Love the fact that you said "we are human with our own biases and subjective preferences"... so true and important to remember when pitching music. Love your work!
Congrats Jelle! It would be great to hear more about your talents and music. Is there somewhere we could listen to your original music. Jesse, thanks for sharing this information nice to hear his story.
Hi Jesse, good videos, very informative and appreciated. Regarding vocal songs for Sync, do you think Exclusive writing is the way forward like most Instrumental composers or non-exclusive and take the "promote the artist" type route and spread the tracks around? Thanks
I still think the exclusive route is the better path. It's all about creating close, tight relationships with Libraries and in my experience the exclusive ones are the way to do that.
I've watched a lot of your videos and honestly I feel overwhelmed by the caliber of info and people you interview, I'm just a simple songwriter , I have no bachelors ,I'm not trained I just write pop songs that move me at the time. Honestly when I watch your videos I have to ask " is there a place for me?".
If you can create the tracks from your home studio then you can be a player in this business. If you can't produce your own tracks, you would need to partner with a producer in order to start creating some licensable music.
Thank you for the input 🙏 I do team with a good engineer but I don’t crank out the sheer volume of tracks most of you seem to. My process is a bit slower.
If the reference track that you’re using as a guide involves a full orchestra (full woodwinds, brass, strings and percussion section, plus additional non-orchestral elements), how does this square with the advice to be minimal in the use of instruments? I’m thinking of symphonic-sounding trailers.
I think the general advice is use as little as is necessary to pull of what you're going for. Many producers (including myself) have a tendency to over-stack their tracks with instruments in an attempt to make it bigger/fuller.
Now when you talk about copyright issues with virtual instruments, splice, loops etc... Is he saying his libraries won't accept a track with ANY midi instrument? For example, I just found "The Free Orchestra" plugin, and it has a great staccato string sound that can be implemented with midi, would this be frowned upon?
Also he has a pub deal so that helps a lot I'm sure leads to most of his placements... He got a deal from the gate while this interview is a good but not for people with no deal and no contacts
That's doesn't make sense. How can you not use Tina Guo's VST or other VSTs anymore? Isn't that exactly what they're for? If that was true, then we couldn't use any VSTs supposedly and would have to record a full orchestra every time we want to use East/West strings for example
True, legato's and staccatos you can absolutley use, but it is the melodic pre recorded phrases that causes issues. Bassically it is a snippet of a composition, and this and any other pre recorded melodic content can trigger for example the RU-vid content ID, or conflicting PRO statements. This is why libraries are now more aware of these plugins and forbid you in their agreements to use the melodic samples. You are absolutly still free to use the legato patches and other articulations, because then you create something yourself, but with these phrases you don't have much control. You can however proccess the bazingas out of it with distortion and lots of reverb, but that is still a risk.
I even heard of a producer who got into trouble for using a preset on his casio synthesiser, although the melody was different, the overall sound was the same and not tweaked, leading to a legal issue between the two producers.
@@jelledittmar But Jelle, Tina Guo isn't a "phrases" type of library like SonuScore's lyrical bundle so why did you mention this library specifically? it's just a true legato Cello library. But anyways, I quit buying any phrases-based library when I knew about this fact last year and luckily I don't have any of Sonokinetic libraries because of that. At the same time, I wonder why do developers still push these phrases-based libs and composers still buying them? And I wonder what about Action Strikes or even Damage 2? They are considered pre-recorded drum loops
@@richardwilliamsmusic yes, everything that has not been created by you, in this case MIDI packs, are in violation with the most recent agreements. That's why Library music is sometimes a difficult industry. It is a numbers game and you constantly need to come up with original tracks adherence to brief without copying the original refernce track when given. Like mentioned in the video, I created 500 unique tracks in 3 years, and the amount of energy that can take is huge. Almost led to a burn out with me, so that's why I'm taking things slower now and focusing more on quality than quantity. But with the right software and templates you can make your life a lot easier. So in short, every melody, wheter a MIDI pack or a pre recorded phrase or loop is a no no withing the new agreements set by some libraries, due to the fingerprinting technology like RU-vid Content ID. Although it could be with MIDI packs when you just ad another sound to it you can trick that system, but why risk it? The melody of fur elise for example stays the same on every instrument, and when a judge will investigate the difference between the melody they will always look at who created it first. Melody can't simply be copied in another song without the required rights.
