Where do you seek contact?

[Noyd]

I dont understand all the diffrent ways in musicproduction. We got library music comanys like
premiumbeats, killertracks, etc you can contact. I know that. As i understand those alot are owned by Emi, universal, etc. We got universal procution librarys also, whats the diffrence there?
and also universal publishing, universal records. On top of that theres A&Rs, promoters, managers.
Lets say i got 100 full instrumental tracks ready that can be both for artists and tv/film. Where do i go with them in this jungle? (except from library companys)

How is inhouse producers on a record label diffrent from those signed to universal publishing?
whats the diffrent roles? also universal have so many diffrent publishing and sister labels and whatnot, are musicproducers scatterd all over the plays?

[bassman]

There a quote from the film Spinal Tap by Bobby Flekman which is "money talks, BS walks". Or how bout the Wire
"follow the money".
Apart from me trying to be witty there's a point here and that is, wherever there's money to be made there's also a music business.

ahmmm hmmmm....... back to your question, where do you go with 100 instrumental tracks. There are actually labels that sign instrumental music, think new age, or heavy beats like Fatboy Slim but on the whole I'd say your best bet is in Library music.

As you may be aware the music biz has changed quite a bit in the past 10 years and now anyone with a laptop can call themselves a producer. In other words, there's a lot of people doing it and you don't become a record producer from one day to the next or by sending a couple of tracks to your nearest label (unless you have the promise of a hit in your back pocket). If you want to be a record producer you need to interact with people and build relationships with other writers, artists, producers. Develop your skills, find people who can cover your weak areas, and remember todays independent artists are tomorrows superstars.

I can't tell you exactly where to start but I will promise you this, if you keep doing it eventually you'll get good and if you keep on putting in the hours you may actually become great and attain mastery. If you on top of that have a proactive and friendly personality then anything can happen.

[mojobone]

The answers to your questions would make a good book. I don't have time nor space enough to write one here, but luckily some other folks did. Everything You Need To Know About The Music Business is a great place to start.

As to which libraries might make a good home for your music, it'll require some research on your part; you need to know how your music fits the business and figure out which businesses fit your music. For part A, you've come to the right place; this forum is chock full of knowledgeable and helpful aspiring music producers and writers. (a killer resource on it's own) Read the Forwards forum and the free Taxi listings to find out what the industry needs. Dissect and learn to read the Listings in the Listings forum, post your music in Peer To Peer, network like crazy, and all will become clear. (jes' be sure to pay it forward by helping others as you progress, is all that's asked of you in return)

We're prohibited from mentioning specific companies by name on this forum if they're potential Taxi clients or Taxi competitors; this may seem like a significant limitation, but the rule is there for several very good reasons, beginning with the fact that those companies can read this forum. (it pays to be brutally honest about songs and gear; not so much companies and people)

Upshot is, we can't tell you where's the best place for your music specifically, but we're delighted to point you in the right direction. You have a PM.

[T&V Marino]

Before jumping into this crazy business, it's a great idea to do research -- lots of research. Submitting your music to TAXI listings is a great start because you get to know where you truly shine with regard to genres, etc. But you have to really understand the companies you hope to work with.

Yes, you can always submit music "blindly" to Killer Tracks. But the chances are very remote that they'll sign your music without knowing you.

We happen to know one of the top guys at Killer Tracks. We would never just "submit" our music to him! Instead, we've gotten to know him over the years. Whenever he's been on a TAXI panel, we email him telling him how much we enjoyed hearing him talk on the panel. We go to other events and ask him questions. Two weeks ago, we was our mentor at another industry event. We also do research on what kinds of music genres that we do well that could be placed in the Killer Tracks catalog.

It's a very competitive field, especially now because a handful of companies like Killer Tracks will pay upfront for music. The best advice would be to keep writing and submitting to TAXI and start with the smaller libraries to get some experience and credits. In the meantime, start developing relationships with the top libraries.

You only get one chance to make a good impression with these companies.

~ T&V Marino

[Noyd]

Thanks for the advise!

I dont know how do build that relationship. I dont live in the states so the best i can do
is emails, and alot of people dont like that. I guess the best i can do is build a resume, and
its getting there. Killer tracks was just an exemple, and its great to know the people more
personal. I try to make better music then the others, becouse i know i cant go to rallys, and confrences. May i ask, wich are the top libraries? Taxi i great! i love it, but i cant pay for a renewal this year..
so im on my own now, thought i get some tips on the way

I know its competative, and thats what i like about it. I sounds crazy, but
thats helps keep me focused. Im trying to do a 100 tracks, but i have no
strategi on what to do when i get there (soon though)

[T&V Marino]

Hi again, Noyd,

It's fine to live out of state -- you can still develop relationships with companies. The key is learning HOW to do it! It tooks us years to figure it out, but here are some things we've learned. Recently, we were asked to write a column for a popular songwriter's newletter about this stuff, so it does work!

