# Audiosparx vs Audiojungle...?



## Lionel Schmitt

Audiosparx doesnt allow music that is also on Audiojungle so i wanted to ask if any of you has an idea whether or not it is more fruitful to upload to Audiojungle or Audiosparx. Maybe different genres work better on either side?
Thanks in advance!


----------



## dannymc

this is just my experience so take it with a pinch of salt. it really depends on your music writing style between those two libraries. audiosparx was the first library i joined in the first 6 months of my composing career. it was a nice feeling to be accepted by a library that curates your stuff. i had no clue really at that stage were different libraries sit on the food chain. anyway i never made a sale there with the 15 or so tracks i have there and i really get the feeling that they are a library much more suited to the happy catchy cheesey tv commercial sound or knock off soundalikes of current pop acts & bands. i could be wrong.

if you write more cinematic, epic or trailer music i would go with audiojungle. there is a bigger market there for that style and way more traffic. if i was to do it again i would of went with audiojungle over audiosparx.

but one more thing to consider is audiojungle set the prices and these can be low, but if you makes lots of sales then it can up to something decent.

dont forget pond 5, they are great 

Danny


----------



## InLight-Tone

Same experience as dannymc here, no sales whatsoever on Audiosparx though I make around $25 every 3 months from music streaming.

Audiojungle, despite their low prices sees a lot of action and the repeat sales can be huge if you hit it right and get your name up there. I haven't done too much there but have had some extended license sales for movies, trailers and what not.


----------



## Desire Inspires

Those are two libraries that I would not focus on. It’s like choosing to have an eye pulled out or an ear cut off.

I just don’t see most people being able to make any money there with such low payouts. Of course there are some people who make great money from those companies. But those are few and far in-between.

I guess if you are dead-set in choosing one of those companies, go with Audiojungle. At least you aren’t restricted in where you can place your music.

I found that between the restrictions on where you can place your music, the low payouts, and the excruciating metadata process, Audiosparx is a last destination for cues. It may almost be better to just delete the stuff from your hard drive instead of going through the process of signing up with Audiosparx.


----------



## dannymc

> I found that between the restrictions on where you can place your music, the low payouts, and the excruciating metadata process, Audiosparx is a last destination for cues. It may almost be better to just delete the stuff from your hard drive instead of going through the process of signing up with Audiosparx.



well i think thats being a little harsh on them. the library is run by very nice people and they always encourage new composers to bring their A game. if you're just starting off it can be useful to join as many of these type libraries as possible. they also have a really useful knowledge base that contains lots of useful information that you can use elsewhere. even though their meta-data inputting is the equivalent to having teeth pulled, it actually came in very useful for me when i joined other libraries that require you to input all you own metadata. because there was so much detailed metadata in my audiosparx tracks i was able to copy and paste alot of useful stuff straight into the new libraries metadata section 

Danny


----------



## Desire Inspires

dannymc said:


> well i think thats being a little harsh on them. the library is run by very nice people and they always encourage new composers to bring their A game. if you're just starting off it can be useful to join as many of these type libraries as possible. they also have a really useful knowledge base that contains lots of useful information that you can use elsewhere. even though their meta-data inputting is the equivalent to having teeth pulled, it actually came in very useful for me when i joined other libraries that require you to input all you own metadata. because there was so much detailed metadata in my audiosparx tracks i was able to copy and paste alot of useful stuff straight into the new libraries metadata section
> 
> Danny



Please.


----------



## rgames

I'd agree that both are wastes of time. But it seems there are a lot of composers who need to figure that out for themselves (myself included). Admittedly, it's hard to cut through the crap about who's making how much money from what website. So I guess it's not surprising that so many composers have to figure it out for themselves. Admittedly, I don't have experience with Audiojungle and haven't sent anything to Audiosparx in a looooong time... So bear that in mind.

BUT: here's the best advice I can give if you submit tracks to Audiosparx: CREATE A SEPARATE BRAND. Don't have anything on their site that can be linked back to your artist brand. Then when you figure out that Audiosparx is not the kind of brand you want to associate with your brand then you can remain hidden behind an alias.

