So the first thing that already really annoys me is that I cant access one of your profiles without a) signing in myself and, especially annoying b) getting hit with a full screen Justin Timberlake everytime.
Apart from that, it takes a lot to convince me to have a third (or fourth) useless social media site apart from FB, YT, Twitter and, the only a little bit useful in my opinion for us musicians, Soundcloud.
Ok, good to see that it’s taken care of
Hey guys, just discovered this and the links and items look VERY suspicoious, right? [link removed]
Edit: What the hell is going on there? And what Connection does he have to upload all that to YT in one night?? (Also sending email to support)
Thanks to my generous musicstore here in Berlin I had the chance to test three different interfaces in my studio.
First, I bought the Focusrite Scarlett 2i4 which is a good interface IF(!) you dont own an electric guitar with a loud humbucker output. Because you cant reduce the gain as much as it would be necessary and it keeps overloading/distorting.
Focusrite obviously learned from their mistake and their next interface, the 2i4 has a -10db Pad switch and a louder and better headphone output.
This is the one I went for after also testing the Presonus Audiobox22VSL and the Akai EIE pro.
To make it short, these are my results/impressions:
Audiobox 22VSL is perfect for Rock and lots of electric guitar. Very powerful sound, as I said little on the rock side. Best latency behaviour of all three, I have to say I also use their software, Presonus Studio One as my DAW.
The AKAI EiE pro. It is definitely the most beautiful AudioInterface on the market , sound was also okay but latency not quite as good, mainly because I think their drivers dont offer enough adjusting yet, but this might change with new versions, the interface is pretty new.
Pros: 4 inputs/inserts, and also USB Hub.
I can say, all three interfaces are great interfaces in this particular price range, it was a matter of sound taste for me and the music I’m mainly procucing atm that I went for the focusrite. In a perfect world I would love a combination of all three ones. Still miss a little the superb latency (really zero latency running it THROUGH the DAW!)of the Presonus. The VSL mixer software that comes with it is great.
Nothing here either, everything’s calm outside, it’s Friday, 21st of December 1:05 in the morning here in Berlin. Everything’s as usual when I look out the window….. well, wait a sec… what’s that glowing thing in the sky…. doesnt look like a star… hmmmm, oh oh, it’s gettin bigger…. it’s coming closer…. omg…. nooooooooo…....aaaaaaarrrgghhhh…...
.......stupid Berlin kids with their fireworks….. every year it’s the same
I switched in January 2012 from Cubase (Cubase User since Atari ST!!) to Studio One 2 and I have never even for a second thought of going back.
The workflow in Studio One is a dream come true for me and the simple drag and drop system is how a DAW should function in 2012. The new 2.5 Update now has made things even more simple and easier, like drag and drop effects on even single events for example and the easiest and fastest comping I’ver ever seen in a DAW. Before Studio One I also tried Reaper and gave Ableton Live a few shots.
Now I work with Studio One 2.5 and Reason Essentials as a “Deluxe Plugin” via ReWire and it’s just a dream come true.
If you have more or specific questions feel free to email me via my profile and then we can also discuss it in German
Cheers, Sascha (Basspartout)
AudioJungle has great potential. However, paying $14 for music to be used for advertising is devaluing the composing industry and yourselves. Seriously.
I buy some music from AudioJungle but not for advertising purposes. Some tracks are great and good enough, but the fee is terrible and unfair. [link removed] Obviously geographic locations might have their different rates. These rates are for the UK.
If you agree to $14 instead of £8,500 then this is the most likely outcome… 1) advertising agencies will view you as the cheap guy, and will be reluctant to pay you the proper rates for advertising music in the future; 2) composers who charge proper rates are at risk of losing out to cheap guys who want to give away their music to ‘get a good name on their CV’. (You’ll most likely not get a good name for yourself, see below…)
From advertising perspectives and the perspective of established composers, this is the reality. Business and economics dictates: “why should I spend lots of money, when this other composer is selling a quality and suitable track for $14?”
.......It’s ridiculous to have a $14/$70 track used for broadcast.
Okay, here are my thoughts on this:
When I first started on Audiojungle about a year ago, I honestly didnt care much about licensing and I guess I’m not mistaken in assuming that most of the newer authors dont have a clue about licensing in the RFM business either.