We're in 32 music libraries and most of them are out of state -- and several are in different countries like Austria, Canada, Israel, Germany, and a few in the U.K. Obviously, we don't get to see or meet most of the people running them face-to-face, but we've still developed relationships with them via email or on the phone. We talk to several of our publishers and producers monthly on the phone. In fact, we just got off of the phone with Cat Herder an hour ago. So, it can be done. And, we're willing to take the time to do it.

For us, the most important criteria are to be positive, persistent, and professional. We realize that the very first time we contact a company is the most critical. You want them to have a good impression of you. Even if they don't take your music now, they may take it in the future, so always keep that in mind!

Here's an example of are some of the methods we use to start building the relationship:

1) First, we research the company by going to their website and listen CAREFULLY to the music to see if our music is a good "fit."
2) Then, we write a SHORT email saying how much we like their company and ask if they're looking for new composers or music.
3) Last, we provide the company with our email address, phone number, and a link to the website with our songs (THIS IS VERY IMPORTANT!) and -- if we've met the person or have contacted them in the past -- we include a small photo at the bottom of the email so it will jog their memory.

Then we wait. And wait. And wait some more. Every few weeks or so, we will drop an email saying, "Hi, Mr. or Ms. So-And-So, We just wanted to follow-up to see if you received the email regarding providing music for your company. Thank you for your time, and we look forward to hearing from you soon!" Some of these companies will take WEEKS or MONTHS before getting back to you! But if you're cool and nice, they will eventually at least give you a response.

And if they take the time to listen to our music, we are VERY grateful and thank them -- even if they ultimately pass on signing it. And if they pass on it, we ask if we can send NEW music periodically and we almost always get a "yes" answer. Then we keep in contact every 6 months or so and...send them NEW music!

Most people never take the time to do this and they get very frustrated when their music is passed over. But we hear over and over on panels (at least 6 times we counted at the TAXI Rally last week) that it's all about "developing relationships." It's a long process, but if you really want to do this, it's definitely worth the time.

Hope that helps!

T&V

[T&V Marino]

P.S. In our experience, no one reads a resume when looking for composers. It's usually done by referrals or by building relationships (they go hand-in-hand). We've always heard from industry people that it's best to "let the music do the talking!"

T&V

[Cat Herder]

Everything the Marinos said is right, take close heed to that. One thing I noticed you said; you want to do 100 tracks. Why do you want to do that? I have never wanted 100 tracks from a composer, although I do want composers who have the potential to do 100 tracks. Why spend your time on this large a body of work if you do not have a publisher. Attacking with a battering ram of 100 tracks will give you no better chance of getting a deal. At this stage are you even certain that your work is ready for a class library. If it is 3 or 4 very selective tracks to a library you have researched will get you a deal if they are good enough. Because if they are not you have 100 dead tracks you have worked for a long time on. Get in the door, find out if you will need to improve. Start with a few and work you way in. If you have 100 I begin asking myself why. You do not want me asking myself anything other than "Is this writer good enough?" Take a deep breath, put a demo CD together of your best work. Get permission to send it, send it.

[Cat Herder]

Oh, and about resumes. I read resumes after I decide to contact a writer. I do not want to know your life story, education ok if you graduated from juliard. I want to know you name, address, phone, e-mail address (most), website. I would like to know what instruments you play, and if you are a singer/songwriter. Experience, and credits. Let me know you are a professional team player. That's all. I do not have time for the rest of that silly corporate stuff, colored paper with a pattern, fancy fonts with double lines.Demos sell me, resumes sometimes close the deal. Resumes sometimes kill the deal too. Another subject.

[T&V Marino]

Sorry -- just wanted to add another tip we forgot to mention for starting relationships. One of the easiest ways is to write a nice, personalized email or note to people on the TAXI Road Rally panels and (especially!) the ones who took the time to do mentoring sessions. We got to know several publishers this way over the years.

You'd be surprised how many people forget to do this. We learned several years ago that it's not about us -- it's about being a team player just as Cat Herder said. It's great to sit in our "Songwriter Caves" writing music all day, but we found you also have to go out and meet people. That's one of the biggest reasons going to the Road Rally is so important. But when you DO meet people, be sure to always follow up by writing an email or note. That will get the ball rolling with the "relationship" building. It's really that simple.

Keep writing,

T&V