There's stuff that I submitted to Audiosparx that showed up on CDs on iTunes with my name on it that was never supposed to be on iTunes. And the album art, other tracks, etc. are total crap. And some of it is not even mine. And all that crap has my name on it.

Also, I did a bunch of arrangements of popular piano music for clar/strings and uploaded those to a few of those RF sites back in the day, including Audiosparx. One of my arrangements of a Mozart sonata appeared on a CD titled "Best of Debussy" or something like that - entirely wrong composer. With my name on it.

I'm still waiting for all of those to disappear...

So, yeah: avoid Audiosparx. But if you just can't resist the urge, at least hide behind a fake artist name/brand. That way, when you come to your senses you can escape your mistakes.

rgames


----------



## Desire Inspires

rgames said:


> I'd agree that both are wastes of time. But it seems there are a lot of composers who need to figure that out for themselves (myself included). Admittedly, it's hard to cut through the crap about who's making how much money from what website. So I guess it's not surprising that so many composers have to figure it out for themselves. Admittedly, I don't have experience with Audiojungle and haven't sent anything to Audiosparx in a looooong time... So bear that in mind.
> 
> BUT: here's the best advice I can give if you submit tracks to Audiosparx: CREATE A SEPARATE BRAND. Don't have anything on their site that can be linked back to your artist brand. Then when you figure out that Audiosparx is not the kind of brand you want to associate with your brand then you can remain hidden behind an alias.
> 
> There's stuff that I submitted to Audiosparx that showed up on CDs on iTunes with my name on it that was never supposed to be on iTunes. And the album art, other tracks, etc. are total crap. And some of it is not even mine. And all that crap has my name on it.
> 
> Also, I did a bunch of arrangements of popular piano music for clar/strings and uploaded those to a few of those RF sites back in the day, including Audiosparx. One of my arrangements of a Mozart sonata appeared on a CD titled "Best of Debussy" or something like that - entirely wrong composer. With my name on it.
> 
> I'm still waiting for all of those to disappear...
> 
> So, yeah: avoid Audiosparx. But if you just can't resist the urge, at least hide behind a fake artist name/brand. That way, when you come to your senses you can escape your mistakes.
> 
> rgames



And the church said “Amen”!


----------



## Guido Negraszus

I joined Audiosparx in 2009 which was my first library ever. I stopped counting my sales but up to 2015 I had 105 sales and I reckon I have ca. 5-10 sales per year since. I joined Audiojungle in 2014 (exclusive account) and have to date 2100 sales (100+ tracks on offer). I have another non-exclusive account with AJ which has another 900 sales. So to say you don't make any money is not true. 

It depends on your genre. I would advise to listen to the "popular items" on AJ which gives you an idea what sells most. In the 3 years with AJ I only made it for one week with one track in the popular items list (14 sales of one track/week). So I'm not a top seller and yet had 3000 sales in total. 

I wish I would have joined AJ back in 2009. I remember looking at it at the time but chose Audiosparx because of the low pricing of AJ. What I didn't understand at the time is that with AJ you almost always sell multiple times of the same track so you make more money in the end. It gets harder and harder to cut through since there are now 600,000+ tracks on AJ. When I joined there were only 200,000 tracks on offer. There are also now more than 10,000 artists you are competing with. 

Also: once your tracks are on Audiosparx you cannot ever remove them. It's lifetime. Sure, you can list your tracks on other sides but never exclusive. That's why I stopped uploading with Audiosparx.

I hope this helps.


----------



## Desire Inspires

Guido Negraszus said:


> In the 3 years with AJ I only made it for one week with one track in the popular items list (14 sales of one track/week). So I'm not a top seller and yet had 3000 sales in total.



On average, how much do you earn per sale?


----------



## Guido Negraszus

Desire Inspires said:


> On average, how much do you earn per sale?



For exclusive accounts you start at 50% and you climb up as your sales go up (max. 70%). I'm on 60% now.
Currently the tracks sell for $19.00 but they have 4 other licences which go for up to $304.00 (Broadcast & Film). Most of the time you sell standard licenses but you get the more expensive ones all the time too.


----------



## Desire Inspires

Guido Negraszus said:


> For exclusive accounts you start at 50% and you climb up as your sales go up (max. 70%). I'm on 60% now.
> Currently the tracks sell for $19.00 but they have 4 other licences which go for up to $304.00 (Broadcast & Film). Most of the time you sell standard licenses but you get the more expensive ones all the time too.



