Jamie, you’ve got a new fan. Love this kind of stuff – I’ll also be looking for it on Amazon.
Bookmarked – looking forward to watching these, thanks for sharing Jamie and congrats on finishing them! I can imagine it was a lot of work!
Taco, have you heard of people running logic x along side vienna ensemble pro? VEP processing of VST instruments is much more efficient than within logic. I set up VEP to stream into logic on my same rig (slave rig is even better) and it works so so much better than having everything inside logic.
That’s actually the set up I have – I’m running 3 or so VEPro instances on my Mac Mini and routing it into Logic X’s mixing board so I can add effects etc there. However, there’s this weird thing with record-enabling a track in Logic even when all the instruments are loaded in VEPro instances whereby a single CPU spikes and you get this nasty digital distortion. It seems to prevent Logic from distributing the processing power across all cores.
I’ve tried using buses for all my inserts as that was posted elsewhere as a solution, but nothing seems to have worked yet. I’d hoped going from v9 to X would sort it, but nope. Have you had te same issue?
Ps, sorry for hijacking this thread, I’ll start a new one if the conversation gets going.
Pps. Gari and Jamie, I’m drooling with envy over your set ups
I’m really having quite a terrible time with sales at the moment, not sure what to do. I’ve uploaded a new track I spent a bit of time crafting, so let’s see if that helps things, but I’m not hopeful based on my last upload!
How many HDMI monitors you running?
I’ve not experienced the record-enable core spike thing on the mac pro, nothing like it. In fact nothing I’ve thrown at it yet has caused a crash (wish I hadn’t typed that…might have jinxed myself).So far I’m very happy with it, although kicking myself for missing Graham’s Atari offer.
I think we all want an Atari, or a BBC Micro to play Repton on:
Great to hear you haven’t had any issues with it. It may well be something to do with my set up, as much as I like to think of myself as technical, I have my limits so it may just be a serious brain fart that’s stopping me getting around the issue. Still want a Mac Pro though.
I have two 23” HDMI screens which has served me ok for the time being, but I get the feeling I’ll need to get another one to use with the Mac Mini when I finally get a Mac Pro so that I can use VEPro on it as a slave. I feel another brain fart coming along just thinking about that though…
Do you have multiple SSD HD’s hooked up to the machine? I’m already at my limit with a 4tb FW800 / USB 3 G-Tech drive and on a continuous cycle of needing more it seems these days!
Jamie, you’re running Logic X if I’m not mistaken right? I’ve been thinking about upgrading to a Mac Pro for the film work I do too so your set up interests me too. One thing I have a REAL problem with at the moment in Logic X is the record-enable thing where one core spikes when it’s enabled. Just can’t seem to shake it. That combined with the fact my Mac Mini just whizzes off to space every time it’s a bit hot in Seville (which is most of the time, much like where you are I expect), so I wanted to save for a Mac Pro I best use the SSD’s, quietness, extra horsepower and not feel like my machine is about to melt every two seconds. Assuming I could use TB to HDMI adaptors for my HDMI displays correct?
Nice one, that’s a very impressive leap to Elite status in such a short time!
As a freelance editor, many of my broadcast clients have purchased tracks (several hundred over the past few year alone). Now that the price has jumped from $18 to $306 for national broadcast, we will no longer be using audio jungle. Thanks for a good run!
I understand it must be frustrating seeing such an apparently ‘big’ jump in price Brian, but honestly, the prices here haven’t been correctly pitched for a long time now and even that price point for a national broadcast is still incredibly cheap in today’s market.
As has been mentioned before, the figures for just getting an ad onto national TV is so much higher than what is being asked for and multiplies according to when you want your ad to air, the size of your audience etc. I’m sure you know all this, so your broadcast clients really shouldn’t have an issue with paying a bit more for music, especially as it is probably contributing a fair amount to the production and therefore success of the campaign.
...it might also just have had the right exposure at the right time, or it was marketed particularly well…
In a word, curation.
...or just happened to be linked to a website where it accumulated huge views…
Which is why I think YouTube has (or had) potential, but where all those affiliate sites are now suffering (and therefore many peoples’ sales) because of Google constantly changing the rules.
...or people just bought it with a herd mentality…
There is definitely that as well, I don’t think human nature’s propensity to follow suit can be underestimated, which is a large factor in why bestsellers are bestsellers.
...that could mean that any track of ours has the potential to become a hit.
Rome was not built in a day but…..................
That’s true and I admire your consistently positive outlook Graham, but this little pile of rubble I’ve been trying to form an empire from is a bit more tricky than it seems… I know a lot of people feel the same.
What is the key here? What am I missing?
Personally, I think it isn’t just down to things like:
- The musicality of a track
- How easily it fits into another production
- How many videohive projects you get used in
- The production quality
- Nor only down to how much marketing effort you put in (among the hundreds of other things).
There’s the curation aspect, and that’s a biggie. The musician’s lottery analogy still holds some truth here as an important element of getting sales is obviously exposure (particularly with 200k tracks in the catalogue now), which comes down to curation. Your winning ticket needs those bonus numbers, and that’s via the curators I believe.
There’s another important point from what I’ve seen, which is capturing the zeitgeist with your music. But writing soundalikes of what’s hot is risky in my opinion, which is why I try not to do it. That said, I do think I’ve shot myself in the foot by not going that route sometimes. My impression is that unless you go for the ‘timeless’ section of the market with your composing i.e. jazz, classical and other styles like world music that will always have demand (albeit in smaller numbers), then people will be looking for something that resembles what’s cool at this point in time.
Question: Is it possible to beat the little voice in your head senseless without actually hurting yourself?
Never, it’s a nasty little voice that needs a good beating. That said, please read the instructions before doing anything silly.