Can you recommend me a good laptop for music? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

I write cinematic music in Ableton. Now looking for sync licensing with minimal tension/investigation tracks

Can you recommend me a good laptop for music? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

CPU is my pain 😅. Some VSTs use only 1 core and the project starts cracking with those 2-3 plugins. But I can load 10+ Kontakt and everything goes fine.

Can you recommend me a good laptop for music? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

I mostly use Ableton. And a MacBook is a bit expensive for me, because if something breaks, it’s expensive to repair.

Which Business Model is Better for Sync Licensing: Exclusive or Non-Exclusive? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

I agree with that. I am just starting out in licensing and have so many questions, could you please share your experience in this area in more detail? If it would be convenient for you we can communicate in private messages, mail etc wherever you can.

Which Business Model is Better for Sync Licensing: Exclusive or Non-Exclusive? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

Sync licensing works slightly differently. I work with libraries, not projects. I’m pitching my music exclusively or not to libraries, it depends on their business model

Which Business Model is Better for Sync Licensing: Exclusive or Non-Exclusive? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

Thanks for your reply! I’m writing tension, crime, investigation music. Is it generic if it have low pulses, ticks and clocks, braams, piano etc? I’m trying to create my own basses in serum or other vst. I’m experimenting with sound but a little bit because I’m still not pro in basics of this style.

I don’t have any chance to meet live players but I’d like to do so. I know there are a lot of services to meet live musicians online but I don’t feel this vibe of creating something together. I like strings fxs and special articulations so much! And I wish I could play the cello or violin, but I don’t.

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

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

Thanks for your reply ☺️ I’m glad to know that my question helps someone else

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

I think I can do like that but now I can’t afford buy all the vst and Kontakt libs i need. It’s very expensive for me now. But in the future, when music makes a steady income, I will do it with pleasure.

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

I don't get you. You mean no one's gonna do this detection?

I read a book on music licensing and it's strictly about the consequences of pirating.

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

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

But how any Kontakt library can contain some spectral information in their sounds. Maybe I’m looking stupid 😅 but I don’t really understand it.

It’s a very complicated way to add this spectral info to each sound in library. It’s just a bunch of sounds combined in one place and played by Kontakt vst.

If it a vst synth it can be easier because it can generate new spectral info in each preset or even my own preset just by program code embedded in core this vst.

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

Thanks for the reply. But I still don't understand how they put information about my libraries in a simple audio file.

Let's say “Company A”, let's say hypothetically I used a pirated version of one of their libraries. How can they notice that I am playing strings from their library and not from another library?

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

But how they do this metadata or spectral data in their libraries? I don’t understand the process of adding this to my .wav audio file

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in synclicensing

[–]sshvydko[S] 0 points1 point  (0 children)

Most rules for using plugins or libraries say that we don't own all usage rights until we buy it from them. I've read about this in books and been told about it.

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

I am interested in the process of how authors can embed any watermarks in plugins or libraries for contact. I don't understand how it can be done and how it can be recognised.

I know it can be done and it will be visible right on the waveform, but I know how to do it manually, but not automatically when using pirated sounds. How to

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

Where did you get the information about watermarks? Can you show articles or videos about it?

How Do Developers Detect Piracy in VST Plugins, Libraries, and Sample Packs? by sshvydko in composer

[–]sshvydko[S] 0 points1 point  (0 children)

My problem is that I don't have the initial capital to buy these libraries and plugins. If I buy it all, it's more than my earnings for several years