Thanks for sharing.

Nothing against you, but those rates and percentages are frightening. Those rates are so low. It is a shame that composers cannot set their own prices.


----------



## Puzzlefactory

It’s a buyers market. 

Obviously the genre is not as saturated as dance music producers. But when you have a few thousand “bedroom producers” all knocking out “epic hybrid” tracks, it’s going to drive the price down. 

As League of Gentleman so wisely put it, “it’s a shit business”.


----------



## Guido Negraszus

There are a couple of artists on AJ who are in excess of 1 million $ in sales. Top sellers draw $10,000 - $15,000 every month. I don't know why some people think that this is not good money. I think that this is quite a lot of money for media composers.


----------



## Daryl

Guido Negraszus said:


> There are a couple of artists on AJ who are in excess of 1 million $ in sales. Top sellers draw $10,000 - $15,000 every month.



And how do you know this? Is it because AJ has told you? And you believe it?


----------



## Puzzlefactory

Daryl said:


> And how do you know this? Is it because AJ has told you? And you believe it?




It’s irrelivent even if it’s true. 

May as well point to deadmau5 as proof of there being good money in beatport releases. 

Or point to a poker champion as proof of there being good money in an online poker website.

You’re always going to get success stories in any medium.


----------



## Guido Negraszus

Daryl said:


> And how do you know this? Is it because AJ has told you? And you believe it?



Because they publish all sales. https://audiojungle.net/popular_item/by_category?category=music
Have a look at the sales for October. From these numbers you can estimate their sales. Most top authors are on 70% cut so they make ca. $13.00 per sale. That's without extended licenses. That's just assuming standard licenses. Simple math really.


----------



## Desire Inspires

Guido Negraszus said:


> Because they publish all sales. https://audiojungle.net/popular_item/by_category?category=music
> Have a look at the sales for October. From these numbers you can estimate their sales. Most top authors are on 70% cut so they make ca. $13.00 per sale. That's without extended licenses. That's just assuming standard licenses. Simple math really.



I can see the math and understand. 

Also, I do not have a negative opinion of you because you work with them. The site is working for you, so you should continue to sell your music there. 

I dislike it when composers attack one another based on where one places music for sale. I’d say that any place that can provide a composer with money is a good place.

But for me, it doesn’t work.


----------



## ColonelMarquand

Sometimes I read this and have to laugh.

To me, there's a lot of talk about a buyers market because there are a thousands of writers on a library like say Audiosparx and AudioJungle. That's all true of course.
But does anyone look at it from exclusive library systems? How many tracks does anyone think there is out there in total on Kpm, WC, Extreme and so on and on. Can't imagine how many there are. Just getting played on a TV program might seem miraculous based on how many tracks there are out there available to music editors.
What that means to me is, there's a lot more to it than that.


----------



## dannymc

ColonelMarquand said:


> Sometimes I read this and have to laugh.
> 
> To me, there's a lot of talk about a buyers market because there are a thousands of writers on a library like say Audiosparx and AudioJungle. That's all true of course.
> But does anyone look at it from exclusive library systems? How many tracks does anyone think there is out there in total on Kpm, WC, Extreme and so on and on. Can't imagine how many there are. Just getting played on a TV program might seem miraculous based on how many tracks there are out there available to music editors.
> What that means to me is, there's a lot more to it than that.




yeah its weird even though i don't partake in this end of the business anymore i was always shocked how i ever made a single sale on the likes of Pond 5 with only 15 tracks with so many other hundreds of thousands of tracks there. maybe its luck maybe its something else but i still appreciate that my first ever sales from music came from one of these sites.

also to the person above who said you are now competing with 10,000 artists thats not entirely true is it. lets say there are only 10 different genres of music and you write in one of those genres then technically you are only competing with 1000 artists and so on and so on.

either way these places are swamped imo and i take my hat off to any composer who can make a living down and that end without moving up the food chain.

