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Hey everyone, I’ve been a member of AudioJungle for a while now, but I’ve only recently started uploading music. I’m no expert when it comes to mixing so I would be really grateful if someone could give me some feedback on why my item was rejected. Here’s the item in question: Reject message: Unfortunately, this submission doesn’t meet AudioJungle’s commercial quality guidelines overall, and can’t be approved.

Audio must be fully composed, arranged, mixed and/or mastered to a commercial standard, and have reasonable potential utility to our commercial buyers. If you wish to resubmit more content, please review the engineering and composition and make improvements to a commercial standard before attempting to upload again.

Loove the spirit of this forum, really talented people in here! Hope to learn from you guys. All the best and thanks in advance! I wouldn’t get too caught up on the mixing/mastering aspect too muchI think that’s a mistake too many new authors make. Honestly, I’ve only really heard a handful of tracks that where horribly mixed, and maybe another handful that were superbly mixedmost of the time people’s mix sound about the same here to methen again I don’t listen to tracks all day.

They are telling you in the e-mail your track isn’t commercial enough. They have clamped down pretty hard on only approving stuff they feel has commercial utility. That being said, I’d agree it might be a tad muddy in the bass frequencies/drum hitsbut I hardly think that’s why your track was rejected. Commercial in orchestral usually means big percussion and horns. Personally, I’m always trying to sneak in tracks that stray from that formula but I’m afraid few get approved. I like this track.

It has emotion and feeling. I wouldn’t think of it as a trailer track though, but more of a credits track or cinematic underscore. A trailer track is usually more bombastic. Regarding the mix I don’t think it’s very bad at all, but as Adam said, it could be a bit muddy so some cleaning up in the lower register could help, as well as adding a tad bit of shine. I think this should’ve been a soft reject at worst, and it could also be a mistake as we’ve seen happen before. The reviewer may have felt that the string melody is a bit unusual and therefore not commercial enough. It goes to places the average listener might not expect.

Something I don’t think is a bad thing, but what can you do. Agree with above. This track is more of an underscore than a trailer, but I doubt that would be the reason for it being rejected. The mix is good, but there seems to be too much going on in the low frequencies and not enough clarity in the high end. Try to find a way for each instrument and sound to fit comfortably within the mix, whilst not sticking out too much.

18 wheels of steel american long haul serial keygen for archives. This is a limited offer and will soon expire and revert back to the normal member price.

You’ll find more often than not that each instrument has its own prominent area and occupies a certain “band” in the frequency spectrum, and you can EQ to this effect by attenuating any unwanted frequencies and highlighting those that will cut through the mix more easily, allowing more space for other sounds to fit in. Remember, this should always be done in moderation! This is perhaps most important for bass instruments and sounds occupiying the low-mid areas, where too many different sounds going on can quickly make the mix sound muddy and slurred.

While it’s still important to allocate an area for each instrument in the higher frequencies, it’s not so much a problem for the high-frequency sounds, as long as each sound can be distinguished. Compositionally it’s a good track - I’d say it’s a good deal more sophisticated than many pieces here.