard from other reputable sites.....
Old 10th October 2014
  #5
Gear Nut
 
Philososaxter's Avatar
 

Thread Starter
Yeah, like I said...still DEFINITELY not the place for your top quality cues (hell, even your mid-quality cues), but my old stuff--stuff I literally wrote the day I got Logic--still sells there and I doubt it would sell anywhere else. No point in taking it down (except to stick it to them, but I'll take electricity money over my pride any day).

I just thought it was interesting. I mean, 300$ is a helluva lot better than what they were asking...
Old 10th October 2014
  #6
Here for the gear
 

Quote:
Originally Posted by Etch-A-Sketch View Post
$306 for a Music Broadcast or Film License which includes:





Do they not realize the standard/going rate for this type of use is actually around $2500 for source music and $10,000+ for a featured placements? Do composers not realize this either? Why are they selling themselves so short like this? It just baffles me sometimes.
Well, I'm a composer, and I do realize this, but I do realize, that I can't get that placement you mentioned...and, maybe, 90% of others can't do this too!

25% of license fee from stocks are tooooo small, but they are better,
than even 100% of nothing!

There are different business models and everybody may use what he/she
prefers or even combine them.

PS. Topic starter mentioned Music Dealers, well, just a month ago
they declined my track...
exactly this one:

SoundClick artist: Aleksandr Saltovskiy - page with MP3 music downloads

the same from Sound Taxi:
"thanks for your inquiry, but after listening to your music,
I have to say that neither the production nor the sounds meet our quality standards. So sorry for saying no and all the best in the future."
Old 9th November 2014
  #7
Gear Maniac
 

Quote:
Originally Posted by dan p View Post
I think that Audio Jungle is not being on the up&up.
Can we get their top composers to tell us they are making that kind of money
from 100's of purchases,lets hear it from the main money makers if thats for real,
i think not........Its selling hype and I have listened to those tracks.Most of it
is not of the quality I have heard from other reputable sites.....
I'm also registered at many of these bottom microstock plattforms and decided to cut back on them in the future....I mean why should I even bother investing all those admin/uploading work for 10 different plattforms if I'm selling regulary on just 2 or 3 of them? Luckstock, catooh, yooka etc. all were a waste of time....
Also as mentioned before I hate that you'll never get to know where your music will be used...yes I even asked buyers where they will use my music and they didn't want to tell me!

Recently I signed with a new (much better) library and made my first sale for a commercial.
I mean just for the money I made I would need about 50 sold items at audiojungle, plus this time I got to know where my music will be used. This is just way more satisfactory!

...next step for me is to become PRO-registered and then, if I wrote a new batch of music, I'll surely try to get into more of these better libraries instead of wasting my time with audiojungle or similair sites.
Old 9th November 2014
  #8
Here for the gear
 

Quote:
Originally Posted by freshdax View Post
Recently I signed with a new (much better) library and made my first sale for a commercial.
...next step for me is to become PRO-registered and then, if I wrote a new batch of music, I'll surely try to get into more of these better libraries instead of wasting my time with audiojungle or similair sites.
well, so, you hate one kind of libraries and call their names, and you like others,
but don't call which exactly...
I think, it could be honest to call those good ones too...
sure, everybody will agree with me, isn't it?
Old 9th November 2014
  #9
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Quote:
Originally Posted by aleksalt View Post
well, so, you hate one kind of libraries and call their names, and you like others,
but don't call which exactly...
I think, it could be honest to call those good ones too...
sure, everybody will agree with me, isn't it?
Why does he want you stepping on he's toes now huh ?

You gotta dig ya own treasure in this biz, thats how the game goes!
Old 9th November 2014
  #10
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Quote:
Originally Posted by Audio Child View Post
Why does he want you stepping on he's toes now huh ?

You gotta dig ya own treasure in this biz, thats how the game goes!
ok, then let's don't mention the bad company(ies) too, otherwise it sounds like a cavil or a competitor's trick to get down a traffic to sites of
competitors (audiojungle or others)
Old 9th November 2014
  #11
Gear Maniac
 

Quote:
Originally Posted by aleksalt View Post
ok, then let's don't mention the bad company(ies) too, otherwise it sounds like a cavil or a competitor's trick to get down a traffic to sites of
competitors (audiojungle or others)
I don't say the ones I mentioned have to be necesarily bad for anyone else, this is just my personal experience I have made with these.

Better RF ones are shockwave-sound, neosounds or soundtaxi to name a few. (we allready mentioned these in another thread)

Quote:
You gotta dig ya own treasure in this biz, thats how the game goes!
This pretty much nails it. I googled for days and wrote music submission mails to like 50 libraries untill I found 2 (yes two!) good libraries to sign with. All the other libraries didn't even wrote back, or they wanted to sign me only on an exclusively basis, or I were at too many other libaries already, or they couldn't sign me because I'm not part of a PRO....

