First upload- Classical Piece, Rejected - Any feedback much appreciated

My first upload “Sad Romantic Strings Leading to Crescendo” was rejected - I’ve uploaded now to YouTube - hope the link works! I should say first that I had all the correct file formats and the watermark in place with the upload. This Youtube vid is without the watermark.

Here’s the Envato response:

"Unfortunately, this submission doesn’t meet AudioJungle’s commercial quality guidelines overall, and can’t be accepted.

Audio must be fully composed, arranged, mixed and/or mastered to a commercial standard, and have reasonable potential utility to our commercial buyers, for their varied projects. Ideal audio submissions should demonstrate the ability to support multiple visual works in general. A higher degree of general commercial viability would therefore be required."

Is this stock feedback for all rejections?

I felt that the mixing and mastering were up to standard, however, fair enough if the actual music is not that ‘commercial.’ But, are buyers always looking for something ‘commercial’ sounding?

Any feedback would be appreciated.

Hi Ian. First, welcome to the jungle :slight_smile:

Yes, the responses are canned. I think there are two different ones, but I’m not sure about that, I only got hard-rejected once. But I’ve been doing this for a while and usually write for higher-end libraries or do commissioned work. That doesn’t mean at all my next tracks here won’t be hard-rejected, I guess it can happen to anyone at any time, and I’m certainly just starting out in this kind of market here. It’s a different kind of beast…

Missing watermarks, wrong file formats etc. usually would be a reason for a soft-reject, and you can upload again after fixing it.

Don’t be discouraged, you sure have a ton of talent and I don’t have any doubt you’ll get there in the blink of an eye. Fun fact: The one track of mine that got rejected here is my most successful one, by far. I published it under another pen-name, and it’s been used in trailers and big TV shows world-wide, made me a ton of money and gained over 250 million views on various YT channels. So, I’m glad it got rejected. :rofl: I still have no idea why, we even recorded a real orchestra for it. It would be great to get some real feedback by the reviewers here, but sadly that isn’t the case. But in the end, after a while, it doesn’t matter anyway. Write, upload, forget, repeat.

Although there are some classical tracks here, this isn’t exactly the place for classical-style music.
Most of the customers here seem to search for other genres of music. Just have a look at the popular files section and you’ll see what I mean.

I think it’s a decent track and I really like it. You have very good virtual instruments and know how to use them. It’s a rich, natural sound.
Some constructive feedback (just my humble opinion of course): You could invest a little more time into automating the CC’s. You did do a lot, but you could do more (you always can, I know…). Some moments (1st violin) sound a little too harsh for this kind of piece. Really not much though. Some further EQ’ing or some more saturation might do the trick. Especially with high string sections, some tape saturation is always a great thing to soften out the high end without reducing the high frequencies too much. The cello slur around 00:12 could be much softer to my ears.

Regarding the composition (for a market like this): The piece is quite short, but very episodic. There’s a lot of development in a short amount of time, and it’s very dynamic, which won’t make it a good fit for many media productions. Which most likely is the main reason why it was rejected. That doesn’t mean at all that there aren’t projects that would greatly benefit from such a kind of piece. Certain kinds of scenes in a movie, documentaries, etc.

Mix and mastering are fine, I’ve heard way worse here.

Personally, I would license it to another marketplace more focused on classical music.
And really spend some time listening to the popular files sections in different genres here to get a grasp of what works for this kind of market.
Have a great weekend :slight_smile:

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Hi fulvia1973,

First off, I should say that so far the handful of pieces I’ve submitted to AJ have all been rejected, so you should bear that in mind when considering my opinion.

As to your piece, I thought it was very well composed and of a quality to match many of the pieces I here on Classic FM, which is a UK-based classical music station. I liked it very much.

As to its suitability for AJ, this is what I’ve gleaned from the help that’s been given to me by other authors when my works have been rejected. I may have been mistaken in my understanding of their advice, but I don’t think so.

First of all, as this document, ‘Music General Acceptance and Sales Tips For Musicians by Musicians’, which is here - - says, “Music’s primary role in nearly all commercial projects is supportive. It is meant to enhance and compliment the visual message. This means that any audio which is able to accompany more visual works will have a higher chance of success. You should always keep this in mind when producing audio to sell as stock.”

In that regard, I think your piece may lessen its usefulness - on AJ, I mean - in several ways.

Firstly, from what I understand, the music we submit is primarily background music, whereas yours is what I would call foreground music: it is for listening to; its purpose is to take front and centre stage.

Secondly - and I’m guessing that this is what ElysiumAdioLabs was referring to when he or she wrote, “Some moments (1st violin) sound a little too harsh for this kind of piece.” - when the violins suddenly jump out at the listener at 0:25 and 1:09, they are going to draw attention away from the visuals they they are meant to be supporting.

Another point where the piece does that is at 0:45, where you have used an abrupt modulation. There’s nothing wrong with that per se, but I’m not sure that it’s best to use that kind of thing in background music.

And lastly - and I’m not sure that I’m not being a little over the top here - there is that Picardy third in the final cadence. That sudden change of tonality - like the abrupt modulation mentioned above - will always draw attention to itself and have a very strong effect on any visuals it is supporting.

I almost forget to say this. Unless you want people to be pilfering your piece, why don’t you upload it to SoundCloud instead of YouTube. On the latter, anyone can simply listen to your piece, download it with Download Helper, or whatever, and try to pass it off as their own elsewhere.

That does happen. On SoundCloud, at least you can set your preferences to make that extremely difficult - if not impossible - for the average person to do.

Good Luck

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many thanks indeed for your excellent feedback. And all you say is really encouraging. I agree with the EQing, and could have rolled off a little more top end or added some more saturation (there’s a little already - but, yes, I could look at using more).
And that is interesting that your rejected track here has gone on to do so much elsewhere.

Many thanks for the time spent listening and commenting!

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many thanks for your insightful feedback, which is really helpful. Mind, I’ll have to dig out my harmony books to remind revise the “picardy third”! :rofl: I agree, I guess the various modulation does draw attention, and it seems as though the idea here of ‘background’ music will help me better understand the way the music ought to sit.

Thanks also for the advice re: Soundcloud - I’ll start to use that I think :+1:
Many thanks

It’s too deep for AJ. Try some simplistic stuff you hear in jingles and such.

Hi fulvia,

The harmony books often give a lousy explanation of that third. Really, it’s just a type of chromatic chord, in this case, a borrowed chord.

It is when you are in a minor key and, at the cadence, you are expecting to hear a minor tonic chord, but instead a major tonic chord is used.

Its name in French - tierce de Picardie - is just a fancy name that refers to where it originated from. At least that’s what I remember my piano teacher telling me all those years ago.

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