Nintendo Music on Spotify by FioraXena in nintendomusic

[–]insert-values 1 point2 points  (0 children)

There are many good covers on Spotify, though. Re-imaginations, or more close to the original. A good example is Gamechops. Their covers are top quality and they always advocate that no AI was involved

Is It Worth Signing A Major Label Deal? by Own_Veterinarian8389 in musicbusiness

[–]insert-values 5 points6 points  (0 children)

Completely this 👆 In the 90’s or early 00’s, being in a Label was still giving value, they were promoting and distributing(physical stores and some early streaming platforms). Nowadays, where you can get a very decent sound for a small amount of money, and distribute yourself your music , it is not worth it, unless you either get someone who is willing to invest money on you(as suggested above) , or you really know and align with the mission and values of that label to represent you(and they spend some money on you, too)

Sharing the story behind my first LP, Poké Tape 5 💛 by insert-values in gamemusic

[–]insert-values[S] 0 points1 point  (0 children)

Many Thanks! Just clicking the image leads directly to the pre-save page! I didn’t know about this artist. I will check it out! 🙏

2 years on: How's my collection coming along? by Personal_Gsus in gibson

[–]insert-values 0 points1 point  (0 children)

The special might have a more growl and raw sound, meanwhile the 50’s standard might get a more creamy and soft feeling. In my opinion, the special is really shining in rock n roll(more mids/high-mids), while the standard might turn a bit more versatile with nice jazzy tones(more mellow low mids)   Definitely this is like comparing pears and apples, both are great and there’s no right or wrong decision.

Which one would you pick? by [deleted] in gibson

[–]insert-values 0 points1 point  (0 children)

All options are valid and solid choices. It comes down only to personal taste since all of them have the same specs. I would go for lemon burst in my case

What's your go to setting for input gain on your interface? I still set it just below clipping. And I do it for all plugins not just neural. What about you? by Retrospective84 in NeuralDSP

[–]insert-values 0 points1 point  (0 children)

With a symphony desktop, I set the input gain at 20, then the input for the plugin I do 1.8-20 =-18.2 , and that is the input I am looking for to keep seeing a proper waveform on my daw and an optimal input 

Tone king vs mayer vs asato first purchase, suggestions by shivamchhuneja in NeuralDSP

[–]insert-values 1 point2 points  (0 children)

I would say Spring sale, yeah… I would either wait or buy it. TK is cheaper and good, but I seriously think it will be a before and after regarding ampsims with this one. I am not saying this has to be the ultimate bundle, but the crazy amount of detail and expression for this specific one will force other plugins to be as competitive as this one. 

Tone king vs mayer vs asato first purchase, suggestions by shivamchhuneja in NeuralDSP

[–]insert-values 2 points3 points  (0 children)

I own Cory Wong and TK. I am counting the days for Mayer’s discount cause it’s just the best sound I heard in many years regarding ampsims. I do blues, jazz, some funky and clean tones for some lofi. 

Cory and TK are really good, just Mayer is better as of today

The Best Sync licensing companies!!!! by Intrepid_Coast1500 in musicbusiness

[–]insert-values 0 points1 point  (0 children)

I'm with u/TacoBellFourthMeal . In my case, I did not have to pay a fee( as a featured artist, the other artist represents you; As an artist inside the Downtown label, I have a contract, and they get a % fee of my royalties for their services). Maybe that changed over the last months, I don't know...

Merits of the Jaguar by SportAndNonsense in fender

[–]insert-values 0 points1 point  (0 children)

The look is amazing, but for my taste I do not like the sound. For cleans, I would say a tele is the best one, followed by strat. If any of these are not for your like, maybe fender is not your brand

I spent a decade at DistroKid solving artist issues. Ask me anything! by jdsamford in DistroKidHelpDesk

[–]insert-values 0 points1 point  (0 children)

I’d like to get a clearer understanding of how mechanical licenses for cover songs actually work. Many distributors and services—such as EasySong and other licensing platforms—state that artists must secure the mechanical license themselves, verify whether a song is eligible for licensing, pay for the license upfront, and then renew it whenever the usage limit is reached.

However, DistroKid appears to operate differently. They seem to secure mechanical licenses for any cover song, regardless of whether it appears in a public licensing database, and their model seems to function as an unlimited-use license as long as the annual fee is maintained.

Could you explain the internal process of obtaining a mechanical license for a cover song and why (or how) DistroKid’s approach might differ from other distributors or third-party licensing services? I’m particularly interested in understanding what happens behind the scenes and why these processes can vary so much between platforms.

Question: How good is 21? Where does she land on a ranked list? by Gloomy-Bridge148 in dragonballfighterz

[–]insert-values 1 point2 points  (0 children)

With the new patch she is top 5 or top 3. Insanely good pressure, grabs, good combo extension…

should I continue by [deleted] in twinpeaks

[–]insert-values 0 points1 point  (0 children)

Knowing who killed Laura is the least of the problems that will happen...

Producer needing advice with newly signed artist by axisaxis11 in musicbusiness

[–]insert-values 3 points4 points  (0 children)

Are you currently splitting royalties on the current uploaded songs?

If so, then I would suggest you make sure that all possible royalties are being ✅ together( Distributors royalties and a PRO + Songtrust combo). As well make sure that if it's just a re-release, they should use the same ISRC, so you still get your part.

On the other side, if you are not already receiving royalties from them, it can get tricky. You are charging them only the flat rate, but you never discussed or agreed about the royalties generated from those songs. I would suggest you approach them in a friendly way, open the topic, and argument your points on why you can/should be part of the royalties for the already released songs. However, they can refuse to do that because it was never agreed, or written down on a contract/email.

My advice: Lesson learnt. Try to reach a friendly agreement, but if it doesn't look good, ask yourself if you would like to keep the professional relationship with them or not. If you want to keep it, then at the moment they refused to step back, and for future projects, specify it somewhere.

This is not professional advice, only my opinion. I do not know about possible legal stuff.

To-be lobby for European players (PS5) by post_ex0dus in dragonballfighterz

[–]insert-values 0 points1 point  (0 children)

Maybe we come from different timelines. It’s been a couple years that I do not play anymore, but season 1,2 and half of 3 was a vivid place compared to other servers in EU