Danny


----------



## rgames

Guido Negraszus said:


> Because they publish all sales. https://audiojungle.net/popular_item/by_category?category=music
> Have a look at the sales for October. From these numbers you can estimate their sales. Most top authors are on 70% cut so they make ca. $13.00 per sale. That's without extended licenses. That's just assuming standard licenses. Simple math really.


Have you ever noticed a tip jar that's near-full right when the bar opens?

One way to get people to spend money on your product is to tell them that others are doing it. Who knows if it's true. Fake it till you make it.

That's the point of my post above: accept that you can't know. And hide behind an alias while you're figuring it out.

rgames


----------



## InLight-Tone

rgames said:


> Have you ever noticed a tip jar that's near-full right when the bar opens?
> 
> One way to get people to spend money on your product is to tell them that others are doing it. Who knows if it's true. Fake it till you make it.
> 
> That's the point of my post above: accept that you can't know. And hide behind an alias while you're figuring it out.
> 
> rgames


Cynical no? I think the numbers on AJ are completely legit. Why wouldn't they inflate the numbers on their other sites like PhotoDune? But I hear time and again that noone could possibly be making that much money writing stock music. AJ is a buyers market with a lot of action from around the world. 

I have a YouTube channel, not the one linked below that makes around $2000/mo and has for years making 2 videos per month. You should hear all the naysayers who argue that there is no money on YouTube but then you're kinda arguing for your limitations in my opinion...


----------



## Desire Inspires

InLight-Tone said:


> I have a YouTube channel, not the one linked below that makes around $2000/mo and has for years making 2 videos per month. You should hear all the naysayers who argue that there is no money on YouTube but then you're kinda arguing for your limitations in my opinion...



Post a link to the channel.


----------



## InLight-Tone

Desire Inspires said:


> Post a link to the channel.


No way, it's my wife's work, I do the editing and the voiceovers and she wants to remain anonymous as she doesn't have a very thick skin...


----------



## trailermusic

From my personal experiences, AJ does not respect intellectual property rights. I (and a few colleagues) have had several dozen of my tracks uploaded by users who claim credit as composer and then make money off licensing it. This is full blown infringement. When confronted, AJ claim Safe Harbor. But they obviously have little or no vetting in place to determine who actually owns the music being offered. Troubling characteristic for a company a composer entrusts to protect the value of his/her music....


----------



## Puzzlefactory

InLight-Tone said:


> No way, it's my wife's work, I do the editing and the voiceovers and she wants to remain anonymous as she doesn't have a very thick skin...



Is it ASMR?


----------



## InLight-Tone

Puzzlefactory said:


> Is it ASMR?


Ha! No it's not, but we don't appear on the channel just my voice with lots of pics and video, just an informational thing...


----------



## InLight-Tone

trailermusic said:


> From my personal experiences, AJ does not respect intellectual property rights. I (and a few colleagues) have had several dozen of my tracks uploaded by users who claim credit as composer and then make money off licensing it. This is full blown infringement. When confronted, AJ claim Safe Harbor. But they obviously have little or no vetting in place to determine who actually owns the music being offered. Troubling characteristic for a company a composer entrusts to protect the value of his/her music....


That sucks but I think it's everywhere. I was on Pond5 a bit ago and came across an account that was full of AudioMachine tracks. Blatant rip off...


----------



## Desire Inspires

InLight-Tone said:


> No way, it's my wife's work, I do the editing and the voiceovers and she wants to remain anonymous as she doesn't have a very thick skin...



So what is the channel about? Cooking, makeup, music, novels, travel, fashion, technology, science, etc? I don’t want to troll anyone’s account. I just want to see the quality of the videos and how they earn $2,000 a month.

Is that wrong? You did put it out there.


----------



## Lionel Schmitt

Thanks for the answers!


----------



## Desire Inspires




----------



## R. Soul

Ah yes. I've started following Diva productions lately. It's a bit low end but good advice nevertheless.

I might give AJ or Pond5 a go. I find I always end up with left over tracks from various projects, that I don't want to spend ages on finding a home for.
Still, it seems like you need loads of tracks on these sites to get any traction.


