Definitely noticed some changes, I’ve noted on another thread I started a month ago that now generally it takes tracks longer to sell and that sales for a few of us mostly come from older items. I’m assuming it’s due to the huge influx of authors and tracks right now, I mean we’ve had over 1000 new tracks in the span of about a week so you can imagine that now we are sharing sales amongst more people (even though the clientele has expanded, I don’t think it has expanded as much as the amount of authors).
My sales in the beginning of the month were abysmal but now things are picking up. Hoping to end strongly.
@liambradbury – I’ve noticed you haven’t uploaded since august, perhaps if you upload a couple of tracks it might bring some traffic back on your end. I actually didn’t upload anything the entire month of august and I’m feeling the pinch now, it’s often a really late reaction but it does happen that sales decrease as uploads decrease.
The number itself isn’t too bad compared to some of the other stock sites, but the rate at which new tracks are being produced/approved is a bit worrisome. I was actually going to start a thread about it.
I mean, the reviewers are doing a great job and I’m sure that a lot of the not-so-good tracks are being filtered out. The big problem I feel is the rate of approval, the reviewers are almost doing too good a job. The good thing about before was that (I’m gonna get some heat for this comment) the review line was longer, 4-12 days with just 4-5 reviewers, only a few dozen new tracks a day. I’ve been checking the numbers and more than 1000 tracks have been approved so far this week!
Let’s look at the client’s perspective they don’t actually care or need to have more tracks faster, it’s not added value. I mean it is for rarer types of music that previously weren’t here on AudioJungle but for tracks where there is a clear abundance like corporate-motivational or cinematic-dramatic the clients almost have too many choices of too many similar items. We all know generally they like to pick from front page AKA more recent files.
Here is the crux of my point, authors now need to produce more to get more exposure hence perpetuating a crazy arms race against each other. I don’t think the client base is neither expanding to meet the new supply of new music and this client base isn’t receiving any added value to the higher amount of tracks. Hence authors can benefit more if less tracks are processed a day, as each track has more golden selling time.
Now I know a lot of people are going to say “You’re putting too much importance on front page exposure”. This is true. I don’t deny it. Actually, given most of my portfolio isn’t in the “Corporate Motivational” or “Cinematic Dramatic” category I generally sell more out of my older portfolio. Also many will come out and say “You should really do your own promotion and advertising and stop relying on AudioJungle”. This is also true. Before I swore I wouldn’t do YouTube as I didn’t think it would profit me but now I am using it to try to promote my portfolio as one has to now.
However, why not do something right if it helps the authors and doesn’t disadvantage the client? Yeah we authors should take more responsibility if we want more sales, but at the same time why can’t we slow down processing time so tracks get more exposure and authors can now really take the time to make their tracks great instead of worrying about constant exposure?
I really love AudioJungle. When I graduated from music college I was super worried about making money with music and my career and thanks to AudioJungle I pretty much made money from the get-go with the techniques I learned. I learned a lot about the music industry and I got to meet some pretty awesome people here on the forums, I feel like we’re all office mates. After a few months I even started to get commissions from clients I had from AudioJungle. While I was studying my masters, AudioJungle was my main source of income (amongst quite a few others). I’m sure I’m not the only one whose life has been improved thanks to AudioJungle.
I don’t want to see AudioJungle become one of those over-sized behemoths like many of the other royalty free websites. The reason AudioJungle has done so well and beat their competition so far is because the portfolio was well sized, the website interface was a lot cleaner than their competition, the average quality here was good despite the small portfolio it had at the beginning and the prices were very fair. AudioJungle was a nice middle point between these huge royalty free libraries and the small and elite boutique libraries.
As for the future, that’s really in the hands of the guys in envato making the big decisions and I’m sure they understand a lot of things that maybe I don’t see as I am seeing it from my perspective.
Anyway, I’ve been going on for a while. Would love to hear other opinions.
(EDIT: Just realised the new search is here! Yay! Still, I feel my point about processing should still be taken into account…)
Thank you!)Hmm…i just want to try writing electronic and orchestral music but don’t now anything about it! If i had Ableton Live, Fab Filter Pro and Native instruments plugins can i achieve high-quality sound?theoretically)
Orchestral can be done with Reason, but I really recommend using something with more options like Pro Tools or Logic. Reason has some outstanding orchestral sound (like I said earlier, it’s oboe, piano and trumpet are actually quite nice) but in general compared to the higher end stuff like Spitfire or 8dio it really doesn’t hold a candle to it.
