Why a Music Library Might REGRET They Signed You

[Casey H]

I didn't convey things as clearly as I could have. But that's why I write instrumental music and not lyrics

The libraries have a huge task and deserve 50%. And it's the composer's responsibility to fulfill what is required. And what is required is always changing and to participate we have to keep adapting.

My experience was when I started, the composer delivered the cues and the alt mixes and the libraries did the cut-downs and didn't ask for stems. Of course we (I did, and you and others did) delivered those cues meeting the specs required. Hey, library A wants the main cue and the alt mixes 48/24 AIFF. And Library B wants 48/16 WAV. No Problem. Then some time passes and some libraries began asking for cut-downs. Again, no problem. You learn how to do those. No heroics here - it's what is required.

Looking to possibly help superblonde move on (by addressing it's going to change again anyway) was the intent of my post.

No worries. I totally get it. But of course you can only help someone who is willing to accept help and not fight it.

[Casey H]

Everyone's workflow is different but my personal preference is to do conversions outside of DAW with a program like Switch (one of many such programs). To that regard, I like to start with the highest resolution any library asks for, 48K 24 bit. (Can be wav or aif). Once I have that, I create a 44.1K 24 bit, 48K 16 bit, and 44.1K 16 bit. Then I make mp3s from one of the 44.1K versions (occasionally systems have problems with 48K mp3s). I make 320K, 192K, and sometimes 128K mp3s. The 128K is for one particular library that still uses that for screening.

So what I'm suggesting is export 48K 24 bit, and take it from there. Your workflow and mileage may vary. Converting between wav and aif if needed is easy with a conversion program. The 2 formats are identical, fidelity-wise.

Personally I love "Switch" from NCH Audio. Fast and efficient. There is a free version but the paid version ($29.99/year) also supports adding tags. (Only do this with aif and mp3 as wav won't hold the tags for others).
https://www.nch.com.au/switch/index.html

Casey

[PaulyB]

....my personal preference is to do conversions outside of DAW with a program like Switch.

Casey, quick question about your workflow. Is your first step bouncing all the stereo files (main, alt mixes, cut-downs and stems) then next converting them all?

[Casey H]

....my personal preference is to do conversions outside of DAW with a program like Switch.

Casey, quick question about your workflow. Is your first step bouncing all the stereo files (main, alt mixes, cut-downs and stems) then next converting them all?

Well, I don't have a process like that because I'm a non-producer. But I get my finals files from the producer and, if possible, I get 48K/24 so I can make anything from that. As far as cutdowns, if I have the stems, I still don't do anything until I know what the library wants. Then I see what I can do. Making cutdowns/alts before you have requirements (which vary from library to library) may not be the way to go. We've seen so many differences as far as how libraries spec them. You'd think a no drums mix would be a no brainer. But if the drums don't come in until 31 seconds, do they want the blank space in there so the track will line up with the full mix, or do they want that chopped off to create a standalone alt? For a 30 second cutdown, for example, we've seen slight differences as to the exact length they want (29.5s or 30s?), how the ring out should be, etc.

With vocal songs and the libraries I work with, cut downs are not asked for often. The main files I get from my producer are full, instrumental, and vocal-only. The last one is something I've been finding libraries asking for more lately. It makes sense. The music editor can take the instrumental and vocal-only and mix/vary those relative levels as needed.

Best
Casey

[PaulyB]

... if possible, I get 48K/24 so I can make anything from that....

if I have the stems, I still don't do anything until I know what the library wants.

Makes sense; thanks for sharing. Isn't it interesting all the different ways to approach this? In Logic Pro there are the "Project Versions" options. You create and name alternatives all within one Logic Pro session. Then open any of the alternatives (Main, alt mixes, stems, etc.) and bounce them out in the format of your choosing.

Cheers!
Paul

[Casey H]

BTW, even though I don't produce my own, been learning a lot over the years.

If you are going to bounce 48K/24 as your main export, you should be recording at 48K/24 (or higher) as well. Otherwise, you will be taking some up-sampling losses (may not be audible but still), on your 48K/24 export. For example, recording at 44.1K/24 and then bouncing 48K/24 will have your DAW do the conversion from 44.1K to 48K. Wrong direction for absolute best quality (*).

(*) The above being said, many times I've been sent 44.1K/16 or 44.1K/24 (for example) by the producer and when I library required higher res than that, did the up-sample conversion and from a human ear perspective, it was fine. Just saying what best practices are.

[cosmicdolphin]

This is fun, I have subscribed to the thread.

[Casey H]

This is fun, I have subscribed to the thread.

[** Makes Popcorn **]

[SubRivers]

Imagine a production music composer union going on strike - the torrent of new content sort of gets a little dent in it maybe.

Good opportunity for new composers and likely a new clause in the contract.

[cosmicdolphin]

Imagine a production music composer union going on strike - the torrent of new content sort of gets a little dent in it maybe.

Good opportunity for new composers and likely a new clause in the contract.

I think theres enough unused back catalogue to last a decade