Business Insight, Guidance

[bayshore]

I’m not new to Taxi but new to the Forums. Been with Taxi for years now and very happy with the organization, the credibility and opportunities they provide, however, I’m going to have to improve my music business knowledge base. This is my first introduction post. I need some real guidance (industry best practices) on “the backside” meaning, what happens after a song has been written, submitted to Taxi, and then forwarded (typically a library)?
1. Will the library ALWAYS contact the writer that it has been accepted in to their library?
2. If the library doesn’t contact the writer, is it safe to assume that the forward was NOT accepted?
3. Do I need to do anything with my PRO or any other organization?
4. How can I check if ANY of my forwards have ever been used as cues for broadcast?
I get this sneaky feeling I’m dropping the ball at this stage.

[VanderBoegh]

Hey Bayshore, until you've actually been contacted by a library, producer, management company, etc as a result of a Taxi forward, you haven't dropped the ball on anything yet.

Let's see if I can answer your questions to help put your mind at ease, and give you some more knowledge about how this aspect of the business works:

1. Will the library ALWAYS contact the writer that it has been accepted in to their library?
YES. You will need to sign contracts with the library before anything else happens. If a library is interested in a particular track, or just likes your composing skills, they will reach out and show you their contract and/or make you an offer. You'll need to sign the contract before business goes any further and your song actually becomes part of their catalog.

2. If the library doesn’t contact the writer, is it safe to assume that the forward was NOT accepted?
Until you've heard back directly from the listing party (library, etc), then keep pitching your music. Do be advised though that the timeline between getting forwarded and hearing back from the company might be as short as a few days, or as long as a few years. But until you actually hear back, the song is still yours to shop and pitch as you see fit.

3. Do I need to do anything with my PRO or any other organization?
Once you've been offered a deal from a library or production company, you'll need to supply them with your PRO information. So, it's wise just to go ahead and take care of that now and get your membership with ASCAP, BMI, etc squared away so you're ready when the time comes.

4. How can I check if ANY of my forwards have ever been used as cues for broadcast?
Your music won't be used for any broadcast purposes without first hearing from a library or producer and being offered a deal. Since they'll need your PRO information and probably some type of contract, you can rest assured that your forwards aren't randomly turning into broadcast placements without your knowledge.

Hope that helps.

~~Matt

[hummingbird]

What Matt said!

Plus, it might be advisable to research and understand the differences between
- exclusive and non-exclusive
- writer's royalties and sync fees
- music libraries/publishers and music supervisors

Just in case you don't know, some resources are:
https://www.youtube.com/user/taximusic/videos
http://www.taxi.com/music-business-faq/

HTH - cheers
Hummin'bird

[bayshore]

I appreciate everyone's insight. I often wonder what happens behind the curtain and didn't want to drop the ball on something I should be doing on the business side. Thanks so much! Joe Perlaky, Bayshore Productions

[KylePreston]

Hey thanks for your thorough answers Matt. I came here to ask these same questions and was happy to read your thoughtful response. Cheers man