Electronic stuff, in the other hand, can be done REALLY well on Reason. Reason was initially designed around electronic production so yeah… If you notice all the promotional videos on propellerhead’s website you’ll see that they mostly feature electronica/pop artists regularly do they feature film score composers or bluegrass country singers!
Ableton and NI are pretty cool and I think a good place to start.
Hey TortoiseTree, any good recommendations for refills for the reason synths. Currently I have submitted a few items with the factory sounds, which were rejected b/c the synth sounds were “old and outdated” ....or just tips on how to enhance the factory sounds to make them usable here on AJ?
If i knew I’d tell you!
Lol, just kidding. Kinda… I pretty much started this thread to find that out.
From what I’ve heard here and colleagues I know that THOR, if programmed properly can compete with the best of them and can even outclass more expensive synths. The key operative word is “properly”. When you open the functions on THOR it looks like you’re manning a spaceship. From what I’ve heard, the only way to learn is by doing it step by step, no easy way to it.
What I’ve been doing recently with Reason is I’ve been going on a synth diet. I use mostly the sounds of theirs that I think are really good and then just put a light amount of synth so that it’s there to give it colour but not too prominently in the piece. I have tried “making” my own sounds by adding filters or getting a sound i like then adjusting the nobs so it becomes a bit different.
I say read through the other posts in this thread and get a solution there. As a quick fix, as you also mentioned earlier, buy refills of already nice sounding new synths. I personally have rarely bought synth ones (I may buy one soon though, in light of everything). I do own Recoustics and Cinematic Drums (they’re all in the propellerhead website) and like both a lot.
Reason oh reason. If you’ve been on the forums for a while then you’ll know I have a special relationship with reason lol.
First of all, you need to upgrade to at least Reason 6 or 7 (probably seven) to really be able to compete here. Some of the sounds from even Reason 4 are still pretty awesome (Piano, oboe, pop fingered bass) are still really up there for me BUT to really take advantage of Reason and still get stuff accepted on AJ you need to go up to Reason 6,7 or 8.
Reason, for me, has one of the smoothest and most reliable interfaces. Your workflow will be really fast and it’s quite unbeatable for getting ideas out quickly. Also the interface is not too thirsty on your CPU and a crash almost never happens, I’ve been a dedicated Reason user for years now and have only ever had one crash. Also some of it’s sounds are pretty damn good, as I mentioned earlier).
Also Reason is fun, almost too fun. The music comes out seamlessly, it’s colourful and it’s so easy to add and replace plugins. Some of it’s house brand plugins and gear are also pretty damn awesome, Dr. Rex is one of the easiest to use loop manipulating plugins around and the combinators are also a nifty gadget for producing sounds.
Those good sounds can always be used on another DAW via ReWire so on the other hand you can just use Reason as source for samples and sounds. Also Reason is great for certain genres, but sometimes it’s hard to get certain very specific ideas out on Reason. Especially since Reason is mostly limited to it’s own ReFills (samples and sounds) no matter what you do there are certain limits to the sound produced. You are stuck with their compressor, their distortion, their reverb. And it’s all very good but sometimes you want to use different companies’ gear. Now, in Reason 6+ there are certain plugins available from other manufacturers but it’s not like in Pro Tools or Logic where the world pretty much is your oyster in terms of what you can use with the program.
Also, as I discussed in another post, you can’t use their factory preset synth sounds too much as they re somewhat overused and do sound dated, I’m sure due to the relatively easier entry level Reason has, reviewers must be hearing the same synth sounds again and again and again.
Anyway, those are my two cents on Reason, not really the full depth analysis I’d give over long coffee but I think enough to set you on your way!
Kind of in between things myself so for now full time composer lol. Looking to buy some better gear so I’ll probably take up something else for a while to help me build on that.
I’m actually away from Sydney living in another city whilst I’m in between things and have discovered how much further money goes when you’re not in one of the most expensive cities in the world! Of course salaries in Sydney are pretty sweet so if one does land music work here then you’re ok.
But yeah, something you’ll all notice is that the composers here who do this full time rarely live in super expensive cities as this type of work can be done more and more remotely so cost of living has become an option again.
