Posts by garethcoker

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garethcoker Envato team says

If I had stuck to a price list this year. I would have lost a significant amount of money. Every single project is different. To give you an idea, I had one project this year where the budget was $12,000 for 30 seconds of music. Another where I did a project for $400 for 3 minutes of music. It just depends on so many factors.

I have also hired people this year that based on their initial prices, were well out of range of what I could afford but people are generally flexible if you talk it out.

Most deals I make are package deals (all inclusive). On rare cases there is often a separate budget for live recording in addition to creative fee.

I don’t charge for revisions, UNLESS they are conceptual changes. If a project needs many revisions, someone screwed up somewhere. Either you, the composer – in which case you should take responsibility. Or the client (completely changing edits, new content, etc…) and they should take responsibility. You’ll find most companies will agree to this as it’s very reasonable.

And above all, I definitely don’t charge an hourly rate. I don’t know how I could charge an hourly rate for creating music, when there are often many hours where I am procrastinating/thinking/getting inspiration. All of this can – and often does – help the composing process, but I don’t feel any client would understand this, so I just do a flat rate / per-project basis. Creating music – to me – is not like a factory job where you clock in and clock out.

People aren’t paying you for your time, they are paying you for your ideas.

As for what you’re worth, only you can decide that. There are many things to take into account. Some things to consider are:

– Your education. (more education, higher cost)

– Your experience. (more experience, higher cost)

– Your overheads / cost of equipment. (more gear, higher cost)

– What people have paid for your music in the past. (depends…)

– Whether you actually like the project. (the more you like it, lower your cost)

- Whether the client is a repeat customer. (Double-edged sword, they may want a discount for coming back, or they might have a bigger project – and therefore more $$$ because of great work you did previously. If you develop your relationships, the flexibility goes both ways).

– How much the project will benefit your career. (if it’s early on in your career, lower your cost)

Not just limited to these though, there are probably more I’m forgetting. There are no rules to any of this, just make sure you’re 100% happy before signing the deal. Hope this helps a little.

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garethcoker Envato team says

What I’m about to write is my personal opinion and doesn’t reflect the views of Envato at all.


And they are all exclusive so there is no problem.

Unless I misinterpreted the meaning of the word ‘exclusive’, the high-end boutiques that endorse AdRev on AdRev’s homepage are definitely not ‘exclusive’ libraries. Anyone can buy a license from them if they have the money. One would have to pay a fortune to exclusively license any of those tracks (it does happen) – but even then, it would be time limited. I’m sure content ID claims have been made on very high-end vids that use the same track.

There are plenty of examples where {famous trailer music track X} was used in multiple amateur YT productions – definitely unlicensed, and I’m sure it was picked up. These videos that are being made probably on almost a daily basis are the reason why the high-end boutiques are registered with AdRev, to protect the fairly unscrupulous usage of their tracks.

Anyway, that is getting slightly off-topic.

There are some exceptionally famous/well-known tracks here on Audiojungle used on multiple videos across Youtube and further. Given the lower license prices here than in a boutique library such as “Ukulele Whistling Music Volume 1, by Boutique X”, to me it is hardly surprising that authors choose to protect their work.

I don’t think anyone on this thread is claiming that AdRev is a benevolent (or evil) company. They simply provide a service that authors/libraries can opt-in to.

However, I think the reality is that we are in a transitional era in how digital rights are handled, and unfortunately, cases like the OP’s are going to crop up from time to time until things become set in stone. Currently the system protects the author ahead of the buyer, rightly or wrongly. I have great sympathy with the OP and completely understand that the end user (in this case the owner of the video channel) should not have to worry about any of these things once they receive their final product.

To my knowledge, unfortunately there is nowhere in Youtube that allows you to show that you have a license at the time of uploading and this is perhaps the biggest flaw in the system currently. Attach a PDF license file to your video upload, and you should be done.

AlumoAudio’s post shows that it is clearly a problem that needs to be supported and regulated. I’m sure other users can cite similar examples.

Until procedures become more standardized and digital copyright is streamlined for both the author and the end user, it is up to content providers (if they want to) to educate their buyers as best as they can. Additionally as things currently stand, it is also up to the end user as to whether they want to go through the hassle or not of dealing with issues such as these. This absolutely sucks but I can’t really see an immediate solution. Lobbying Youtube and AdRev to make the process more streamlined (and citing these examples such as the OP’s which are very problematic) is probably the best way forward, though it is going to take some time.

