Posts by garethcoker

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garethcoker Reviewer says

Contact Support if you want to transfer your exclusive tracks to non-exclusive. (and what FXProSound said)

My posts are usually too long, so I’ll be brief. Regardless of how you proceed with royalty-free music or composition in general hereon, good luck. The doors will be open to you should you decide to go exclusive again or simply set up a new account and start over.

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garethcoker Reviewer says

Hi Gaetano

We followed the thread this morning and wanted to chime in, and clarify a few things.

1) We typically hard-reject when issues are numerous enough that they cannot be resolved quickly. This was the case with your track. Based on this thread, it’s clear that other authors don’t agree, and this is the main reason we’re responding, to clarify and go into detail why the track was hard-rejected. Regrettably, it’s not simply a case of ‘add a better reverb’ or ‘swap in a new more expensive sample library’. If only it was that simple!

2) The hard reject was not at all based on the quality of your composition. Hence you got the “This submission does not meet our general commercial production (sample quality/mixing/mastering) standard, unfortunately.” – as opposed to “This submission does not meet our general commercial composition/arrangement standard, unfortunately. “

This means the track has multiple specific issues with the production.

3) A track being hard-rejected does not mean it can never be re-uploaded.

As per Envato Knowledgbase – “Items may be soft-rejected if they require small changes. See our article on re-submitting soft-rejected items for more information. If your item has been hard-rejected, do not resubmit it without significant changes.”

4) For the sake of clarity, each track is judged on an individual basis pertaining to their composition / production quality, and general commercial utility for the Audiojungle library. These judgments are based on current review policies and standards. It’s important to remember that Audiojungle acceptance standards are continually evolving, as they have done in the last couple of years, and will do so in future. Past tracks which fail to reach these standards may be looked at again and possibly removed from the library in the future, as part of a library management initiative we are currently envisaging.

We’d advise authors that if in doubt, always compare with what is currently being approved, and also feel free to use the Item Discussion section in the forum before you upload your track.

OK, finally to deal with the specifics of your track.

The main issues are actually not with the quality of your samples, but how they are programmed. In fact, we’d recommend not just going out and buying new samples. You have decent libraries, but you’re not getting the best out of them.

- There seems to be very little to no expression on any of your orchestral parts. This results in your track – for want of a better comparison – sounding more like an organ than an orchestra. Samples – by definition – are generally static and lifeless – thus, you have to breathe life into them to get them to play better. You can do this with volume control, and most patches in sample libraries these days crossfade between different dynamics so you can get more realism into your sound.

Your MIDI data – especially for strings – should be COVERED with all kinds of expression/performance data. Once you add phrasing to your sampled parts, they really start to come to life.

- Your percussion programming is very good, but it’s lost because the choir is getting in the way of it in the mix. Choir needs to be pushed out to the sides (use a stereo widener) and you should put a distant reverb on it. There might be an arrangement issue here too because you have a LOT of sounds playing in that low-mid register. In a ‘live’ setting, this wouldn’t be a problem, but with samples, when low-frequencies stack up, everything can get muddy very quickly.

- Strings also sound very dry. You don’t need to put a massive reverb on them but you need to put them in some kind of space to get them to breathe a bit more. There are tons of great free reverbs on the net.

- Your piece seems to have only one dynamic, and combined with the lack of expression and phrasing, this makes the piece a little monotonous after a relatively short period of time. There are numerous tracks on Audiojungle that don’t use expensive samplesets, however, time and care was put into their programming to bring them to life. A lot of what we are looking for in the review team is ‘feel’. It’s something that is difficult to describe, but you know it when you hear it. A lot of those tracks that are using dated sounds are hiding the aesthetic by performing them well.

- There were a couple of good suggestions in this thread already, but most notable is the one about using other ‘good’ samples to cover up ‘older’ ones. A very good tip.

- The most important thing to remember, is that unfortunately, you can’t get away with just uploading the notes of a well-composed track. Music should be a performance, and if there’s nothing in the music to suggest that the track is well-performed, it makes it less likely for us to approve it.

For these reasons, your piece was hard-rejected. We don’t believe that the above issues are ‘quick’ fixes. A ‘quick’ fix would be something like re-mastering a track, fixing a couple of wrong notes, improving the recording quality of a certain part or technical issues such as the correct MP3/WAV format. Here the issues are more high-level that apply to your whole piece.