Note that I emphasised cities and not countries, I used to live in a small city in the UK and cost of living there was so much cheaper than London, I can imagine one could do this full time with a part time job to help pay the bills (assuming your portfolio has developed enough to have a steady income here at AJ).
If you already have all those synths including Massive you don’t need another synth at the moment to make the standard pop synth stabs and leads that are used these days. Massive is excellent at modern dance/pop sounds.
It’s about the mix. Making the sounds sit well together. Layering sounds and getting the tone you’re after.
I presume you’re talking about sounds like you hear in BlueFox music and so forth. Why not name the tracks? Makes it easier. Only way to learn is to take examples, analyze them and reverse engineer them. It’s not about copying their tracks. It’s about learning how to get a certain sound.
For instance the massive stabs I use in Why Oh Why are layered Massive synths. Some of the sounds are 3-4 Massive sounds layered. Separate sounds for top, mid, bottom.Had a quick listen to Ronald Jenkeens’ music. Funky. Most of the sounds are just layered saw/square sounds with bubbly filters using modulation. Together with clav and e-piano sounds. In his case it’s more about arrangement, how well played the melodies are and making the sounds sit well together.
Wow! That’s a pretty awesome analysis. You must have a really good ear and tons of experience as you were able to pick it apart so quickly. Yeah you hit it right on the head with BlueFoxMusic and the track I was referring to was “Midnight in Tokyo” another track I really like on the jungle is “Into the light” by Matt Harris (AKA AlumoAudio/AlumoMusic). On the subject of dubstep, your featured track “Open the Sky” is absolutely killer and is 100% spot on when I mean “the expensive synth sound” so having advice from you is pretty damn sweet.
Congrats on the feature btw, 100% deserved and I hope you get tons more sales on it!
Also, I liked the film scores of:
all very electronic soundtracks and very interesting indeed!
Of course we all like new synths. Although, if you already own synths like Absynth, FM8 and use Reason which has Thor, an excellent synth. I think it’s more a choice of sounds, mix and so forth that makes your music sound dated. If that is the rejection reason, which I find a bit odd because of how in demand 70s/80s style soundtracks are.
If you’re a pure preset user I would take some time to get to know your synths.
I kinda dislike the “buy a new synth, it will save you” ordeal. I’d say, take some time to learn the synths you got. Of course a new synth can inspire, but so can old synths if you learn to use them.What synths do you have and what kind of sounds do you want to make? Except FM8 and Absynth.
Synchotron, thanks for the advice!
I currently (also) own Massive (but never used it), the 3 synths that come with Reason (THOR, Subtractor and Malstrom).
That’s it really. As I mentioned in another one of my replies, I was considering buying an outboard synth (I even had a thread about it before) but decided against it at the end (but could be tempted if I came into some money later in the year).
As for the sound I wanted, I was listening to Ronald Jenkees’ new album and that got me thinking on doing some electronic stuff. I’d also like that really fat synth sound that they you hear tons in pop records now. Actually there are some guys here who do that sound really well, but I’m a bit embarrassed about calling them out as it’s almost like I’m asking for their secrets lol!
Hi there! Generally speaking I do not believe in synth sounds being “dated”: ‘80 synthesizers are the most sought-after for how awesome they sounded (search for the price of a restored Yamaha CS-80, one of Vangelis’ most beloved machines, and you’ll know what I’m talking about).
What lacks in today’s virtual synths like the above mentioned Absynth is the warmth and depth of the old analog machines – but in my opinion we have no choice: an old Moog is expensive, hard to maintain, a nightmare to repair and needs time to be tuned (and forget total recall, of course).
For improving your VST synth sounds I would suggest you 3 things:
- be selective in purchasing virtual instruments: for example, U-he Diva has replaced 90% of the VST synth I used before. Try to understand what your needs are, and search for the best synth in that field.
- warm them up to taste with saturators or tape simulators (there’re plenty on the market)
- use a harmonic enhancer like Loomer Mainfold to make the sound bigger and fatter, but be careful not to overuse them as you can easily loose clarity and mess up with the stereo image.
hope it helps…
These are great and super detailed tips!
Thanks a lot Pietro! I was considering buying a synth to use as an outboard synth and maybe even performance every now and then.
Quick question, what does a saturator/harmonic enhancer do? It sounds a bit like magic!