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361
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Developer / Audio / Re: TIGSource Musical Challenge XX - A Frantic Shift (REVIEWED)
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on: February 20, 2013, 04:44:00 AM
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Yeah, I could easily argue about ours not being fit for a game. My section as Calum said could EASILY be looped, but ya know... considering the fact you wanted two section and the shift was the most important part, I didn't feel the need to loop it and make the person sit there listening to that any longer. Calum's part, could been a short chase sequence(which it was in the description) that follows a specific time line(which happens) and the "player" just happens to make it out of there just in the nick of time. Music doesn't have to loop to be in a game, especially if you are running from point A to point B and you only have 30 seconds to get there. That's cool though, your call.  |
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366
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Developer / Audio / Re: How do you keep yourself structured?
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on: January 30, 2013, 08:08:35 PM
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I just let things happen. Whenever I'm writing music I'm so honed in on what I'm doing... when I'm finished with a track I'm not even sure what I was doing 95% of the time. If I listen to a track a year later... I don't know what I was doing at all. I don't believe that when writing music you should confine yourself with theory, or mechanics of music so much. It's important to know it, sure... but if you let it RUN your process, you're toast. Let go and let inspiration take the lead, and use the knowledge you have to "buff" out the imperfections as you write.
Works for me. :p
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367
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Developer / Audio / Re: Sound Designer/Composer - feedback appreciated
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on: January 29, 2013, 03:33:54 PM
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Well, technically his post is requesting feedback, not jobs. So this forum would suffice for the original aim of the post. No harm in a little self promotion on the side too, although I do understand your concerns. There has been an onslaught of portfolio threads posted in all kinds of random places and little to no moderation being done about it. Other guy... I haven't listened to your music, but I will eventually. Not likely to comment either, but if you're on soundcloud I might follow you if I'm interested in hearing your work in the future. Tootles. |
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369
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Jobs / Portfolios / Re: [Offered] Music - Made to Order
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on: January 24, 2013, 02:28:43 PM
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Alrighty, anybody wanting music towards the end of February, early March, jump in now while my schedule isn't packed full.
And if you need music sooner, contact Calum Bowen or Sam English. I will vouch for them.
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373
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Developer / Audio / Re: Most demanded indie music genre
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on: November 22, 2012, 02:43:15 AM
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Now I see that chiptune is very demanded and also dubstep. So all my classical music will be used for nothing in the indie world...
I was being sarcastic about dubstep. There isn't really any one particular style that dominates the market. You just have to master your craft in a particular style, or be ready to do well in multiple styles. If you can swing several styles without any problems, that's the best route so you can open up more doors for opportunity. If you master one particular style you'll get more attention if you do remarkable work with it, but only for that one style and will likely be overlooked if someone is looking for something different. Say, you master classical, and they look for chip tunes, they'll most likely not even glance at you if they don't find any chip work, next to someone that has oodles of it on display. |
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378
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Developer / Audio / Re: Friendly Music & Audio Business Benchmarking Thread
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on: October 31, 2012, 05:42:10 PM
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If you do music for $50-$100 per minute, do NOT give them full rights. Give them just enough rights to use the music in their game. If they want to pay for more rights, jack that price up. They are going to make bank on some projects, and they know they are. You don't want to give them the intellectual property rights for $50 a minute for a combined total of... let's say... $500 dollars for 10 minutes of music, and then sell the game and make about $50,000. Who's losing here?