...yes, as you can see finding good libraries can be very hard. As somebody else once said:
"Finding an (music) agency is like looking for a lover"
Old 9th November 2014
  #12
Here for the gear
 

Quote:
Originally Posted by freshdax View Post
I don't say the ones I mentioned have to be necesarily bad for anyone else, this is just my personal experience I have made with these.

Better RF ones are shockwave-sound, neosounds or soundtaxi to name a few. (we allready mentioned these in another thread)


This pretty much nails it. I googled for days and wrote music submission mails to like 50 libraries untill I found 2 (yes two!) good libraries to sign with. All the other libraries didn't even wrote back, or they wanted to sign me only on an exclusively basis, or I were at too many other libaries already, or they couldn't sign me because I'm not part of a PRO....

...yes, as you can see finding good libraries can be very hard. As somebody else once said:
"Finding an (music) agency is like looking for a lover"
ok, you mentioned shockwave-sound, but

"...they wanted to sign me only on an exclusively basis"

and they (shockwave-sound) exactly sign an exclusive deals for instrumentals,
though, they ask for vocals with non-exclusive deals.
So, you submit music with vocals to them?
Old 9th November 2014
  #13
Gear interested
 

@freshdax

So you're using this forum to post questions and get help from other people in order to further your own financial gains. But the moment you actually get a decent placement, you're not willing to share that information to help others. Why, because you spent some time googling and sending emails? A lot of the guys who are taking the time to answer your questions have spent years grafting away in the industry and are still willing to offer you advice. I dunno, seems kinda low to me.

Over the course of time I've gotten the most amount of deals from Jingle Punks. There, I said it, I hope you all don't rush over there at once and put me out of business.
Old 10th November 2014
  #14
Gear Maniac
 

The Stash,

well, apart from the fact that I just called a few good libs I'm trying to help out others at this forums too. Yes, I did even helped you in pointing at some sites which were a waste of time for me personally.
How about you name us all your best music libraries, that would be nice
...seriously, no one would do this. (take a guess why musiclibraryreport.com isn't for free...yes that could be called "low" too)
Also, as allready said a library which is great for one person might be a dissapointment for another person, so it wont make any sense at all to just call some names.

Quote:
ok, you mentioned shockwave-sound, but

"...they wanted to sign me only on an exclusively basis"

and they (shockwave-sound) exactly sign an exclusive deals for instrumentals,
though, they ask for vocals with non-exclusive deals.
So, you submit music with vocals to them?
I'm not exactly sure what your question is to be honest, but most music that gets licensed for tv etc. is instrumental. That's why you should always send instrumental versions as well if you wrote a song with vocals.
Old 10th November 2014
  #15
Quote:
Originally Posted by freshdax View Post
T
How about you name us all your best music libraries, that would be nice
...seriously, no one would do this
Well he just kind of did- in the post immediately before yours he said his best library was Jingle Punks.

I don't have a horse in the library race at this point, so I'm possibly commenting out of school, but I have to admit I'm not a big fan of the weird possessiveness that seems to exist around it. Over the years I've seen a few threads like this where people are helpful and communicative up to a point, but then clam up when they find a good library.
Old 10th November 2014
  #16
Gear Guru
 
drBill's Avatar
I'd love to tell everyone which library/libraries are best. I wish I knew which libraries are best. But it's impossible. Every one is in a unique release path, every one has their strength's and weaknesses, and every composer has a different focus. To complicate things, you really can't make a judgement for 3-5 years after your material is RELEASED.

This conundrum is not much different than telling people what kind of car is best for them. How do you know - sports car, SUV, crossover, truck, motorcycle?

Everybody wants a free lunch. But few want to do the work that it takes to find the lunch.

As far as libraries are concerned, finding a good fit for you is the HARDEST thing you can do, and there are NO SHORTCUTS. It's the most difficult thing I deal with daily. And every day my view changes. Writing music is easy. Finding good business partners is the most difficult thing ever.

But somehow, those of us who have been doing this awhile, who still learn something new everyday because of our hard work are supposed to magically transpose that to fit every newbie who anonymously shows up and asks? Comical really. The answer is not there. The pathways are though. Stand up and walk down one and see if it's a good fit or not.
Old 11th November 2014
  #17
Quote:
Originally Posted by aleksalt View Post
ok, then let's don't mention the bad company(ies) too, otherwise it sounds like a cavil or a competitor's trick to get down a traffic to sites of
competitors
(audiojungle or others)
that would only make sense if this forum were for music supervisors who are looking to license music, not composers looking to sell music... or if the libraries were more interested in getting free music than licensing any music (which is a very real possibility)
Old 12th November 2014
  #18
Gear Maniac
 

