Bridging the Gap With Stock Music

This shouldn’t come as a surprise, but it’s true, paying for music and adhering to copyright laws does create jobs, like in this post.

And yet, the “free music economy” persists, as more and more internet surfers demand cheap or free content to use as they please. But I think there is a happy medium between the “free music economy” and prohibitively expensive licensing, and that happy medium is stock music. As computer and mobile devices become increasingly more capable, and barriers to entry in creative tasks fall, more and more people want that soundtrack for their slideshow, presentation, home movie, or viral YouTube hit. I would say most infringers steal because they simply can’t afford to play the music industry’s game, nor is their project worthy of that kind of scrutiny.

Instead of stealing, though, which I think we can all agree stifles creativity and hurts content creators, keeping food off their tables and forcing otherwise talented artists to find work elsewhere, stock music is a reasonable, affordable alternative. Artists should look at ways they can bring their products to market in ways such as this as a more desirable alternative to giving away all their stuff for free. Doing so would counteract the pirate culture. I see stock music as bridging the gap, either to bring out an unknown’s work to the public, or to lengthen the revenue tail of a song that has fallen by the wayside amidst constant musical innovation.

Similarly, multimedia authors need to step back and do things the right way. Afterall, they probably wouldn’t like it if we broke into their home and took their family photos and plastered them online… unless they already do that on Facebook. There are options for affordable projects — and stock media is one of them, which effectively keeps musicians and artists employed and the economy running so that there will be new music for the next project.

Reorganizing The Production Music Studio

Every now and then I get a little antsy. Lately, I’ve been thinking of updading my home studio with some new music production gear, software… or even just rearranging the room a bit. I’ve always wanted the studio to be an inspiring space, something that lends itself to hours of work comfortably, while also giving me that spark of creativity. For me, the studio needs to be fun and inviting — I have to want to go in there! Otherwise, I won’t be creating much new production music, or doing my work for that matter.

I stumbled on this swank set-up: http://www.desktopped.com/featured/2010/11/home-av-recording-studio-and-tv-room/

A bit lacking in music gear, but pretty sweet nonetheless. It kind of reminds me of my office, but there’s something about it that screams I can be creative there. Or I can get some work done there.

Maybe it’s just the clean desk.

What’s your setup like? How do you keep your music production space fresh and inviting and inspiring? Do you have a dedicated room for your home studio, or did you throw all your music gear in a corner or closet. Or do you work in a dungeon?

Production Music Using Video Game Controllers

Admittedly, one of my favorite music production plug-ins is RealGuitar by MusicLab. I use it daily for creating production music tracks in my project studio. It’s relatively inexpensive (like $200), and sounds great, is easy to use, and I’ve been able to fool a lot of people into believing they’re hearing an actual guitar. MusicLab announced the release of RealGuitar 3, and it looks great. Now, you can take that Guitar Hero axe from your xbox or Playstation video game, and play it into your sequencer like a guitar. The results of such an interface capability rival the expression and realism (well in performance, anyway) found in the old MIDI wind controllers, only this time with better sample quality. I was blown away by what I saw on the video and can’t wait to try this with my own production music in the project studio. Check it out:

Selling Royalty Free Music: Are You Giving Up Too Soon?

The following is a real life email from a real life customer on Productiontrax.com:

Hi Dave,

Last week I found some great music tracks on your website. The track ID numbers were 1234 and 5432. I tried out the free low-res demos and they worked perfectly in my film, and now I’m ready to license them and download the hi-res versions. Unfortunately, I can’t seem to find them anymore on Productiontrax. Can you help?

Sincerely,

Joe Customer

It never fails. A composer puts some music up on PT looking to make a quick sale, and then hides or removes the track completely after only a couple of days, disappointed and frustrated that it hasn’t licensed yet.

Granted, there are many good reasons to pull tracks from your account: you signed a deal with an “old skool” library, you’re changing careers, you just licensed the same track to another customer on an exclusive basis. But what we tend to see are composers who get impatient, expecting customers to immediately buy tracks within minutes.

So what should you do? What is a reasonable amount of time to give a track to sell before considering other options? I suggest these following rules of thumb for selling royalty free music, sound effects, stock footage, and photos on Productiontrax:

1. Know your audience, and their buying habits. This is true for any business. Multimedia producers are just as finicky as you are, and they’re more of a perfectionist than you are. They want the music they buy to be perfect, and every hit, pulse, and beep should line up perfectly with all their edit points. They want free comps to test out for days, weeks, months, until they get the rough draft just right. Then they buy.

2. Diversify and build your library. It’s true, the more you have on PT, the more you sell. But you don’t need as many as you think. Don’t upload 37,000 garbage files, because then no one will buy your stuff, and you’ll just be flooding the marketplace with useless media. Focus on quality, and create media in a wide variety of styles and genres. Challenge yourself in new areas, maybe weekly, or even daily. Take each track you write, and make a :15, :30, and:60 cut. Make a stinger. If you write one song a week, you can make it into 5 useful tracks. That’s 20 tracks a month. That’s 240 tracks a year.

3. Be patient. Building sales consistency takes time. Consider leaving your files up indefinitely – you will see the return. What is it to you anyway? It’s not like you have to sit there and stare at the screen. Just upload and forget about it. The most successful contributors have racked up tens of thousands of dollars in sales over the course of just 2 to 3 years. They simply upload a lot of good useful music, describe and keyword their files well, and then they leave it up there whether it sells or not.

4. Be aware of seasonal dips and quiet production months.Many of Productiontrax.com’s clients tend to be professional media creators, or work for businesses. This means they go on vacations. They take holidays. Think of the times of year when you’re not working, and expect those few weeks to be slow for you – but don’t think it’s a sign that you need to move on. All good things take time.