Can you explain this? I'm a dev and looking into contract work for the first time, and I have no idea what kind of rights exist to negotiate. Specifically, what would keeping these rights gain you or the developer in the end? In your example, what is the ideal agreement to be in for a game that will make $50,000... does it involve both up-front cost and profit share? Thanks for the post! It's been helpful to me as someone outside your field It's pretty much a matter of limiting what the developer can and can't do with the music. Giving them basic distribution rights to use the music commercially in their game, but retaining the intellectual property rights and not giving them exclusivity so that you can reuse the tracks as stock music and album releases for additional compensation. If the developer wants full control by purchasing the intellectual property and exclusivity for their project, then hike the price. Think of it like... stock in a company. The more stock you have, the more of the company you own. But it costs more the more you try to control. If you want full control then you have to be willing to fork out the cash to do so. Composers that write music for between.... $800-$1200 per minute of music, sign over all the rights to the music. Basically, they no longer own any aspect of it. The developer can reuse it as they wish, when they wish, release it however and whenever they want, chop it up, slice it, dice it, remix it, arrange it, etc. Some composers really don't care that much about it and will take a huge loss in the end just to get a gig with no consideration for how much they might be losing. If a composer does music for a game, flat rate, like my example of $50/minute for a game like angry birds with no prior agreements for royalties or revenue sharing, and agrees to sign over all the rights... they will have been seriously ripped off. Royalties are nice but high risk... because even some of the best looking games don't sell at all, and the %'s can and most often times are really low for the audio side of a game. Flat rate is a gauranteed payout. Royalties may or may not be. Hope that helped you understand the tiered rates/rights ratio. More you pay, more you get. Python - It depends on your target clientelle. Some pay, some don't. Find out a developer's budget before making an offer to them. Define the types of restrictions their budget would entail by hiring you. And as far as being ignored, you have to build a reputation to deliver. Peer influence has been the most effective means to get more gigs for me. I rarely post on forums, and NEVER send emails anymore. All the gigs I've received in the past 2 years have been from one dev recommending me to another. They will listen to each other loooooooong before they'll read the first sentence of an email from 1 out of 100s of emails they get from composers. They will listen to each other looooooong before they browse a forum looking for a composer, swimming in a sea of 100s of other composers. Build strong working relationships with the people you write for, so they'll be compelled to use you again. You could write the greatest soundtrack ever, but if they don't like your personality or the atmosphere through which your business is based on is not a pleasant one, they'll likely never come back to you, or recommend you to someone else. And honestly, taking advice on how much to charge from someone else, especially set numbers, is bollocks. It's like selling collectibles, you only get what someone is willing to pay. And they should only expect to get what their payment is worth(in terms of rights, length, quality, etc). Stay positive, stay strong. It's a tough industry. |
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379
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Developer / Audio / Re: Portfolio and stuff - feedback needed
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on: October 30, 2012, 08:32:15 AM
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I took the liberty of opening your fortune cookie for you, and it read, "You have a bright future ahead of you."
Advice, just keep doing what you're doing. Explore new instrumentation, explore new methods, just... keep at it. Don't settle for one method, play with them all. You've got electronica down, so try branching out into other styles, even if just to add different colors/textures into your mix. One thing that I always found helpful was to analyze other people's music and dig into how they did certain things.
The most important thing though, is to keep using your gut. It defines your style, and that is something you don't want to taint by listening to other people tell you HOW to write music.
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380
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Developer / Audio / Re: Musician/Artist looking to build portfolio
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on: October 29, 2012, 06:07:57 PM
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Here's a link to my band's soundcloud.
Punk with undertones of pop and hard rock - enjoy AND please let me know if you would like to use any of it or would like something written for your game. We think it might fit a game with a cool tween main character, skater, or band type of game... but you be the judge of that.
soundcloud.com/flameingdaethfearies
Looking to build our portfolio too.
Should probably make your own thread not jack this guys i was actually afraid to post this props Why? You have to be some kind of total douche to try and hijack somebody else's post. I wouldn't mind throwing a fist in that guy's face for that... but I'm an asshole so... And... Rocky(forgot your real name already because I kept seeing rocky on all your posts...), have a lot of nice ideas, but perhaps it wouldn't hurt to work on a few tracks that exceed a minute in length. Possibly a few tracks that are let's say... 2-4 minutes in length. Listened to 2 pages of tracks and don't remember any of them being longer than 60 seconds. I'd like to see how you would develop a track of a longer duration though. Tootles, Zack |
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