Brit-Hit

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paolob
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Brit-Hit

Post by paolob » Sun Mar 26, 2006 3:20 am

Hi everyone.I was forwarded, almost a month ago now, to this publishing company named Brit-Hit. Some days after the forward they sent me a mail, asking for some more details about me and my music. I was soooo excited, as this, after 28 forwards, was the first time ever a company contacted me back. So I immediately replied with the highest expectations, of course, and then.....nothing!I sent them two more messages, asking what was going on.....still nothing. So I was just wondering if anyone had had the same experience with this or other companies; just to share the pain !!Ciao,Paolo

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Re: Brit-Hit

Post by davewalton » Sun Mar 26, 2006 4:32 am

Quote:Hi everyone.I was forwarded, almost a month ago now, to this publishing company named Brit-Hit. Some days after the forward they sent me a mail, asking for some more details about me and my music. I was soooo excited, as this, after 28 forwards, was the first time ever a company contacted me back. So I immediately replied with the highest expectations, of course, and then.....nothing!I sent them two more messages, asking what was going on.....still nothing. So I was just wondering if anyone had had the same experience with this or other companies; just to share the pain !!Ciao,PaoloYes, this happens a lot (to me, at least). This has been one of the hardest aspects to deal with, but the reality is that nothing is certain until you get a contract. There is a lot of information gathering that can easily be misinterpreted as direct interest.About a year ago, I started finding and contacting any independent film company that had a name, asking about doing scores for their films. I send 40-60 things each month. Eventually I started getting some interest and inquiries. I'll never forget one of the first ones to reply. I mistakenly interpreted their enthusiastic response as "you've got the gig". I was SO excited! I emailed but when I didn't hear from them I emailed again and got a response thanking me for my interest but that they had already chosen another composer. I was, um, "annoyed". As an example of what not to do, I sent a pissed off email quoting various sections of their original email and asking for an explanation of how things went from "we'd like to explore the option of you scoring our film" to "we already have a composer, thanks for your interest" (I guess I was having a bad day, bad week, etc). Anyway, I got an email from them that apologetically pointed out that "interest didn't mean getting the job" and that they had sent that email out to several prospective composers. Of course I felt like a total jerk (which I was) and I slunk away and scratched them off my "contact later" list. Happily for everyone, I've changed my response to these things and I'm thankful for the interest (which does say something positive) rather than being bummed about not getting the deal. Most of the contacts go unanswered, some ask for more info and a few turn into real projects. Some of the "more info" responses sound VERY encouraging, sometimes I don't know if I've gotten the deal or not (seriously). I always reply and if I get a contract, then I got the deal. I don't know if I'll really get used to it, but I accept it as part of the process. Just to wrap up my diatribe, I think the key is to submit music to Taxi and to also submit a lot of music outside of Taxi. If you submit a lot of music, then you'll get more responses (a numbers game) and then each response won't be so critical.Good luck and boy can I relate!Dave

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Re: Brit-Hit

Post by matto » Sun Mar 26, 2006 11:00 am

Hi Paolo,think of it this way: If you saw a cute girl in the street and asked her if maybe she wanted to have lunch sometime, does that automatically mean you're gonna marry her? It's the same with companies looking for artists/songs/composers etc. They hear something that piques their interest, so they want some more information. Doesn't mean it's gonna turn into something...Also remember that other people will have been forwarded as well, and there may only be a small number or even just one opportunity at this given time.So if they like even one person's music a little better than yours, you might nor get a gig...for now.But...remember you now have a contact...a door that's been opened, even if just a crack. There's no reason you can't contact this company from time to time, tell them you have new material, ask them if they'd like to hear it...that sort of thing.In time it may lead to work after all.The most important thing is to act professionally, don't be impatient, don't constantly bug them.In time you'll build a network of such contacts, and if you carefully tend to them, then, when you least expect it, one of them may come thru with a big job for you.So please be patient, and best of luck to you!mattoP.S. You should be encouraged by the large number or forwards you're getting! It means you produce professional quality music, and you just have to find just the right "fit" for your music. Every forward gets you a step closer to that.

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Re: Brit-Hit

Post by nomiyah » Sun Mar 26, 2006 11:26 am

Quote:Hi Paolo,think of it this way: If you saw a cute girl in the street and asked her if maybe she wanted to have lunch sometime, does that automatically mean you're gonna marry her? What an analogy!!! I'll remember that one.

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Re: Brit-Hit

Post by matto » Sun Mar 26, 2006 11:26 am

Something else:Companies often change direction, and quite drastically sometimes, particularly in the tv and film worlds.For example, a few months ago there was a listing for a therme to a major network TV show, a legal drama. They were looking for uptempo techno, Chrystal Method, Chemical Brothers, that sort of thing. You may remember that and probably even submitted for it (if I remember correctly you write Electronica).Well I had submitted a cue for that and it got forwarded (the music supervisor himself was screening this listing and said he really liked the song).Of course then I never heard anything...however since I had the production company's name I was able to do some searching and find out what the Show's name was.When it recently appeared on the mid-season schedule I tuned in, of course, curious to find out what theme they'd gone with, what music had beat out mine.So there comes the theme and it is...a serene New Age piano ditty. No techno, no hard driving beat, no in your face catchy hook...no nothing like they said they were looking for, but the exact opposite. This is something that is quite common in tv and film...people are constantly tinkering with stuff until the last minute, and there's usually a ton of producers involved, each with his own set of opinions.If they happen to change direction at the last minute, you're stone out of luck...It's all part of the business and something you have no control over...so don't sweat it.

