Seriously consider investing in a Solid State Hard drive. Your CPU or audio interface is not going to be your bottleneck here, it’s going to be your hard drive. All sample libraries need to periodically buffer/stream samples from your hard drive – even if you have 100 GB of Ram, sample libraries typically aren’t programmed to take advantage of all that memory – and hard drive access is very slow, so in real time, samples don’t get buffered within the time span allotted by your audio buffer, creating empty/partial/garbage value memory-arrays which in turn are creating your pops and crackles. SSD drives offer much better read/write times and can help to alleviate this issue. File streams have always been a bottle-neck in computing.
But if I omit all my tracks with no sales (half)....
There used to be a lot of analog drum machines (Roland 909, 808, R70, ect.) that people would process and mess with in studios to get certain sounds. Now you can download all those sounds (and thousands more) but it will always take a bit of processing to get things to sound decent. Gated Reverb is a pretty old school trick to make a snare “breathe.” Compressors/limiters, bitcrushers, distortion…really the possibility in terms of what you can pull out of samples these days is endless.
A lot of being a musician/composer/whatever these days isn’t just writing music, it’s the cultivation and curation of sounds. Say what you want about someone like Hans Zimmer, but he probably has one of the largest collection of sounds around.
As far as creating sounds…you can do a lot with synthesizers. It probably helps if you understand the difference between a square/saw/sine wave, what a low frequency oscillator is doing, ect, but it’s not necessary. There are so many tools these days where you can just mess with a few presets and come up with some amazing stuff.
If you ever feel dejected just remember that you are living in the modern age; what used to take 100,000 dollars and a room full of analog gear can now be accomplished with a few hundred dollars in samples and a computer.
A: I don’t think they ding you for being exclusive/non exclusive. It’s really a choice you make. From my experience, the other stock music sites either don’t move as much product, or they will not accept your if your stuff is on AudioJungle anyway. No one is going to be promoting your music either way, that is up to you. They promote their site. Sometimes they will promote people within the site through featuring and other methods. From a business perspective, It’s BETTER for them if you are non-exclusive, because now they have to pay you less when you sell a track, and really, most of the other stock music sites aren’t much competition for AudioJungle. I am non-exclusive and I feel like I am losing out on money, but I like to upload my tracks to other places, just so I can upload some of my rejected tracks too.
B: I don’t think there is such a FAQ, just ask some people who have been around for years, they will tell you that sometimes review queues are short, sometimes they are long, it really depends on how well they are staffed. The amount of authors/submissions keeps growing at a steady rate, so they need to keep hiring reviewers to match that rate, but they are pretty fickle and selective about who they hire. I’ve seen review queues from 2-10 days, so I would generally expect anything between that at any random time.
No, AudioJungle should not restrict new authors. IMO, they already go to great lengths to restrict tracks. These are the metrics of capitalism and globalism at work, and it can’t be changed, because that is the way the world now works. Hard work is not enough, you now need to work HARDER than everyone else to succeed, but you can’t succeed by knee-capping old and new competition. Yes, there are already lots of tracks and authors, but music is a CONSTANTLY EVOLVING PHENOMENON and you need new tracks and authors to keep up with emerging trends. Probably not too many clients will be buying the same stock music 10 years from now as they are today – probably some will – you need a good mix of new and old, and that applies to both authors and songs.
Technology can sometimes seem like a double edged sword – 50 years ago, 99.9% of us would not be generating any money from music. Now, at least some of us can get a tiny sliver of the pie. The downside is that competition has increased 99.9%, because anyone with a computer can now make music. There will always be a “golden age” when it comes to technology, where early adopters are going to make bookoo bucks because they are ahead of the curb. We are past the “golden age” for Audio Jungle and stock music, but you can’t force a second “golden age” by artificially restricting supply.
Sadly, rejection is par for the course around here. People can tell you that this sounds dated, or that they don’t like the particular way you mixed a certain element, but the truth is nobody will ever know why it was rejected, except for the particular reviewer who rejected it, and will never really know why they rejected it unless you press the issue, so anyone’s guess is as good as anyone else. To me, your track sounds passable. Just try to keep writing and submitting stuff. Some of it will get through, and some of it will get rejected. Sometimes you think stuff that will get rejected gets through and vice versa. It’s all part of the Audiojungle experience.
As far as sample libraries go, yes you will hear a lot of clicking and popping on PLAYBACK because, no matter what, at some point every sample library has to stream/buffer from the hard drive and unless you have a SSD, you are going to hear a lot of crackle crackle with playback at low latencies…unless we are talking about libraries that are small enough to fit into memory. MIXING DOWN/EXPORTING, it shouldn’t be a problem, especially if aren’t using any multi-threaded libraries, because – and I’m only 98% sure on this because I can’t say for sure exactly how every DAW is programmed – but based on what I know about programming and computers, on something with non-essential timing like mixing down or exporting, the DAW should wait for processes to complete. In other words, the DAW should wait for your sample library to buffer-in all those floats and shorts before it moves on to the next sample-buffer, because that just makes programming sense. To program it any other way would be extremely poor, half-assed programming. You’d have to go out of your way and put in extra effort to program it that badly.
I will say that I’ve had some experience with noise and pops when it comes to EFFECTS PLUGINS and TEMPO CHANGES. This is especially apparent with something like ALTIVERB. If you are using a lot of vst processing/effects plugins and have some tempo changes going on, this might be something to look at.
There is some foamy noise (I can only assume it is reverb) coming through after the percussive hits on your track(s) that sound a bit harsh/bit-crushed/lofi. It’s less noticeable in the second track, but still sticks out to me.