Ghost13,

no, soundtaxi does both royalty-free and non-royalty-free. The contract can either be exclusive or semi-exclusive (which basically means exclusive for the german speaking music library market)
The library sells ok for me and I think in general they are one of the better royalty free ones. The problem is the contract you have to sign as royalty free composer....you may read my earlier posts about this. Also, I hate that you wont get a usage report or anything similair, like on audiosparx. Also you probably have seen that they are selling TV licenses for over 1000 $....don't expect these to happen too often....they are a rare thing (actually I never had one)

As for musicdealers, I joined them too and similair to pump audio the review process seems to takes ages (but looks like pump is faster). Speaking of pump, they should be boykotted as they take a 67 % cut on every sale....no surprise as they belong to getty images who also owns istockaudio (which pays you geniously 15 % as non-exclusive author, lol)
Anyway, I think especialy musicdealers is worthwhile joining. You have the possibility to get big deals like for 20.000 $ and up, but you would need tons of luck for that.....
Old 13th November 2014
  #19
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Quote:
Originally Posted by Ghost13 View Post
I meant to ask if you've had any tracks curated yet and how long that took?
Personally, music dealers has done absolutely nothing for me. If you write a lot of indie rock you probably have a chance. My style does not gel at all with them.
Old 13th March 2018
  #20
Gear Maniac
 

Music

Seems to be another one of the very worst libraries (comparable to Istockaudio)...I don't think the share they take is the problem, but the pricings seem to be ridiculously low..

Any stories to share?
Old 13th March 2018
  #21
Gear Maniac
 

Be careful with the Pump Audio (Getty Images) contract. As I mentioned in a previous thread, they now have a new model whereby you get a hundred bucks or so for a sale of a track but ALL OF YOUR PRO INCOME IS FORFEITED.

It took a few weeks for them to accept my music and send a contract. The ZERO BACKEND offer was all they would contract. I said no thanks and moved on.

I am just personally not a fan of any RF libraries. I belong to a few Exclusives throughout the country and get nice placements.

BTW I have a friend who has about a thousand tracks on Pond 5. It's not my cup of tea but he rakes enough cash to make a decent living from there. His whole thing is diversity and writes everything from Jazz to death metal.
Old 13th March 2018
  #22
Gear Maniac
 

Quote:
Originally Posted by jazz4 View Post
Personally, music dealers has done absolutely nothing for me. If you write a lot of indie rock you probably have a chance. My style does not gel at all with them.
I have heard this from many people. They have gotten NOTHING from MD. I believe they went in to bankruptcy a year ago and sold the company.
Old 13th March 2018
  #23
Lives for gear
 

do you folks list the same cues on all of the sites or no?
Old 13th March 2018
  #24
Gear Nut
 

May I enquire - what is a decent living? I mean, that could be anything from 20k - 100k+ really depending on circumstance. Be fascinated to know what 1,000 tracks makes on Pond5!

Cheers!
Old 13th March 2018
  #25
Gear Maniac
 

Well,

I never asked him his exact salary but he writes full time and pays for a house, food, cars, etc.

As much as I don't dig RF libraries, don't forget, if he is a popular artist in there he is receiving a lot of up front purchase fees daily and believe it or not, many music Sups grab some quick tracks from P5, so he is getting royalties too. His tracks are on TV shows, commercials, etc.
Old 13th March 2018
  #26
Gear Nut
 

Quote:
Originally Posted by Danny Scott View Post
Well,

I never asked him his exact salary but he writes full time and pays for a house, food, cars, etc.
If someone is paying for the above from RF library income then they have my utmost respect, cos that is some achievement!
Old 14th March 2018
  #27
Gear Maniac
 

Hey,

I have respect for the guys who have 1000-2000 tracks out there! That's some achievement in itself. He can use all of those tracks in ANY Non-Exclusive lib and control his own catalog.
Old 14th March 2018
  #28
Gear Maniac
 

Danny,

Respect..sure, but the 1000 tracks could also consist of 2 full length tracks and 998 jingles...

Sorry just had to...but let's say that a 70/30 ratio (for full tracks/short tracks) would be fairly not uncommon.
Old 14th March 2018
  #29
Gear Nut
 

I have 1000 + tracks out there. If only RF libraries were around back in the day, then it wouldn't have taken me 15 years to get there!

There's people doing that in a week now!
Old 14th March 2018
  #30
Gear Maniac
 

Quote:
Originally Posted by freshdax View Post
Danny,

Respect..sure, but the 1000 tracks could also consist of 2 full length tracks and 998 jingles...

Sorry just had to...but let's say that a 70/30 ratio (for full tracks/short tracks) would be fairly not uncommon.
Yes,

I am aware of that and how cutdowns work. I have a "Day Job" and wish I could get 300 well polished tracks out a year.
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