r2me2

What timing! Thank you David.

Has anyone found a solution or good work-around for creating relative velocity changes with MIDI draw (holding COMMAND while drawing a line)? (like creating a crescendo that keeps your velocity peaks and valleys relative) Maybe I'm remembering incorrectly, but I thought the function was working fine with 10.3.2 because I worked on a project and used that feature many times. However, I may have been on another machine running a previous version... I saw some mention of this feature being removed on this thread: Re: LPX 10.3.2 is out and hoped there was a solution. Using MIDI Transform can get the effect with Relative Crescendo, but the workflow is slower and less intuitive (for me at least).

I'm curious to hear what others have to say on this too. At this point, I've only had brief/minimal experience with licensing, so my knowledge is limited... From what I've encountered, there's no definitive resource or answer to the "performance/reward/fairness" question. The reason is partially because many composers are different and many companies serve different composers/clients. One place might be great for one and horrible for another. Some people have had great success with Pond5 and others have no sales (filter by # of sales and you'll see a few composers doing very well on that site). It also seems to be a long-term effort in terms of performance. I've heard of many composers who say it takes years before they get enough momentum to call licensing even a part-time job. When keeping that in mind, fairness is tricky to determine. For example, if one company gives you 50% and another gives you 30%, the math is obvious (50% is more), but maybe the other company works harder at getting your music sync'd and that's why they take a larger cut. There's a lot of pricing/cost that is not transparent so it's really difficult to know what's happening - that's can be very misleading and, in effect, discouraging. To your other part of the question, "Is there a reasonable approach...?" From what I've been hearing from others, and from what I've been doing, it comes down to doing your homework. Do LOTS of research on lots of companies. Keep a notebook or cloud notes and write down names, websites (including quick links to submission pages), percentages/rates, exclusivity, file requirements, stem requirements, audition requirements, genre preferences, etc... I spent hours and hours and many days compiling info that was relevant to ME. You'll likely narrow down your search to a smaller collection of companies that might fit what you do (but that doesn't guarantee they'll even accept your music) (and, if accepted, that doesn't guarantee your music will perform well) (and maybe you don't have enough music to submit yet). With that list, research what other have said about them and whether they are worth putting time into (of course, just like my comments, take them with a grain of salt). Then if you're ready to submit music, go for it! There are a number of classes (online and in-person) that approach this topic. Sometimes those can be useful. The feedback is always beneficial, and the network/community is an important aspect too. With all that said, here's a link to a big list of licensing sites/companies compiled on another forum: https://www.gearslutz.com/board/music-picture/1134796-music-library-list.html I'd love to see what others have to say as well...

Ear Training covers a number of things - being able to identify the name of a single note can be a component of this, but that sounds more like perfect pitch. Various musicians feel you can/can't learn this. From my experience with musicians, perfect pitch is developed when you are young (check out Youtuber Rick Beato and his son Dylan - it's mind-blowing what he can do). I do think you can develope relative pitch with practice - which is more of an approximation of a pitch. Ear training is meant to develop your ear's ability to identify a variety of things from intervals to scales to chords to relationships etc... What you want to learn/improve depends on what you plan to to with it. For example, I'm a self-taught rock guitarist that eventually got degrees in composition (with a classical perspective). As an educator by day and composer by night, my attitude or approach to ear training might differ from a performer. It might also differ from someone of a different genre or instrument or something else. I agree with much of the ideas in the comments above: Tuning is a practical use for the instrument, playing a lot will help to reinforce the practice, etc... From my perspective and preference (based on my activities), I value the ability to identify relationships. As a composer and music theory instructor, I can't help but hear relationships in music. Knowing what chord progressions or melodies or rhythms are used means a lot when analyzing and understanding a piece of music. From there, I can reconstruct a piece of music or utilize the info in a composition. When I'm not thinking of the chords (or at least, when I'm not concerned with the chord analysis), I try to identify the scale, intervals, or chord qualities (these are all related to relationships in music). Not sure if that will help you directly, but here is a resource that I use a lot in my classes that I think are quite useful. You can customize exercises for a variety of ear training practice (the Lessons are also great for music theory): http://www.musictheory.net/exercises