Track titles - generic description vs something a little more creative?

I hear you.

But in 2012 I was still working through Advertising agencies that paid anywhere between 8-30K per track (mind you, it could be months of work and scoring and orchestras etc etc). Perhaps I considered Library Music (as it was known) as “beneath” me. Then again, I lived in a happy little ignorant bubble.

But since we closed down the studios and I moved all my stuff into my home I figured Id give this a shot - if for no other reason than to keep my hand in.

Ive heard some EXCELLENT production here. Ive heard some competent composition and the occasional really good one (IMHO), but it’s slowly dawning on me that these things are generally unimportant in this game.

This is utterly fascinating.

Anyway, after hearing Fake Drake (and not thinking much of genuine Drake) I reckon we’re all about to be replaced by some nifty AI engine.

Hey Siri, give me a 2 minute Happy Energetic Corporate theme at 123 BPM with a Jeff Beck solo.

30 seconds later.

<kaching!!>

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Honor to you for being a real composer, writing a score takes an incredible amount of time, I know something about that. I participated as a musician in a video capture this weekend, I discussed with the director to try to offer him my music. He told me clearly “productions don’t want copyrighted music anymore, only royalty free”. So why break your head to make real composition that will only bring you a miserable license and not even royalties. Gone are the days of big budgets and direct orders from advertising companies.

Yeah, pretty much. I did a couple of films last year which was quite fun but this year has been pretty quiet.
Anyway, Im enjoying trawling through my back catalogue of unused and/or rejected material and placing it on AJ to keep my hand in.

Since you’re no longer doing the $30k big jobs, can I assume that the golden era of that market is also over?

Absolutely dead in the water.

I still receive royalties, which is nice, but Id prefer to be working. Apart from the odd film or doco the industry seems to have gone totally library. And why not? If I was producing a TV show with the kinds of budgets allocated for such things these days I most certainly would. TV themes were once a fairly lucrative business but I don’t think Ive written one in 5 years and I can’t see that turning around.

Its a bit tragic in some ways but I don’t really miss the stress of unreasonable deadlines and clients who think that altering “one or two notes” is as simple as moving a chair to a different part of the room.

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Мне кажеся, нужно больше уделять внимание индивидуальности, имя артиста

The overall mood or message of the song is sometimes expressed through wordplay, analogies, or connections in creative titles since they are more innovative. So I go for creative titles.

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Envato makes money. Dot. Not you, not me - Enwato. Search algorithms change and are never calculated by the user.
Enwato thinks about the client. Think like a customer and then Enwato will think of you. Then your track will be bought.
If you came to “self-realization” - they won’t buy it. If you think “like an author” - they won’t buy it. Think about what the client thinks about when he goes looking for music. Then the buyer will find what he wants (what you created).
There are no other rules here. Everything else is self-deception.

Nice analysis but, what does the client think when he goes in search of music? I think the subject is too broad, like the number of titles published per day and the number of different customers who go in search of music. Difficult to establish a rule.

The client makes a video (this is the majority of our clients) and he only thinks about his video sequence. This is the main thing.
Why is he making videos? He wants money. Most of our clients think only about money, and not about creative success in the art of cinema. :slight_smile:
And they are always under the pressure of the rule: “Time is money.”
Most often, the client makes a decision in the first 10 seconds (time is money). If he wants to buy - maybe he will listen for 30 seconds. If the track is expensive and the client has a low budget, but he wants to buy, maybe he will listen to the end … (this is an observation)

The title of the track should contain HIS thought (*and you have to guess it), and the first 10 seconds of the track should correspond very closely to this thought (or even impress the client enough to make him listen to 30). “Time is money”.
*then there is a small chance :wink:

Enwato thinks about the client. Think like a customer and then Enwato will think of you. Then your track will be bought.

That’s amazingly broad. Ive had hundreds and hundreds of clients…they aren’t a monolith.

If you came to “self-realization” - they won’t buy it. If you think “like an author” - they won’t buy it. Think about what the client thinks about when he goes looking for music. Then the buyer will find what he wants (what you created).

A lot of assumption here. Since its virtually impossible to know what any given client may require (especially given that they themselves are subject to the whims and requirements of THEIR client) I would suggest that this second/third guessing is a hopeless undertaking.

There are no other rules here.

I suspect that this has led us back to the original point.

read the next post, maybe there will be no reason for discussion )