----------



## Musicianistic

I like audiosparx as a home base: very thorough metadata process. Will refer to it. Pond5 however is better paying for me. But I am wanting more income. It bothers me that AS says no AudioJungle users allowed, and YET they have me sign them the rights to licence my music forever (not exclusively). Very one sided that they say no AJ users allowed. I am considering doing it anyway because at worst they will eject me and no more 'forever' clause right? And frankly that would be in my interest if they take that attitude. I need earnings and pond5 is doing better at it than ASparx. I don't care if they are 'nice' there. That's appreciated. But blocking me from listing my music wherever the hell I want to seems a bit draconion. I need to pay bills. Seems unfair. Thoughts?


----------



## Desire Inspires

Musicianistic said:


> I need to pay bills. Seems unfair. Thoughts?



Forget what is fair. Do what you need to do to pay your bills. 

Neither me or any other person on here is going to pay your bills. Always follow the money!


----------



## Musicianistic

Desire Inspires said:


> Forget what is fair. Do what you need to do to pay your bills.
> 
> Neither me or any other person on here is going to pay your bills. Always follow the money!


But you know what i just realized: they want songs to not be by folks that registered them with a PRO. I always do that....hmmm


----------



## Kyle Preston

Where are you seeing that? They literally ask for your PRO information and post it on your portfolio page.


----------



## Musicianistic

Kyle Preston said:


> Where are you seeing that? They literally ask for your PRO information and post it on your portfolio page.


Really? Cool. I read a post that misinformed me somewhere then.
Can anyone comment on whether they ever got 'back end' payments for use of the music?


----------



## asherpope

Would you rather eat shit or vomit?


----------



## Musicianistic

Desire Inspires said:


> Forget what is fair. Do what you need to do to pay your bills.
> 
> Neither me or any other person on here is going to pay your bills. Always follow the money!


thanks for the inspiration and encouragement!


----------



## jcrosby

Puzzlefactory said:


> Is it ASMR?


LAWLZ


----------



## StevenOBrien

AudioJungle, but both are a waste of time.

*Audiosparx:* I haven't seen a single sale in >1.5 years. Their last report says they had just 37 significant placements in the last quarter. For a library that has somewhere in the region of 850K tracks, this is ridiculous.

*AudioJungle:* They evidently have very good sales, but they don't seem interested in taking new tracks any more. I have tracks which sell extremely well elsewhere that get rejected on AJ for lack of "commercial viability". Meanwhile, low-selling niche tracks get approved. I understand why they do this, but from an artist's perspective, it's not worth the demoralization of waiting two weeks only to have something rejected by what feels almost like random selection. I could write half a new track in the time it takes to complete their convoluted submission process. Money-wise 2 exclusive AJ sales = 1 P5 sale anyway.


----------



## R. Soul

StevenOBrien said:


> ... Money-wise 2 exclusive AJ sales = 1 P5 sale anyway.


Is P5 easier to get into?

I guess they have so many tracks now, they've decided to only select a few of what's submitted.


----------



## StevenOBrien

R. Soul said:


> Is P5 easier to get into?
> 
> I've been rejected by AJ a couple of times, so a bit reluctant to try again.
> I guess they have so many tracks now, they've decided to only select a few of what's submitted.


99% approval rate on Pond5 for me, and nearly every single track gets sales, but I think it depends on what curator you get assigned to. I've heard other people reporting that a lot of their stuff gets rejected.


----------



## dannymc

for those starting out i would second pond 5. they also seem to get a lot of tv placements these days. the amount of uk programs i've seen lately were the music is credited to pond 5. they also have a really user friendly platform and discussion forum on tips etc.

Danny


----------



## R. Soul

Thanks guys. 
I'm not exactly just starting out, but I often find I have some left over tracks that didn't make the cut, so it'd be nice to find a home for them, without having to contact another 10+ libraries.


----------



## Jeremy Spencer

My best sales are from both Pond5 and Getty.


----------



## ToxicRecordings

I make a living of Audiojungle and AdRev.. they both work very well if you are fully dedicated, want to invest time and if you can stand out from the rest.
Sadly AJ has a lot of happyclappy "inspiration" tracks, template grinders and sneaky bastards with multiple accounts selling the same track over and over again. So you need to stand out and work hard.

Also Pond5 and any other stockaudio site has never worked well with me.. AJ and i just click, so i dont even bother with other sites anymore.

