Sounds good. If I had to critique, what I’d suggest is a melody that is less reliant on longer notes, but has a bit more dynamism. You’ve got a nice, very sellable harmony, but everything is moving together in big, block chords instead of transitioning smoothly with nice, attractive voice-leading.
This is a nice resource on voice-leading through music history, and I think some of the techniques there could be paired with a stronger melody, and you’d end up with a really special track.
You’ve clearly got a great ear (the mix is really nice too, by the by), but I think just a bit more attention to a few little details could take this from something fairly run-of-the-mill to a really beautiful and interesting track.
I second the Wavesfactory recommendation. Really nice sound, and the sample triggering scheme is very intuitive (a lot of strumming instrument samples are essentially just loops, but Wavesfactory’s allow you more flexibility, meaning that you’re not locked into preset strumming patterns).
Be sure to pick up their picked uke samples too—equally excellent.
I listen to a lot of successful tracks and it seems about 30% fade out versus a “bada bing” type ending. Your thoughts? I’ve been working on a new release for a few days now and the ending is killing me. Nothing sounds right to me other than a smooth 3-5 second fadeout.
You’ll find that you get soft-rejected for fade-out endings. When I first started here I have roughly 50% of my tracks soft-rejected for this reason—and AJ was right to do so. Its easy to add a fade out to an existing track, but almost impossible to create a new ending that makes sense with nothing but other stock to choose from.
What I find most interesting about this discussion isn’t the question “is it fair to composers to license a $17 track for international broadcast?”, because it plainly isn’t. The interesting question is instead, “is it fair to Envato?”. They’re filling an important role in that transaction, connection a buyer with a seller, and right now, they are selling themselves short too. They deserve more than single-digit bucks for connecting a major advertiser with an excellent musician.
As has been mentioned, they’re really leaving money on the table by not allowing PRO registered works too, because they could be acting as a publisher. Now, I know that’s partially because they take the idea of “royalty-free” very seriously, but there’s got to be some middle ground between $17 for a license that works as well on YouTube as it does on NBC and getting in bed with ASCAP/BMI/SESAC etc. (Someone related, but a bit off topic is also the question of why I’ve seen threads wherein authors were led to believe, based on interactions with Envato staff, that theycan’t be members of a PRO at all, which is plainly false, and, if it were true, sure to cause a large exodus of professional composers from the site).
I’m pretty sensitive to this notion of price affecting buyer perception too—how are we going to be taken seriously as professional musicians if we’re lowballing prices by several orders of magnitude? I struggle with this as a composer—I’ve found more work recently by raising my per minute cost for custom work than I ever did when it was lower, and I find that the caliber of client is much higher when I ask to be compensated at a more “professional” level. I haven’t had any clients ask me why they should pay me $250-$400 per minute for custom work when they could license something for a lot less, but I have to wonder if that conversation isn’t going to start cropping up unless AJ is willing to figure out a new pricing model that better reflects the quality of authors like PinkZebra, Tim McMorris, Sky Productions, and so many others on this site.
And it isn’t just broadcast either—other mediums are going to become a problem too. $85 per track for the full score to a video game? That’s incredibly cheap. I get it that its hard to separate uses “where end clients are charged for”, but with the FilmMusic Magazine survey quoting industry prices that are, once again, orders of magnitude higher, why should anyone 1) take this site seriously or 2) not take us all for a ride?
In other words, this isn’t just about TV. Its about the overall approach to pricing as it applies to large-scale, professional productions of all kinds. Pricing should be fair to everyone involved—the client, Envato, and the composers. Right now, only one of those 3 is getting a “good deal”.
I love this genre of motivational/happy orchestral music. I don’t have a lot of 1 minute tracks in this style, but this one seems perfect:http://audiojungle.net/item/uplifting-flight/3138897
The first staff reply:
“Hey guys, seems like the question has already been answered – no, PRO registered music is NOT allowed to be sold as royalty-free music on AudioJungle.” (Emphasis mine).
This issue comes up from time to time, and I have never seen this position refuted. Additionally, the official Upload Instructions state:
“As AudioJungle is a royalty-free stock website, authors must not submit audio or music that is registered with any Performance Rights Organization (PRO) such as ASCAP, BMI, Harry Fox, SESAC or similar.“
At no time does the author agreement or official instructions state that members cannot have joined a PRO.
Now, your PRO may or may not allow AJ licensing, but that’s a different can of worms. This thread has more on that, although I’d double check some of the claims with a PRO rep: http://themeforest.net/forums/thread/royalty-free-vs-performance-rights-organizations/64497
If I understand AJ’s position correctly, it isn’t that members cannot be members of a PRO, they merely cannot register AJ items with a PRO (big difference).
Its great music—I enjoyed it more than the delightful video they created based on my info/pictures/etc. It sounds to me like it was recorded with a live orchestra, so I’m guessing it was custom work—at least I hope so! Someone deserves to get paid handsomely for that, as it makes the whole experience.
Really nice depth in the track, and a really original mix of styles. Fantastic work!
I had problems both uploading a new track and updating and existing track today. They both failed at the “processing” stage, but only once or twice. They then worked.