Congrats Pink Zebra! Great composer and great all-round guy! Well deserved!
When it comes to orchestral tracks:
I put in compression ONLY for the melody-carrying solo instrument. Nothing else.
I know I should be EQ-ing more but I only do it when I personally hear that certain frequencies simply aren’t working.
For solo instruments there are quite a few gems in the using Reason’s “Combinator”.
The patches for Solo Violin, Solo Oboe, Solo Bassoon and Solo Trumpet are surprisingly good and “beat” some of the sounds I hear from more expensive libraries in my opinion.
As far as woodwinds are concerned I would like to know about a library that does the clarinet and the saxophone well. I occasionally use the clarinet to add colour to harmony but the clarinet samples I own are too weak to let it carry the melody. I’d love to know a good source for Saxophone for doing those smooth jazz tracks but it’s been hard finding that real saxophone sound!
I’ve been looking to upgrade myself, there is a wide variety of offerings for mostly the same price these days so it will be interesting to see what people say.
My friends in the film scoring business like CineSamples and EastWest/Quantum Leap.
Spitfire is supposed to have really awesome orchestral stuff but is considerably more expensive than a lot of other sample libraries.
I use pretty cheap stuff myself, mixing Kontakt’s orchestral stuff with Reason’s samples. It comes out ok, but I personally believe that the libraries named above are better and I am looking to invest in one of them in the near future.
“iTunes and other similar personal-use platforms” please advise if other similar personal-use platforms include cdbaby too ??Darko Braje
Doesn’t CdBaby also offer licensing services? An old colleague of mine used to sell his licenses through CdBaby but I don’t know if they still do. If they do, then you can’t be an exclusive author if you also use CdBaby.
Cool! Had my music used on a game trailer on IGN (the second segment):https://www.youtube.com/watch?v=CACtTLPLitA
This is the original track:http://audiojungle.net/item/waiting-for-you/3271607
Don’t worry about it Tortoise both your tracks caught my attention enough to pass my “Round 1,” along with 112 other tracks…
Thanks a lot mate, also listened to your 2 entries and it’s also passed my preliminary round.
I’m not proud of this but essentially my filtering has been like:
1. Unique titles
There are some funky titles out there and a lot of those have piqued my interest and gotten a click. The more generic titles less so but I have clicked on some because of the second filtering bit.
2. Do I know the guy? (As in, have I interacted with them in forums before)
I often discuss production techniques and products on AJ and I often listen to the music from the people I interact with on AJ to understand what they mean. Obviously, since we’re on friendly terms I’ve definitely listened to all my friends submissions here. Is it biased? Yes, but that’s politics for you!
3. Is the genre somewhat “unique” or have they aimed at something unique?
A bit like the title thing, but some people have tried incredibly specific movie trailer music and when I see someone has tried that, then I can’t help but listen.
I know it’s a little harsh but, 448 is a lot to get through! With this filtering system I’ve still listened to a fairly large fraction of the tracks nonetheless.
tacoMusic saidYeah, it would be more fair to have a list that randomises track order on page load.
Seems the list is chronological and I’m at the bottom! If you even get down that far, thanks for listening!
+1 There. It is a slight advantage, but I think some people may start at the bottom then go up. I think what is really tough is being smack in the middle. People may accidentally not even listen to yours as they will have been through many tracks before arriving at yours.
Title seems to be a game changer too, so many of the tracks have the same title sometimes one forgets what was which track.
In hindsight, I’m wishing I put the shorter versions before the full length version in my previews. The ones with edits go straight to the point of the piece and then it ends, then you’re interested in what the full version sounds like. I’m finding myself listening less to the ones with full intros at the beginning. This is so strategic, I wish I had thought about putting the edits first.
It seems like I am not the only one experiencing this. I would love to hear what some of the staff have to say on this. Are there going to be any changes? Or are they just happy to let the top sellers take all the sales.
Ding ding! We have a winner!
They make most of their sales from the top 50 or so authors so really is it a surprise? In some ways I don’t blame them, perhaps this is the best way to move forward. As I stated in another post, AudioJungle is becoming too big so if you think about it, the most logical choice is to throw a bone to their top sellers to stay on and keep selling, as for the rest: be happy with your sales and if you’re not… hit the road.
In sports terms:
Before AudioJungle was like one of those small and relatively new football (or insert any sport here) teams with good fundamentals, training and vision. They developed some ace players from those willing to play for the team but also had a “youth” team of less experienced players who were training up with the team.
Now AudioJungle is like a major player, Champions League material (for those of you who like football/soccer) or a SuperBowl candidate (for NFL fans). AudioJungle has the muscle now to attract more famous and awarded players so of course why not cater to them?
Yeah it sucks, but what can you do? That’s competition for you. I consider myself one of the players who was training up with the team but now takes the bench to all these new hard-hitting producers now joining the site. AudioJungle still makes the best money for me, so I don’t really have too much choice for now but be happy with what sales I get here.