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 The re-title game is over 
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Impressive
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Much like Tony and Amanda, my TAXI member wife Suzanne and I are pretty new to this as well. We have gotten a few nice forwards in the past few months and are now starting to see the light at the end of the placement tunnel. This fact has gotten me quite interested in licensing, exclusive vs. non-exclusive, and the whole re-titling issue.

Let me first clarify that all of this discussion is only a matter of concern once a piece has been SIGNED and that it does not apply to mere TAXI forwards, correct? I mean, it seems that a composer should be able to pitch their songs to multiple libraries/multiple TAXI listings until somebody strikes up a deal, right?

If somebody could please comment on what I believe to be a possible scenario:

"MySong" gets a TAXI forward to "MyFirstMusicLibrary" but I have not heard back from them yet with a contract to sign for placement. I go ahead and pitch that very same "MySong" to "MusicLibrary2", they like it and send me a non-exclusive contract which I go ahead and sign. If I wanted to go ahead and treat "MySong" as exclusive regardless (as some here are suggesting, and somethin in my gut I support), what happens if "MyFirstMusicLibrary" contacts me and wants me to sign a contract (non-exclusive or exclusive)? I'm guessing that I would have to turn down that new deal with "MyFirstMusicLibrary" since the track is already commited elsewhere.

Rich

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Mon Feb 04, 2013 1:10 pm
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King of the World
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If you sign (with Library A) an exclusive or if you sign a non-exclusive and want to treat each non-exclusive as exclusive, and then Library B contacts you about the track, you can politely tell them the track is no longer available. However, use the opportunity to ask if you could write more tracks in that style and submit. This is fairly common in this industry. Many libraries need months to make decisions on tracks and they understand that when they get back to you, it's possible the tracks will no longer be available.

:D Casey

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Mon Feb 04, 2013 1:18 pm
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Serious Musician
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Great thread!
I think a Rally panel discussion would be a good idea for this.

Just to clarify:
- If I have a track signed to a non-exclusive library am I still able to pitch direct to supervisor and any non-library listings?

and, if a library that has your music was to go out of business, what happens to your music? Can you re-acquire the publishing somehow?

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Tue Feb 05, 2013 9:55 am
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Impressive
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I agree with Pedro - those are two questions i'd love the answers to :)

Sláinte, Amanda (Anderson)

ps I decided to use my own name (instead of posting using hubbies name, TonyAnderson, because it's his name on the Taxi membership) :roll:
No more confusion :)

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Fri Feb 08, 2013 4:46 pm
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Interesting thread which I somehow missed the first time around.

I would guess that there are a lot of people like me who, well before retitling and non-exclusivity became issues (and before we knew where to turn in the Taxi community for sage advice), placed the same pieces in several libraries. There's not a lot you can do about that now. Certainly, a library would be quite annoyed if at this point you asked for your music back! I know because I once did that, and no, they weren't happy. (I said "sorry, just kidding.") :)

However, I've noticed on my BMI statements that regardless of the current trend against retitling, the TV shows that use my retitled music continue to use those same pieces over and over again, quarter after quarter. The music supes and network execs may have a problem with retitling, but once your music actually gets onto a show, there's a good chance they'll keep using it. Admittedly, in my case these are cable shows; I haven't cracked the big networks yet.

Needless to say, everything I'm now doing is either exclusive - or with the one big non-exclusive library that's been alluded to, treated as exclusive.

So, if there's a blacklist, I haven't seen it. And armed with talent and good working knowledge about current trends, there's no reason to fear that your music career will be going down the tubes.

Richard

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Sat Feb 09, 2013 2:19 am
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remmet wrote:

So, if there's a blacklist, I haven't seen it. And armed with talent and good working knowledge about current trends, there's no reason to fear that your music career will be going down the tubes.

Richard


There is no blacklist. Maybe some composers are banned from certain libraries, but no composers are banned from the world of TV/film music as a whole. The market is far too big. It's not like getting a medical license or law license revoked.

Stop worrying guys.

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Sat Feb 09, 2013 6:03 am
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Getting Busy
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Just stumbled upon this thread too, searching for more info on re-titling. Thanks all for your insights and comments. Very useful information to think about.

My questions:
1. Is there considered to be any difference between re-titling by:
A) giving a song two or more completely different titles (Original Title, New Title, Different Title)
B) only adding a prefix/suffix relating to the library to the original title? (xxx-Original Title, yyy-Original Title)

2. If you treat each deal as exclusive (even when it's not) - this means it only makes sense to sign songs with non-exclusive libraries that have a very strong, proven track record, right? As clear-cut as that seems to be, the reality is of course that a lot of us will also get offered non-exclusive deals by less prominent or up & coming libraries. Possibly through Taxi. So - pass these opps up, even as a beginner? Or sign and hope that one library is going to do your song(s) justice?

3. Anyone willing to tell me in a pm what the one big non-excl lib is some of you are mentioning?

Thanks
Jay

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Wed Feb 13, 2013 2:23 pm
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I write a lot of songs a year. So spreading music amongst different libraries is no problem for me. I like to put in the work and get my music with as many companies as possible. A new company could either go out of business or become a big player in music licensing.

I go in and out of deals all the time. I wouldn't worry too much about one library.

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Sat Feb 16, 2013 9:20 am
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hey DI - thanks for your comment.

So you're saying you do sign the same songs with a number of non-exclusive libraries and not had any problems with this?

Also, if yes, are your songs always re-titled - either by adding a prefix/suffix to it or by actually giving it an totally different title?

Cheers
Jay

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Mon Feb 18, 2013 4:33 am
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King of the World
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jaysoul wrote:
So you're saying you do sign the same songs with a number of non-exclusive libraries and not had any problems with this?


Many of us have done this and even continue to do so. But read on...

That being said, its important to keep in mind that not having had any problems YET, doesn't mean no problems in the future. There is a definite trend by some TV shows and/or networks toward only working with exclusive libraries. Because of that, some of the libraries that were non-exclusive before are switching over to focusing on an exclusive catalog. If your tracks are spread over a number of re-title libraries, you may not be able to choose one of these libraries and switch to their exclusive catalog. (You might be able to if you could cancel your other non-exclusive deals, but that is not always possible.)

I still get placements from tracks in non-exclusive libraries whereby the tracks are also in other libraries. But that could change down the road. Things sometimes move slowly in this industry. A "trend" can take years.

Some of our most experienced and successful composers here advise against putting tracks in mutliple libraries. Their advice is to treat each non-exclusive deal as exclusive. Utlimately, each composer needs to make educated choices for themselves what they feel comfortable with.

:D Casey

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Mon Feb 18, 2013 6:18 am
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