Just go for it and give it a try.. give it 2 years for example and create a brand and tracks that stand out, but are commercially viable as well. 
I see a lot of authors fail that see themselves as the new beethoven in a digital realm with complicated passages in their not ordinary tracks.. they fail. 
Keep it simple, think who your customers are and what they need.

Good luck!


----------



## dannymc

ToxicRecordings said:


> I make a living of Audiojungle and AdRev.. they both work very well if you are fully dedicated, want to invest time and if you can stand out from the rest.
> Sadly AJ has a lot of happyclappy "inspiration" tracks, template grinders and sneaky bastards with multiple accounts selling the same track over and over again. So you need to stand out and work hard.
> 
> Also Pond5 and any other stockaudio site has never worked well with me.. AJ and i just click, so i dont even bother with other sites anymore.
> 
> Just go for it and give it a try.. give it 2 years for example and create a brand and tracks that stand out, but are commercially viable as well.
> I see a lot of authors fail that see themselves as the new beethoven in a digital realm with complicated passages in their not ordinary tracks.. they fail.
> Keep it simple, think who your customers are and what they need.
> 
> Good luck!



hey buddy can we ask you how many tracks you have on AJ and how many you are uploading a week to maintain that living on there? 

Danny


----------



## ToxicRecordings

dannymc said:


> hey buddy can we ask you how many tracks you have on AJ and how many you are uploading a week to maintain that living on there?
> 
> Danny



yes sure! I have 200 plus tracks and right now i have not uploaded anything in 3 months due to circumstances. yet my income remains steady. I can imagine a decline coming soon as you really need to stay relevant by uploading tracks.

But normally i try to upload 1 track per week on average. excluding holidays.


----------



## InLight-Tone

ToxicRecordings said:


> yes sure! I have 200 plus tracks and right now i have not uploaded anything in 3 months due to circumstances. yet my income remains steady. I can imagine a decline coming soon as you really need to stay relevant by uploading tracks.
> 
> But normally i try to upload 1 track per week on average. excluding holidays.


Hey Robert, congrats on your success! Love your guitar work...


----------



## ToxicRecordings

InLight-Tone said:


> Hey Robert, congrats on your success! Love your guitar work...


Cheers!


----------



## GtrString

I prefer better customers than those who will “reward” me 19bux a track. In reality 19 vs 119 or more doesnt really matter for a company, because this is small change in the larger scheme of production costs. They spend more on phone polish, than on tracks from these companies.

It comes down to if you have got something of quality for the uses they have, and what measures as quality can include many, many things. It may include the stories and identity you bring as an artist. If you sell yourself short, you will become short.

Heres a great interview from a production music veteran; https://www.yorkshireeveningpost.co.uk/whats-on/music/music-interview-alan-hawkshaw-i-missed-my-chance-to-be-a-beatle-1-9260352/amp


----------



## Desire Inspires

GtrString said:


> I prefer better customers than those who will “reward” me 19bux a track. In reality 19 vs 119 or more doesnt really matter for a company, because this is small change in the larger scheme of production costs. They spend more on phone polish, than on tracks from these companies.
> 
> It comes down to if you have got something of quality for the uses they have, and what measures as quality can include many, many things. It may include the stories and identity you bring as an artist. If you sell yourself short, you will become short. Get out of the bedroom and take a stand for your music.
> 
> Heres a great interview from a production music veteran; https://www.yorkshireeveningpost.co.uk/whats-on/music/music-interview-alan-hawkshaw-i-missed-my-chance-to-be-a-beatle-1-9260352/amp




That isn’t really true. It’s just more “blame the composer” rhetoric. So tired of composers putting each other down.


----------



## Jeremy Spencer

Desire Inspires said:


> That isn’t really true. It’s just more “blame the composer” rhetoric. So tired of composers putting each other down.



I love composers like that, it means more opportunities for you and I! I have licensed a ton or tracks through these companies for $20-30 a track, it all adds up, and they do all the work.


----------



## J-M

R. Soul said:


> Is P5 easier to get into?
> 
> I guess they have so many tracks now, they've decided to only select a few of what's submitted.