We don’t all expect authors to be producing Hollywood level music. It’s not just about the sample quality. We’ve heard composers make incredible sample libraries (Symphobia, Albion) sound terrible, and we’ve heard composers make older sample libraries sound fantastic! It’s often about how convincing you can make the performance and getting the best out of your samples. You’d be surprised at how many things you can do to make cheap sample libraries sound better. Obviously, the ideal solution is to have the best of both worlds (good sample libraries, good performance) – but we’d encourage the latter before the former.

And with that, that leads me to a shameless plug of a tutorial I wrote last month, which specifically deals with these issues. Note that this not a ‘how to get the BEST sampled string sound’ – but more how to get the best out of your samples, no matter what library you use. Hopefully it helps.

http://music.tutsplus.com/tutorials/the-ultimate-list-of-tips-for-producing-sampled-strings--cms-21216


Many of the tips in here with regards to programming can be applied across the orchestral setting.

We understand that it’s frustrating to get a track rejected, especially when it’s not with regards to the composition. However, you mentioned that you are a hobby composer, and perhaps one of the strengths of Audiojungle is that we review you ‘as a professional’ regardless of your background. We are all equals here, and thus in the interest of fairness the same standards are applied across the board.

We hope this clarifies a few things for you, and thanks for bringing this up in the forum which will hopefully allow multiple authors to benefit from your post.

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garethcoker Reviewer says

(Anyway Gareth, as a side note, don’t think I didn’t just notice your new badge! ;) Did I miss an announcement? You’ve messed up my Elite count now! Anyway huge congrats from me on that sir! )

It’s been there for a month. Alas, no-one created a thread at the time. I guess that’s what happens when you become a reviewer! :p We are the enemy now! Also, still a couple more badges I need to obtain. Gotta catch ‘em all…

Regarding construction kits, I know we do our best, and the team has a pretty vast knowledge of many construction kits , but we can’t possibly know all of them. Adrien (senior reviewer) may chime in on this thread as he can give a word ‘from the top’ on this issue.

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garethcoker Reviewer says

Unfortunately, it’s actually not looking so slim these days (in the EDM category especially). Just in the last year or so, I’ve seen a host of many new sample libraries popping up with aggressive marketing, offering very affordable royalty free sample packs and construction kits (lego style), promising to sound exactly like all the big names in the industry.

And 6 new ones from a VERY high profile company/sample developer in the last 12 hours…..

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garethcoker Reviewer says

Thanks for the suggestions.

I think Impact Designer looks really interesting. Most of what I see, however, is stuff where you are just getting another sound designer’s sound. I guess I’m looking more for programs where you can take your own recorded samples, or a combination of synthesizers and effects, and make your own custom sounds. Basically, I want to create what those sound designers are selling in your links. I’m not sure if it’s okay to take what they have made, then make my own sound effects and sell them as individual sound effects. Or am I wrong? Certainly you can use them in your music, but is it okay to make custom sound effects from another person’s custom sounds and sell them as your own?

I really appreciate the posts, thanks!

Camel Audio Alchemy allows you to import your own sounds. It is an amazingly powerful synth.

http://www.camelaudio.com/Alchemy.php
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garethcoker Reviewer says

what is that website all about?

Website packed full of resources for composers, focusing on film and traditional orchestration. They also sell are a distributor for some sample libraries.

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garethcoker Reviewer says

Your username is BrancoG

Your API Key can be found in the settings page of your profile ( audiojungle.net/user/BrancoG/profile/edit )

At the bottom on the left hand side menu, you will see API Keys.

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garethcoker Reviewer says
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garethcoker Reviewer says

I don’t understand why every brass library doesn’t doesn’t record the horns individually

Take a look at this.

http://www.spitfireaudio.com/bml-horn-section-volume-1
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garethcoker Reviewer says

But what if somebody is looking for something out of ordinary, for example if they need an elaborate solo? Not all music here is bought to be used in 15sec commercials, I suppose there are customers who look for something that may pass as a proper song or piece of music. But it is good to have a better view of what it is you want and what not. Thank you for this article, it will make some things easier.

You can always add a variation in your ZIP file, e.g. ’’AwesomeMusic – Main Version” and then “AwesomeMusic – Main Version With Elaborate Incredible Virtuosic Solo” :D

Often it’s case of – just record the track as you like it, and then go through it and if there’s anything that really stands out and diminishes the use for background music, use the ‘mute’ button. That’s your alternate mix :)

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