Been in Biz for 30 years. Dissapointed in Taxi.

[NealF]

Hi Casey.

I really have no problem with the idea of giving the client what they want. That's what it's all about. But in my experience, clients don't always know what they want. As a producer you do your best to get them to tell you exactly what they're looking for. Usually giving you examples works best. And many times they're hoping you'll inspire them with what you come up with. There are so many ways it goes.

I just think that if they were a little less rigid (still only letting quality songs through that are very close to the descriptions) everyone would benefit more. Taxi included.

I don't want to turn this into a critique of my song against the instructions. This could just morph into a discussion about how close or far I came to giving what was asked for. But there is some subjectivity involved here and when everything I send is turned down it leads me to think the system is TOO rigid.

But if it's making money for lots of people and for Taxi, then it probably is not for me. This is not meant to be a sour grapes kind of comment. Just thought that Taxi could be more useful all around.

[crs7string]

Neal,

It seems to be easy to blame TAXI when things don't work out the way want them to with submissions, forwards and returns.

If after just 15 returns you are coming to the conclusion TAXI doesn't work, you may to ask for a refund and just move on. TAXI works for a lot of people, not only from the standpoint of being favorably introduced to pubishers but it also has been a great way for me to network with other members and create many other opportunities.

One of my composer friends has had over 1,000 tracks returned by TAXI. He is more successful by the year because he understands the game. The game of write, submit, forget and repeat.

I am a little surprised that after 30 years in the music business that you do not have a "thick skin" to buffer against the built in rejection of the business.

Good luck to you in whatever you decide. Meanwhile the most successful people around here continue to play the game and build a successful catalog and career. (and continue to have music returned by TAXI)


Chuck

[guitaroboe]

Neal,
I urge you to read my most recent post

http://forums.taxi.com/topic34620.html

TAXI has put me in the game and I have learned to live with both the forwards AND
the returns. In fact the reason I became successful with TAXI is because of the (20 or so) initial returns!
I discovered my strengths and weaknesses and developed as a composer because I played to my
strengths. Even now, I get returned but it does not bother me one bit.
I write and submit ALL the time to TAXI and to publishers who pitch my music to cable and network TV.
This is how I get placements and the times I hear 'NO' are surely more than the times I hear a 'YES'.
TAXI may not be for everyone but it has taken me places that a year ago I literally dreamed of.
Write-submit-forget-repeat my friend!
all the best
Adonis

[NealF]

Good advice on how to play the game.

But it really comes down to whether or not you feel you're hitting it on the head. If I get a good reason for a turn down I have no problem with it. But after several tries when I feel I've gotten it right (rightly or wrongly) it does start to feel like a waste of time and money.

It's got nothing to do with thick skin. It's got everything to do with different realities. Not saying who's right or wrong, just that when one gets a turn down that's totally bonkers (in one's opinion) one does tend to get discouraged.

I'll keep at it for a while, but nobody enjoys playing a game they feel they can't win. You gotta have a little encouragement sooner or later or you find another game.

But it is good to hear you guys are winning.

[T&V Marino]

Hi Neal,

We feel your pain!!! For many years, we too were led astray by the critiques of some of the film/TV TAXI screeners giving us bum advice. (In fact, one of them returned two of our songs just yesterday for one of the the craziest reasons we've EVER gotten -- especially after learning what we've learned recently! ) Sometimes the screeners don't get it right.

But we digress...

In February 2009, we decided to go on a mission [CUE: Lalo Schifrin's "Mission Impossible" theme]. It ended up being a really cool mission because we accomplished our mission AND we learned how to network -- which was never one of our strong suits.

What was this mission? To go to the two main sources for production library music to get an explanation of what THEY look for in a GREAT production music library track. And, seriously -- it can be quite different than what the screeners look for.

In the past two years, we met with, talked to, attended dozens of workshops and panels, participated in LinkedIn chats, and even had lunch with several of our two main targets to find out what they really need -- and can use -- in a library track.

These were our targets:

1) The president and/or the A&R person of the top production music companies; and,

2) The music editors (members of the MPEG) who use production library tracks.

What we learned was absolutely eye-opening because it had very little to do with how TAXI reviews the music. We found out that being a "musicologist" (as some of the TAXI screeners were reported to be) was not necessary and in fact got in the way at times. It had nothing to do with how you "develop the theme/motif, etc.," that we were CONSTANTLY being told to do by the screeners. It had nothing to do with how "authentic" our ethnic instruments were.

So, what's the secret? Well, we estimated that it cost us about $12,000 to learn this information in two years. Maybe someday we'll write a book about it. But it should be obvious when you REALLY think about what we just said. And you'll save yourself $12,000.

Good luck, and don't give up!

~ Tracey & Vance Marino

[Cruciform]

T&V,

Your post has just sparked a fantastic idea for me. Thank you!!!!!!!!!!!!

[Kazak]

Neal:

I've been a member of Taxi for 5 years, the last year of which has been from Kazakhstan instead of Houston. I think the greatest thing I have gained by being a member is not placements, it's the advice in the songwriting & music workshops at the Road Rally and all the networking opportunities with people in the industry.

There was a recent popular industry listing where several hundred of us Taxi members submitted songs. They forwarded 25 songs, then narrowed it down until they chose one. In other words, the sheer amount of songs being submitted was overwhelming.

You are talented and have already been successful, so keep going with Taxi but also place your music with some music libraries & through your publisher contacts, etc.. The combination of different avenues is very important as we never know which door will open for us

All the Best!

Alicia

[NealF]

Thanks all. This is a good forum. Seems a lot more people are happy with Taxi than I would have thought.

Just to reiterate, I think screening is a good thing. I just think it's SO tight that a lot of music that would have been sold is getting turned away. Just my opinion.

I'll stick with it for a while but my eyes are wide open for alternatives. Unless the Taxi folks listen to these posts and might agree. At least a little.

[Cruciform]

Just my opinion.

You're not alone.

[NealF]

Just my opinion.

You're not alone.

I was beginning to wonder.