The producer, whose role we discussed last week, usually has a henchman that we call the studio engineer. In some cases, particularly those cases where the budget is limited or the producer likes to be involved in all aspects of the production, the one person fulfills both roles.
If we separate the two roles and look solely at the engineer, their role is much less “big picture”-oriented and rarely involves any of the headology (yeah, I know, I read too much Pratchett) and hand-holding that the producer needs to carry out with the artist. The engineer is about the details: setting up the mics in the right spot, dialing in the EQ and compression settings on that nice Avalon pre-amp in the rack, and pushing the record button. Read More …
In last week’s quick tip we talked about the importance of simply promoting your portfolio page to sell more audio stock. It doesn’t matter how you get started, so long as you get out there and get people clicking your portfolio link.
But promotion is a fine art, and the simplest and most effective way to increase the effectiveness of even the most basic promotions is to know your target market and sell to them. Selling microstock to a road engineer isn’t likely to work. Sell microstock to those who actually need it: electro musicians who need samples, corporate multimedia types and podcasters who need jingles, and so on.
Take a look at your portfolio and ask yourself, realistically, who would want to buy your audio and for what purposes. Then you know who to target your titles, copy and promotional efforts towards.
The producer has a job that consists of many roles. Some of them happen in the studio, and some of them don’t. I’m going to spend a few articles talking about the various roles in the studio and what to expect from those fulfilling them. These aren’t going to be job descriptions; we’re going to look at the interactions that take place in the studio environment and how to make the most of them.
In this article, we will talk about the responsibilities of the producer and the headology of the role, how to do a good job as a producer in terms of the interactions with the others in this studio environment. Read More …
Having trouble getting anyone to buy your audio files? Perhaps you just want to sell a few more than you have been for a little more pocket money. For most AudioJungle authors with flatlining sales figures, the solution is simply to start promoting your portfolio. If you do nothing but upload your files and sit back and wait for the money to pour in, nothing will happen, yet the failure to promote is the most common reason that new AudioJungle authors don’t sell any audio.
Become active in the forums, leave comments on the blog and let visitors to your own website know about your AudioJungle portfolio. The more visitors checking out your portfolio page, the more likely your sales will increase. There’s a fine art to marketing and promotion, but the first step is to simply get your name, and your link, out there.
As you may have seen in our latest newsletter, it’s coming up on our birthday in just two days - yep back on August 21st 2006 FlashDen was born!
As they say, it’s always better to give than to receive, so we’re going to celebrate with a week of giving! All authors on FlashDen, AudioJungle and (the upcoming) ThemeForest will automatically earn 50% commisisons all week long regardless of their exclusivity or sales count. So if you’re going to make some big sales, that’s the week to do it in!
It’s our way of saying a big thank you to the authors that make these sites as brilliant as they are! We hope to keep improving and building on them long into the future! I wonder what we’ll be announcing in our twentieth birthday 
The Exact Dates & Times:
Start = 21 Aug 2008 00:00:00 AEST (Australian Eastern Standard Time)
End = 27 Aug 2008 23:59:59 AEST
Rate for everyone, exclusive and non-exclusive during the period = 50%.
Happy Birthday!
It used to be impossible to collaborate on audio projects using the net. When the world was on dial-up, most people weren’t using digital recording technology and even if they were, connectivity was just too slow to handle the huge files that are inherent in the process of making music.
Today it’s quite possible to collaborate on audio projects using the Internet, since we can handle the uploading and downloading of large files pretty quickly and without racking up a huge bill. But that doesn’t mean the methods for doing so have been refined, and you’ll be surprised how many producers, engineers and their collaborators aren’t sure what to do when they first sign up for this kind of venture. Read More …
Being a musician seems glamorous to the outsider. The truth is, there is paperwork to be done and legal precautions to take, just like in any other business—whether you’re selling millions of tracks on iTunes every week, or you’re losing money.
Here are five forms and contracts that every musician needs; some you should have ready and printed, on hand around the office (or studio or bedroom…) and others aren’t used so frequently but you should have a document ready to be printed and put into use. Read More …
Some of the more observant of you may have noticed that starting yesterday some little “Envato Network” widgets began appearing in the top right of both this site and our other blogs and marketplaces. What is Envato? Well it’s our new name!
A lot has happened since this company formed two years ago and as a team we’ve grown a lot and certainly learned a lot. When we came to trademark our company name recently, it turned out that the name Eden was pretty difficult to win a trademark for. About a dozen companies blocked our application in Australia alone! Sheesh Kebab!
While I’m a bit sad to see Eden go, I’m happy to announce that as of today we are rebranding the business under a new name: Envato. Read More …
During the first few months of AudioJungle’s life, we ran a couple of competitions for you. The first was the Let There Be Loops competition—every loop you uploaded was one ticket towards an excellent M-Audio Axiom 61 key MIDI Controller. That is a sweet keyboard.
And then we had the AudioJungle referrer’s competition, where every referral you earned was counted as a ticket to win a $500 gift voucher at the ThinkGeek store, which has some cool and amazing goodies—things like caffeinated soap for one of those late night studio sessions (if you happen to have a shower hidden away in yours)!
The competitions were closed on the 1st of August, and now it’s time to announce our winners. Read More …
The whole starving artist thing is no joke. Being a musician often involves being dirt poor while having to shell out for some of the most expensive gear out there. It’s a disappointingly ironic situation, and makes you wonder whether you should throw it all in and go play golf (since those guys on the golf course always seem pretty wealthy).
But you don’t have to resort to playing a sport, nor even going outside. There are budget audio interfaces out there, so using this list you can hold off on breaking the bank at least until your next big audio purchase comes up.
What price point defines a budget interface? $295 for a loaf of bread is outrageously expensive, but pretty darn cheap for an audio interface, so what makes a price “budget” is all pretty relative to the market. I think a relatively accurate definition of budget in the audio interface arena is anything less than $1,000, and we’re going to try and keep them under $500. Read More …
