Marb, I totally feel your pain – in all honesty, it really does feel like a drop in sales in general here combined with a mass influx of content plus what I personally believe is a cleansing out process of non-exclusives to make Envato ‘more attractive’.
Not sure how many farting gunshot cat meows there are in the library, but I’m sure you’re right that they’re not unique despite sounding like it! If it’s any consolation, I’ve gone from 29 sales in Jan to 20 in Feb to 17 this month. If I go below 17 in April, I’m just going to close my account and put my efforts elsewhere.
It is definitely a dream of mine, but I would need to make 3 to 4 times that to be able to quit my day job. I don’t think it’s a good idea to put all of your eggs in one basket—especially as big companies are getting into this and just everyone on the planet pretty much. The over-saturation will unfortunately lead to a smaller pool of income for everyone. There will still be some who will make good money from it, but I think the number of those people will get smaller. I could be wrong about this, but I think it’s just the cold hard truth. And just the idea of trying to make as many tracks as possible, that will just contribute more the problem. So will making more tracks make you more visible? Maybe, but ultimately getting a higher quality will be more important. You don’t want buyers to be like “hey, I see his stuff all over the place” but not in a good way. It may actually backfire. So you want make sure that what you are giving others to see is something that is exceptional (something I must say I have failed to do myself).
I agree with everything you said Erick, but look at Kevin MacLeod who mass produces pretty poor quality material yet is wildly successful. That guy has done so much damage to places like this along with YouTube’s own library as they’ve become ubiquitously known among people seeking music and the quality doesn’t seen to be an issue for them. Out of principle, and to help improve the future of selling royalty free music for all of us, I choose to try produce the highest quality stuff I can instead of mass producing.
However, it means we have to find ways to market our work in ways that stand out and most of us aren’t good internet marketers (I know I’m not!) which is essential if you don’t get a helping hand from the marketplaces you sell on. And if you are a good Internet marketer, why would you drive traffic to a place that pays you 33% of each sale considering you can send them anywhere (like your own site where you can get 100% minus expenses like PayPal fees)?
Along with writing the best stuff we can, targeted traffic is really the currency that people deal with online as it’s the way you can make conversions and build a community. I’m working on building an email list at the moment, I suggest you all do the same.
Massive! That’s incredible! Congratulations, well done
Thanks everyone! Paul, glad I can be a hero to someone…
Just blowing a tiny little insignificant trumpet as I reach 1000 sales. Plus it was my birthday recently. A small feat for some, I know, but it’s taken me a fair while to get here – let’s hope these sales get back on track and I can celebrate the next milestone a bit more!
IMO, a winning strategy for AJ (or any music site) would be to offer 50% for all, plus an earnings ladder. That’s sure to bring more players to the table. You’re always going to link your videos, pages and stuff to the account that brings in the most cash in the long run. You don’t need exclusivity to gain loyalty. It’s really the other way around, exclusivity is like a prison and the day you can run away, you will.
For starters, the ContentID restriction is usually for 3 main reasons: 1) The library is still stuck in 2005, not willing to accept that composers now want to track their material with technology now available to them 2) the library is fearful of losing custom as they don’t want to deal with customers once a purchase has been made (ie. no support) 3) The library wants to submit and take claim on it’s composer’s catalogue on ContentID and rake in the cash from it (this one I’m seeing more and more, often without informing the composer first).
Yup yup. +1
Matt, what do you think about top-sellers list? There is EU VAT on their tracks too, so why they all still sell damn good? Btw sorry to see that your track is not in weekend bestsellers list, hope this is temporarely, That Positive Feeling is a masterpiece, wish to see it there again
I know the question isn’t directed at me, but my opinion on that is a mixure of:
- Top sellers are promoted both within and outside of AJ heavily mainly by being top sellers
- The influx of new SFX has meant people have to wade through lots of redundant things, so they probably go straight to the top sellers to save time
- People often sort by sales in search (I know I do)
- I expect the top sellers are a taking a small percentage of the sales going on, but as the traffic is normally quite high here (although not so much recently I get the feeling) that means they will rack up sales anyway
The move away from non-exclusives hurts people like me, but that’s just the policy here it seems.
As Matt said, on to new ventures!
I need simillar song to this song: http://audiojungle.net/item/your-ideal-presentation/6859762 but faster. Any sugestions? Is it for company video. It shoudl be serious.
Funny seeing you around here Here are a couple of examples from my AJ catalogue, not sure if they’re fast enough for what you’re looking for though…
Hope all is well mate!
In my opinion, no, it’s not fair. But there are many examples of other things that could be considered unfair here like the homepage layout, new invoicing system and subsequent tax responsibilities, search weighting and favouring exclusives etc. The only way around it is to adapt or move on to a different platform if it’s not working.
One thing I would say is try not to try win by numbers alone, as that’s a losing uphill battle. There will always be someone else producing more content than you, but producing something that stands out enough because of its quality or that has an interesting sound and is usable enough / has enough demand such that it takes off is the key I think. At least it is here (along with other factors like being given a helping hand by the curators).
That said, I don’t think there’s a step-by-step plan to success as the zeitgeist is constantly changing. I don’t write guitar-heavy (or strummed instrument-heavy) stuff, but that always seems to be a popular choice in the top sellers. Maybe my style of music will become the focus one day, who knows!? Maybe yours will?
But I feel for you as I’m in the same boat with dwindling sales here and everything does feel pretty unfair at the moment. Maybe focusing on a niche that no one has exploited (or you can exploit easily because you have more resources at hand) could be a more effective approach? It kind of depends on the market for SFX and I don’t know that area too well – is it mainly stuff like app coin sfx and game sounds that sell?