Toivo, I think you’re probably right on the money with the “limited usage options commercially” comment. I think sometimes they are just pretty free with the form rejections because they get busy. It seems to me they only have two hard rejections forms that they use for the most part.
I have been agonizing over software synths lately. Conventional wisdom says I should be able to pull off a lot with built in logic instruments and plugins if I’m creative and meticulous.
I’m afraid if I start sinking thousands into software synths I’ll never recoup the cash. Let’s face it, gear-lust is a serious problem for musicians. Every time I get the mixing/sample rejection, I become self-conscious about my equipment. Or I could just be blaming it rather than face up to a lacklustre submission. It’s hard to know when it’s time to start down the gear rabbit hole. So many appealing toys, so little money.
It’s funny that you mention that. I have been thinking about how much of what I write and record for AJ is cliche’. Everything has been done before – I’m just doing variations on themes. The only problem is that those songs tend to sell better. They are more “commercial.” If I try anything too new, it won’t get approved or sell. There isn’t a lot of atonalism here, for instance.
Personally, I’m a bigger fan of sales than stars. I always appreciate the rare star, but don’t mind not getting one as long as the item is selling. Extended licenses are the best pat on the back as far as I’m concerned. Star or not, it’s always exciting when someone shells out $50 for a 30 sec. loop. I’ll take those sales over stars any day. I’m such a capitalist.
Probably not my best work, but I didn’t think it was horrible either. The feedback was vague – sample quality and mixing issues, but they don’t mention anything specific. Could it be my horn kicks near the end? I ran through about 40 options before I decided on that patch.
Be cruel – I can take it.
I don’t think it’s a bad track either. I agree with the “hiss” comment – that’s always a danger in tracks that fade in or out. It’s pretty close to clipping right around the 7 second mark between the kick and the entrance of the other instruments. That might have set off the reviewer early on.
Depending on the reviewer, sometimes even tracks that are actually pretty good don’t make the cut because they don’t think they’re “commercial,” or appreciably different from stuff they already have.
There is only one cure for one of these rejections – record & submit more stuff. I feel your pain, though. Sometimes I wish the reviewers were a little more cruel. Just one thing to work on for the next submission to improve my game. Even if it wounds my fragile ego, I’ll be better for it in the end.
I posted a humble suggestion on sound cloud, but I love it. I’m envious – I’d love to get my hands on hollywood strings, especially. How is the learning curve? It’s just so hard to get a synth to sound that real. I’d swear they actually use real orchestras for their promo songs.
You have good music . You need two more things. 1. More good music. 2. Patience. This is a marathon, not a sprint. Keep writing and recording and you will get even better. The more you have for sale and the better the music is, the more you will sell.
Nice job. Very unique. I wouldn’t be surprised if there were a market for this. When is the Middle East NOT in the news?
I think it’s a great idea. All of the tracks I checked related very well. I’m sure we could all do better if we devoted hours to searching for “perfect companions,” but who has that kind of time? I’d rather go write and record more music. Awesome plan.
The leapsecond! That’s why I’ve been feeling jet lat without going anywhere. Keep calm & carry on, I’m confident you guys can handle it.