Don't know how things have progressed for you, but Pond5 is really easy to get into. They accepted everything I submitted (had like three sales though ), and boy, I'm not a production god or anything like that, but some of the stuff on that site is just terrible. I don't think quality control is very strict.


----------



## InLight-Tone

Ya Pond5 is pretty lax. AudioJungle has upped their quality control and are rejecting a lot of tracks. I was getting rejections, which I uploaded to Pond5 and were accepted, until I learned how to write simply, and upping my production game. Now they don't reject anything...


----------



## R. Soul

MrLinssi said:


> Don't know how things have progressed for you, but Pond5 is really easy to get into. They accepted everything I submitted (had like three sales though ), and boy, I'm not a production god or anything like that, but some of the stuff on that site is just terrible. I don't think quality control is very strict.


The tracks I mentioned in my last message are still collecting dust on my hard drive, so perhaps I should just submit them to Pond5. I just have a feeling they'll get lost in the abyss.


----------



## GtrString

Desire Inspires said:


> That isn’t really true. It’s just more “blame the composer” rhetoric. So tired of composers putting each other down.



If you decide the pricing of these tracks yourself, it is a choice that only you can be responsible for. These companies are basically trash cans for music with zero quality control. You have to have a bedroom composer mentality to accept that kind of business. I dont blame anyone for that. Who can blame someone who is not aware of what is involved.

There is a reason composers will register as aliases these places, because the brand wil be worthless elsewhere, and what you sell is basically a brand. Your music will lose value, and you will lose value as a brand. Hence my first comment.

Find better libraries. There are plenty of good quality libraries for production music out there.


----------



## Desire Inspires

GtrString said:


> If you decide the pricing of these tracks yourself, it is a choice that only you can be responsible for. These companies are basically trash cans for music with zero quality control. You have to have a bedroom composer mentality to accept that kind of business. I dont blame anyone for that. Who can blame someone who is not aware of what is involved.
> 
> There is a reason composers will register as aliases these places, because the brand wil be worthless elsewhere, and what you sell is basically a brand. Your music will lose value, and you will lose value as a brand. Hence my first comment.
> 
> Find better libraries. There are plenty of good quality libraries for production music out there.



Nobody gives a damn about a brand. They just music to fit their own needs. This is production Music, not pop music. 

The masses who do production Music are faceless and nameless entities making music for companies who try to get other companies to use the music for money.

Of course there are better libraries out there. But they don’t take everything someone makes. So what to do with that music? Throw it in the trash? Nope, find somewhere to sell it.


----------



## Jeremy Spencer

GtrString said:


> These companies are basically trash cans for music with zero quality control.



Then why are production companies buying "trash" from the library companies? I've licensed tracks for $20 that show up on television. The bottom line is, it's all about money, it's a business.


----------



## J-M

R. Soul said:


> The tracks I mentioned in my last message are still collecting dust on my hard drive, so perhaps I should just submit them to Pond5. I just have a feeling they'll get lost in the abyss.



I'm not going to lie, that's very likely to happen, unless you promote it like there's no tomorrow. Royalty free sites are filled with tracks, and it takes a lot of energy and time to look for the good stuff. My advice: upload your tracks, use an alias if you like, and then upload more if you have some. Those tracks aren't doing you any good on your hard drive...  I'm not an expert in this, but that's my two cents.


----------



## Desire Inspires

You gotta work these songs instead of waiting for the masses to come to you. If you wait, you lose. Throw these songs out here and bother people until you get some traction. Then keep moving!


----------



## FrontierSoundFX

MrLinssi said:


> Don't know how things have progressed for you, but Pond5 is really easy to get into. They accepted everything I submitted (had like three sales though ), and boy, I'm not a production god or anything like that, but some of the stuff on that site is just terrible. I don't think quality control is very strict.



Just to 2nd the comment, yes, Pond5 is easy to get started. I produce a ton more sound effects than music, but even with sound effects the rejection rate is relatively non-existent. AudioJungle seems to be tighter on the accept button, which can be a plus for those already in the market in order to avoid further watering down. Many stayed away from AJ because the price was determined by the company. Now that prices are set by the composer. Opposed to this being a race to the bottom though, the price of the market as a whole has risen. AJ was already rock bottom before the change though, so I guess nowhere to go but up.


----------

