3217 posts Point. Counterpoint.
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ADG3studios Envato team says

My opinion is.. no matter how hard you try.. you’ll never please everybody.

I think if audioJungle launches and tries to cater to all the needs of all audio seekers across all media, it won’t happen.

There is music for film, TV, radio and multimedia industries, just for starters.

Given the established and still growing position of FD in the Flash/web/multimedia domain, I would think it natural that the primary audioJungle niche would attract the web market. That is to say music for sites, CDs, presentations, and especially music for flash game developers. There are TENS (if not hundreds) of THOUSANDS of flash game developers out there, and even more coming of age as the months go by. ( see gamedev.net)

I certainly agree that a stronger emphasis needs to be placed on quality, and the approval bar needs to be raised but I dont think excluding everything that is not mastered to broadcast quality will do AJ any real good.

Like you said SubKutz, “if the file is going to be compressed and put into a flash website or game it doesn’t really matter.” SO a standard of acceptability would need to be established. Off the bat, I don’t think AJ will be competing as much with music libraries that house content for placement in TV and film. Perhaps down the road, and I’d be all for that.

Anyone’s free to disagree, but I think AJ should pick its focus, its target market and move in that direction. Maybe there wont be as many pieces that will end up on TV shows or in the movies, but basing on the price range of the royalty free microstock model, I’m inclined to think designers and content developers will still be very eager to check out what’s available.. and despite the fact that there is some questionable audio on FD right now, I think it’s safe to say there is whole lot of good stuff here too.

Success follows striving for excellence, not perfection. ;)

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brandtz says

Hi all

I am glad to see the thread is still alive!

I do agree with SubKutz in the matter of quality/standard guidelines needs to reviewed before Audio Jungle arrives. But i do also agree with Adrian, that not all audio needs to be mastered to broadcast quality.

That said, I still think the that the pricing is not reflecting the audio files quality. An example out of many is as follow. You can submit a single button click, and have it set to $1.00, that compared to a file with a grooving beat a crunchy bassline, a short melody, and a high quality mastering, set at the price of $3 dollars, makes no sense at all.

I do think that the pricing of a audio file should reflect the following:

Sound quality of the file. (some kind of quality scale, 1-10)

How it reflects the genre its been submitted to.

length and development/progress in the file.

Amount. (one single click button is just not enough in my opinion, at least between 10 – 15 button sounds in a pack)

I do know that music is universal and we do listen with different approach. But that said, some more easily seen through guidelines for the audio contributers and the audio approval staff, will be needed at the Audio Jungle.

Enough said! I am looking forward to the reveal of Audio Jungle! I think it will be awesome!

I am glad to see people are following up on this threat. Good or bad, Audio Jungle will benefit of that.

Success follows striving for excellence, not perfection.

( great sentence)

This one is my favourite: Keep it simple

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iDraw says
Success follows striving for excellence, not perfection. ;)

yea I see it in the same way as adrien and you lyden… I’m excited on AJ

my main motto is… love what you do :)

but I second yours adrien :D

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JType says

The fact is, composition, recording (and everything that goes along with that..), sequencing, mixing and mastering are all very separate tasks and stages of musical production and post-production, requiring very different skillsets. Who of us here are trained Mastering Engineers? I know I’m not.. Also, how many Mastering Engineers can compose well too?

Expecting someone to put all of those skills in to practice, for the sake of stock audio (no disrespect intended), is asking a lot, especially when considering the price that these audio files are being sold at.

So basically, I’m agreeing with SubKutz and Adrien, in saying that, if a file is not mastered to broadcast quality, then it should not be rejected solely based upon that.

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SubKutz says

The whole point of a stock audio site is to provide whoever with high quality music/audio for use within media projects.

If Audio Jungles target audience is going to be flash designers then why not just leave things as they are?

On to pricing, really hard to work this one out. Thought probably an hour, composition/creation never ending. A few minimal house tracks I’ve got out there took me about 1 month to finish. Then you have mixing/mastering 2 hours +

But no one really looks at the time it takes to make a track. Look at the music industry, you can buy an album of 10 tracks for £5. In the stock audio game people are paying for the license to use your shit. Nobody is going to pay x amount for poor quality music, this is why I’m stressing Audio Jungle needs to review it’s submission guidelines otherwise they wont sell anything.

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ADG3studios Envato team says
Nobody is going to pay x amount for poor quality music, this is why I’m stressing Audio Jungle needs to review it’s submission guidelines otherwise they wont sell anything.

That’s the straight dope in a nutshell, yup:)

but again.. “Poor”, as a term of judgment, is subjective, highly relative and relational.

So it boils down to this too.. how to determine what’s worthy, what’s not, and how to balance prices to retain buyers, while still regulating commissions to attract more quality composers (i would say based on whats’ customary on the stock audio market and competition models, if any of those composers are to be seriously courted )

IMO these are also issues AJ will really have to consider and tackle, thoroughly, in order to start things off best.

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SubKutz says

Working out prices. There’s lots of stock audio sites out there, all AJ would need to do is see what other people are up to. Heres 2 ideas.

You could let the author set their own price. This does have draw backs. People start to undercut each other. Or, people set ridiculous prices.

You could offer 3 types of license commericial, personal, or you could buy the track out rite(track is removed from the site and author sets buy out rite price). You would use the length of the track to price it.

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brandtz says
Working out prices. There’s lots of stock audio sites out there, all AJ would need to do is see what other people are up to. Heres 2 ideas.

You could let the author set their own price. This does have draw backs. People start to undercut each other. Or, people set ridiculous prices.

You could offer 3 types of license commericial, personal, or you could buy the track out rite(track is removed from the site and author sets buy out rite price). You would use the length of the track to price it.

I think the 2 types of licence sounds very great, I am not shure about the 3 one, there should be a lot more involved in pricing the track than the lenght of it.

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JType says

I agree with you there Lyden! And also Subkutz and Adrien again!

Athough the 2 licences is a very good idea, would it possibly undervalue the author’s freelance works if the buyer has the option of paying for a “personal” licence. Unless, of course, that licence was substantially more expensive..

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brandtz says
I agree with you there Lyden! And also Subkutz and Adrien again! Athough the 2 licences is a very good idea, would it possibly undervalue the author’s freelance works if the buyer has the option of paying for a “personal” licence. Unless, of course, that licence was substantially more expensive..

The personal licence should of cource be substantially more expensive.. ;o)

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