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Re: Brit-Hit

Post by born2diva » Sun Mar 26, 2006 6:12 pm

Wow Paolo, you have a large amount of forwards... how do you do that? You should be very happy. Your music is made of good quality. You're somewhere close to get a deal don't worry... I'm very impatient myself and I would be very dissapointed if they send me an e-mail at first and request more information about me, next they don't contact me back, and next again telling me I didn't make it. I'd be pissed off..Cause I'm like: "Why the hack did you contact me then?"It's dissapointing after making ilussions and being so happy, but look at the otherside: Atleast they're interested in your music. 28 forwards is no joke!! You should leave some space for others man! (hehee just kidding)Best of luck to you, keep it up, you're very close to something great, you'll see GreetingsDiva

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Re: Brit-Hit

Post by paolob » Mon Mar 27, 2006 10:07 pm

Thanks everybody for your quick, useful and encouraging replies.I’m still left with the feeling that, whatever might be the case, a simple two-line email, even like “we’re sorry, we changed our minds” from them, wouldn’t have taken too much, right?To MattYeah, I remember that....new-age piano eh?!!!! Sounds like five $ in the bin to me ehehehe!To DivaThanks, but consider that I’m not sending songs, in my own style. In that case, probably 28 forwards would mean something.In my case, they’re instrumentals spanning from classical piano-solo to electronica to modern rock so in fact I’ve just had a 3 or 4 of forwards per track….evidently still not enough….for now!Take care, everyonePaolo

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Re: Brit-Hit

Post by davewalton » Tue Mar 28, 2006 3:17 am

Quote:I’m still left with the feeling that, whatever might be the case, a simple two-line email, even like “we’re sorry, we changed our minds” from them, wouldn’t have taken too much, right?Maybe, but regardless of how we'd like it to be, the reality is that it is very rare to be notified that you're not being chosen, even if you are on the short list. Plus I don't think they changed their minds, they just asked for more information, right? Plus, a lot of these things take MONTHS. One person recently posted on this forum about getting a deal from a submission that was two years old. I've gotten one from submission that was one year old. That's the thing - you can't draw any conclusions from ANYTHING they say or do unless or until you get a contract. You can't count yourself out, you can't count yourself in. Personal example:"Played the film clip and the music sounds terrific. You are very talented. It's been a dream of mine to have music of your caliber for our film. I'm sure Florence, the book author would like your music as well. Would you be able to consider working with our budget? I spelled out our limitations in the original letter but you might not have got it. If you aren't put off by our modest budget, I'd be honored to consider working with you. Is there any way I could hear more of your music - online, as an attachment or getting some more material through the mail?"What conclusion would you draw if you got this email? You'd probably think you were a whisker away from getting this. In reality at that point, I was just one of hundreds - not even on the short list. I sent more info as requested and got this email several months later:"I wanted to thank you for sending your music samples to me let you know that I and other crew who've been working with me on finding a composer were impressed with your work and found it to stand out from the many submissions we've received. We are still in the process of going through submitted music, but I will keep in touch with you and keep you posted on the audition process. At some point, it might be worthwhile to communicate further about the kind of music you might be capable of composing for the film and what your schedule looks like this spring. Look forward to being in touch."So now I'm on the short list. Several months have gone by since I received this making a total of something like 5 months. I replied thanking them and letting them know I look forward to talking with them. I also sent another email recently asking for a little detail of what the schedule might be for the composer. That email has gone unreturned. So are they still "looking forward to being in touch"? Maybe, maybe not. No way to tell. This happens ALL the time. More than I ever expected or imagined. It takes a little to get used to.Many times these guys are dealing with hundreds of choices and there's no way we can expect them to contact everyone and let them know their status. I've got to stop replying first thing in the morning. I babble too much when I'm just waking up. Dave

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Re: Brit-Hit

Post by edteja » Tue Mar 28, 2006 3:23 am

At least your babbles are informative, Dave. Besides, quotes from other people don't count. It's part of the laws of babble--only your own words. Other people's words are filler.
"In the future, when we finally get over racism, bigotry, and everyone is purple, red, and brown ... then we'll have to hate people for who they truly are."--George Carlin

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Re: Brit-Hit

Post by 53mph » Tue Mar 28, 2006 4:03 am

Dave is right. Try not to take it personally as it can seriously backfire on you.When I was younger I had alot of interest from XL records. The A&R guy invited me round to their offices, he wanted to hear all my stuff, thought I was a genius blah, blah, blah started talking about the first single etc....then I got an email from him asking if I would concider collaborating with a female singer of his. I politely refused after just coming out of a 4 year collaboration with a Prima Donna...and that was that! He never returned my phone calls, emails etc..No "polite two line email for me either" just learn to roll with the knocks.You can't get mad. If you turn round to them and say "but that's not the right way to do things." you won't hear anything more. After all, who likes working with people who criticise their working methods.I have personal friends in the music business and they don't even respond to their friends emails asking how they are...so why would they make a special effort with someone they don't know. When they want to call you they'll call you.

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