When I started here, I was simply happy that someone bought my music and if it would have been a big company like in recent events that initiated this thread, I would have felt proud and happy like the new author that sold the track.
Well these times have changed. When people asked me in during the last year how much I would get for let’s say, selling Sony a track for a viral YouTube campaign, I always told them about an EXTENDED license, and now I realized it was wishful thinking on my side, Sony can obviously do this with a Standard license for $14,- Dollars.
How can I live with this? Turns out, I really cant. One year later, I would feel embarrassed and ashamed to tell anybody that all I got out of such a deal is 4,62 as a Non Exclusive author or $7,- as a exclusive (which I was til October).
My second hope, that the big companies like the ones we’re talking about here, would have the decency NOT to buy here then for such purposes (luckily there’s still the fact that many big companies dont buy here because they simply cant believe this kind of licensing to be real!!) and leave the marketplace to the clientel I always thought it was made for ….well this hope is getting shattered too with incidents like this.
But yeah, where do you draw the line? You cannot say to Sony or Toyota or Porsche: hey, you have too much money to buy music here…..
Envato/Audiojungle until now always used to bring in the argument, that the number of possible sales makes up for the cheap licensing.
Yes, it obviously does, but only for a really small number of authors. The rest is getting lured into thinking that they also are going to have the next “hit”. It simply takes a calculator and the notion of the fact, that AJ grew from about 30.000 tracks in January 2012 when I started here to now about 85.000 tracks.
Still, nothing wrong with it. Or is something wrong with it?
Fact is, if I had a bestseller right now I probably wouldnt write these lines here. That’s how the system works… not only here, on AJ. If tomorrow a successful VH author would chose one of my items, that could turn me into a profiteer of the way this site works immediately. Would I complain? No, of course not. But this still wouldnt change the nature of this game, that with this kind of licensing, is threatening to devalue music in the long run, create a drain of more and more people thinking ‘ah, now we have this great video with actor XX whom we paid xxxxx,- dollars, now we need some music for it, ah, well, lets go to AJ and get some track for $14,- and we’re done’.
I have no problems to sell my music for $14,- as long as the proportions/conditions are ok for customer and author. But here, some things are clearly out of proportion.
And if Envato/AJ is not sending the signal via updating their licensing terms, then we/I have to do it as an author/authors: Don’t expect to get my best work for THIS KIND OF USE for $14,- dollars!
I totally agree with Taco, Gareth and Gari!
And here’s the news: The ‘Big Shakeup’ is up to us! I dont think Envato/AJ will change anything here unless we AUTHORS make them.
So that’s it for me, folks!! I am gonna STOP uploading my best music to AUDIOJUNGLE until this ridiculous licensing changes and I am gonna support other sites who offer a licensing model that doesnt devalue music like this.
Don’t get me wrong – I am thankful for AJ being a platform where I could start my adventure into the RFM world, but now after one year and the recent experience of making MUCH more money on other non ‘discount’ sites, I need to take a step here.
AJ simply should be treated by us authors like it treats us – and so in the future they will only get small bits and pieces, like little loops or logos they can sell for this ridiculous price. I will upload my full tracks to other sites with better licensing and so should you, if you take your composing seriously and if you are in it for the long run!
6 days later:I also experience some dropouts from time to time, they dont happen often, but I never had to deal with dropouts before when working with my old PCIe card. I read it’s pretty common that USB audio interfaces have dropouts from time to time, and honestly, I still dont really trust USB for audio, when I see how fragile the whole USB management sometimes appears to be. If I change the samplerate for example, I also get an error message first, then I click on repeat and it usually works. No biggie of course, but all things I didnt have to deal with before
So now I’m thinking about using firewire. I see a firewire card is real cheap and focusrite and also tc electronic have some nice interfaces (anybody here using the TC desktop connect?)
For me IK Multimedia T-RackS works as a huge timesaver in the mastering process. Most of the time a quick tweak of one of the presets gives a track a nice warmth, precence and loudness. To achieve a significantly better result, I would need to invest muuuch earlier in the signal chain than any plugin(s), which means better microphones and preamps for starters.
And of course every plugin “manipulates” the sound, that’s what they are made for. If it improves it or makes it worse only depends on the ears of the one controlling it.