This whole thing seems to share some distant parallels to filing cue sheets for broadcast. I don’t know anyone that wants to fill out those things! (Especially on reality TV shows where dozens of cues are used). And especially,I don’t think that {insert broadcaster here} wants to pay the GIGANTIC blanket license cost every year for the rights to use those tracks when they might have already paid a production company a budget for music. For broadcasters, that’s the current reality (which I am sure they are looking to change at every chance they can get). I don’t know the history of cue sheets, but I can imagine that if they were introduced in today’s age, the opposition to them would be exceptionally vocal.

Online music and its usage is still in its infancy, and because usage of it on Youtube and other video sites was pretty much like the Wild West for a while, it became the status quo. It’s hard to change the status quo but based on what I’ve seen and read some form of regulation of it needs to happen, but in a way that is not anti-consumer.

It is both a blessing and a curse that we are all working in an ever-changing and freely evolving worldwide industry/marketplace. Both exciting and fraught with challenges. The passion in this thread from both sides kinda reflects that, but as with a lot of these issues, they will eventually get resolved, and then something else new will come along!

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garethcoker Envato team says

They could go to a more “professional” boutique but guess what? It won’t be $18 that’s for sure!

Most of the high-end boutique libraries are signed up with AdRev too.

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garethcoker Envato team says

Good quality samples help a lot, but it is just part of the overall package. There are many examples of great samples being used incredibly poorly, and there are many more examples (especially from established composers) of older/lesser-quality samples being used incredibly well. It has as much to do with the arrangement/orchestration as it does the quality of the samples. For example, great samples, will never fix a badly voiced chord.

Newer does not equal better in the sampling world, certainly not for all companies. The main difficulty with samples in the first place is that something ‘static’ is being captured.

Music, by definition is not static.

There are still libraries that I use that are very old now (in one case, more than 10 years). Some libraries were just able to capture a certain sound that has an X factor when you play it, or helps me actually feel something. The most recent library that did this for me was Sable Ensembles. It sounds like a library that was lovingly created. Remember that sample development is a business, and the companies making the products need to make money just like we do here. Some in particular are very good at flowery advertising and it is not backed up in their products.

It’s very difficult for composers though, because there is no real way to effectively test this stuff other than Trysound. If you are short on cash and having to make a choice, ask around. It’s likely that someone here will have the library you are considering.

As for serendipity, almost every good idea I had came about because I wasn’t trying to think of a good idea. It’s funny how that works.

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garethcoker Envato team says

How many items are possible to review in one go until you can’t discern good and evil anymore?

There is no good, only evil. For every Mat, there is a Gareth.

:evilgrin:

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garethcoker Envato team says

Spitfire Sable.

I also use Adagio and Adagietto, but Sable Ensembles is almost always my starting point for strings.

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garethcoker Envato team says

Sable Ensembles is OUTSTANDING.

You also can’t really go wrong with Albion 1/2. Albion 3 is a luxury/niche product really only worth it if you’re doing very heavy (as in loud) orchestral stuff. Falls into the ‘nice to have but not essential’ category.

HZ Percussion is very good too, but you’ll get far more mileage out of Sable Ensembles and Albion 1/2. They offer the best bang for the buck.

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garethcoker Envato team says

For 1 week only – or to the 1st one thousand people.

Scroll down the following link, and you’ll see a link to a free loop library (it originally cost $99.99), ‘The Beat Aesthetic : Taiko Edition’. Nine Volt Audio was a pretty fantastic company before it closed.

http://www.ninevoltaudio.com/index.html

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garethcoker Envato team says

Hey Tim, thanks for the shoutout! It was great to meet you yesterday.

It’s been a crazy hard but also enjoyable week in Nashville. A lot of music to record (102 minutes) and the logistics involved in getting that altogether is pretty insane, but we got it all done.

We have some very raw video footage which contains a cue that we’ve already shown publically. We had a videographer there as well shooting stuff in 4K, so eventually we’ll put together a mini-doc, but for now this will have to do.

This was take 1.

https://www.youtube.com/watch?v=3ON2EBJkIvE

Thanks for the kind words everyone.

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garethcoker Envato team says
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