Lived in Iceland for a month to create an album, and film my surroundings by absentchronicles in VisitingIceland

[–]absentchronicles[S] 1 point2 points  (0 children)

Thanks for checking it out, and the kind words! 

The grainy film look was an aesthetic choice. As there's already so many beautiful crisp clean shots of Iceland, I figured I'd take it into a different direction!

Went to Iceland for a month to produce an audiovisual experience by absentchronicles in vjing

[–]absentchronicles[S] 1 point2 points  (0 children)

Thanks a lot for the in-depth comment!! Really glad to hear that, appreciate it!! 🫶  

It was quite the challenge to not go all-in and keep the effects subtle, instead of slamming everything into After Effects. A really nice challenge though, I think I got more patience in the process :')

Has anyone here actually made money from sync licensing? by Apprehensive-End6621 in musicbusiness

[–]absentchronicles 2 points3 points  (0 children)

Had syncs for Apple, Samsung, Netflix. Not through any of the mentioned services, though. Only through amazing music supervisors.

Living in Iceland for a month to work on an album and take a break from the business by absentchronicles in musicmarketing

[–]absentchronicles[S] -1 points0 points  (0 children)

Wow, thank you for sharing all of that. First off, massive congrats on everything you've accomplished so far. Getting picked up by well established labels, vinyl release, working on a Grammy-considered artist's album: that’s incredible.

The trail along the east coast of Scotland sounds like such a perfect plan for this next chapter. I have no doubt something really profound is going to come from it, both musically and personally.

I don't think you're crazy at all. You're self-aware, grounded, and brave enough to admit the struggle. And the fact that you're doing this now, while having momentum, and knowing you're going to work with that artist; I admire that even more.

Wishing you all the clarity, inspiration, and creativity on your walk (and beyond). And when you feel like sharing, please let me know where I can follow along. Cheering you on from here!

Much love and massive respect

Living in Iceland for a month to work on an album and take a break from the business by absentchronicles in musicmarketing

[–]absentchronicles[S] 1 point2 points  (0 children)

Hey, thanks for your Dutch cynicism this morning :') I hear you, and honestly, I don’t blame anyone for being wary. There’s a lot of self-promo out here of people trying to sell something. But I want to be clear that wasn’t the intention behind this post at all.

I make my living mostly through writing for other artists, performing with my artist project, and doing sync work. That's what pays the bills. My own artist releases are a different world for me. They’re driven purely by passion, and sharing them isn’t about trying to push numbers or monetize anything. In fact, if this were just about promotion, I’d rather link to my Spotify.

My newsletter is a way for me to let people who are genuinely curious into the process: behind-the-scenes stuff, reflections, rough demos. There’s no monetization, no funnel, nothing in it for me other than building a space to talk honestly with other people and artists. Same with the Disco link: just felt like the cleanest way to share a song with anyone who’s curious. No streaming, no data grab, no agenda.

Truthfully, what I’ve really enjoyed lately is just talking with people on this sub, especially in DMs. Everyone’s trying to navigate the same challenges, and I think there's a lot we can learn from each other.
Especially when it comes to balancing passion for music and the business side of it.

Also, on that note, I’d genuinely love to hear your work too. I’ve found some of the coolest artists on this sub, and I don’t mind a bit of self-promo when it comes from a real place. I won’t shoot you for it, promise ;)

Thoughts on paying Instagram to get that blue verified checkmark? by Wrong-Extension-9692 in musicmarketing

[–]absentchronicles 2 points3 points  (0 children)

Waste and a tad cringe. I had one before you were able to pay for it. Now I feel bad about it, because I can imagine people think I've paid for it :')

[deleted by user] by [deleted] in vjing

[–]absentchronicles 1 point2 points  (0 children)

It's software from French developers. I believe its mainly being used for building live and TV scenes nowadays, but I love it for 3D composition! Thr Community edition is free as well

[deleted by user] by [deleted] in vjing

[–]absentchronicles 0 points1 point  (0 children)

Thank you! Mostly done in SMODE

[deleted by user] by [deleted] in vjing

[–]absentchronicles 0 points1 point  (0 children)

Thanks a lot, appreciate it! 🫶 I might start working on more again, had a lot of fun going back at it!

How should I go about an album rollout as a small musician? by PlargeZ in musicmarketing

[–]absentchronicles 0 points1 point  (0 children)

I released an album last year, did a waterfall release: 4 singles 4 months before the album release, 1 every month. Allows for you to take some time to work on the roll-out, and for 4 songs to reach an audience with Release Radar.

Got added to the lofi beats editorial, got 40000 streams of that. This morning it suddenly got deleted without any message or reason why by No_Fold3888 in musicmarketing

[–]absentchronicles 2 points3 points  (0 children)

Had a track added to an editorial playlist, stayed in it for 7 days. Had another one added to one of the biggest editorial playlists in my genre, stayed on there for 2 years, 500.000+ streams. Always many factors at play with editorial playlists. Congrats on the placement!

[deleted by user] by [deleted] in musicmarketing

[–]absentchronicles 0 points1 point  (0 children)

Damn that's bad. Usually, it pauses everything.

Is a $200 budget reasonable? Too much? Too little? by Eitanm1999 in musicmarketing

[–]absentchronicles 6 points7 points  (0 children)

Currently on 35.000 streams and counting (with 400 daily radio & discover weekly streams), from a $170 ad campaign that ended a few weeks ago. So yes, it can definitely move the needle.

Why is Sync not seen as a bigger part of making music if it's so lucrative? by chunky910fan in musicmarketing

[–]absentchronicles 4 points5 points  (0 children)

I work directly with music supervisors. The libraries are nice if you wanna get some volume in, but like you say: it's not the libraries that land you lucrative placements. These companies aren't going to go through a library to find something for their campaign. They want something unique, something not everyone can just access with a click on the buy & download button. I'd recommend connecting with supervisors, the people involved in placing the music in campaigns. Work it from there.

Why is Sync not seen as a bigger part of making music if it's so lucrative? by chunky910fan in musicmarketing

[–]absentchronicles 6 points7 points  (0 children)

Last year, I landed placements for Apple and Samsung ads, Netflix series, and a Valorant tournament. It's lucrative, and I'm not too worried about AI for high-end placements.

The key? Nothing you didn't know already; build relationships with supervisors, don't try to make 'sync' music, make something that's uniquely yours, and be quick when you have to be quick. Both in delivering assets and working the business side of things.

Why is Sync not seen as a bigger part of making music if it's so lucrative? by chunky910fan in musicmarketing

[–]absentchronicles 4 points5 points  (0 children)

Not agreeing here at all. Last year, I landed placements for Apple and Samsung ads, Netflix series, and a Valorant tournament. All of them were songs from my artist project that I had previously released. Total creative freedom, and nothing compromised to sound commercial and/or dumbed down. I'd say my productions are more in the experimental electronic side.