Pitch Strategy - exclusive vs. non-exclusive

[stansongman]

I'm sure this has been done to death, but I wanted to hear what you all think about the "right" way to pitch. I have deals with 3 libraries. 2 are non-exclusive, one is pretty much exclusive. I get custom cue requests from 2 of the libraries from time to time, one of them is always exclusive.

I continue to submit to Taxi to expand my roster of pub deals. But, how long do you wait after a forward to an exclusive library before you pitch or submit to others? Or, do you pitch everywhere and then sign with whoever contacts you first?

I have forwards to some exclusive listings, but in the meantime some of those tracks have gone into non-exclusive libraries after not hearing from the listing company. If I do get contacted, I'll have to tell them they are no longer available exclusively. Is that pretty common, or is that poor etiquette? Or, do I bait and switch, and create/offer different cues to them?

My strategy for non-library pitches (direct to supervisor/agency) has been to submit only to that opportunity, and then the music is effectively on hold for them (if it has gotten forwarded) until I hear from them, but basically dead if I don't.

My goal is to have my work in as many libraries as possible, and of course the exclusive thing is a pain because you are basically placing with a single company, and if they don't get it placed, there's not an opportunity to take it elsewhere in the short term.

Just wondering how you all manage this. Thanks!

[DesireInspires]

Never wait to get your music signed.

Continue to pitch until you get a deal that you are comfortable with.

[Unstar]

This was one of many topics this youtube podcast from Taxi. The whole episode is a really good watch.

Essentially what's indicated, and I'm paraphrasing, is that you just pitch everything to everyone. Whoever you submitted it to first is the one you go with, presumably if you like the terms. Then if by chance someone else contacts you about the track, you inform them that the track has been placed but you are happy to write a similar track for them.

Here is a link and the timestamp for the actual comment from Michael is. The topic is at 49m 04s

https://youtu.be/Mf8TReBUdYY?t=2944

[stansongman]

Thank you! I'll check it out.

[TDavis]

Hello fellow Taxi passengers!
I am new to Taxi and the forum, and am enjoying the ride.

From my perspective, I think there are advantages and disadvantages to both "Exclusive", and "Non- Exclusive" contracts.
My opinion is, you need to be totally comfortable with your decision.
An "Exclusive" contract usually will entail you giving up your publishing rights, for a long period of time. Once locked in, you cannot have any other contracts involving your music.
"Non-Exclusive" are great from the perspective that you can have many of them, simultaneously.
It really boils down to what you can live with, comfortably.
What I am giving is a nutshell perspective, and you should always explore all of your options carefully.

I am happy to be a part of Taxi, and am learning new things weekly, about opportunities and staying positive and focused.

Happy Thanksgiving to all!

[TDavis]

Hello fellow Taxi passengers!
I am new to Taxi and the forum, and am enjoying the ride.

From my perspective, I think there are advantages and disadvantages to both "Exclusive", and "Non- Exclusive" contracts.
My opinion is, you need to be totally comfortable with your decision.
An "Exclusive" contract usually will entail you giving up your publishing rights, for a long period of time. Once locked in, you cannot have any other contracts involving your music.
"Non-Exclusive" are great from the perspective that you can have many of them, simultaneously.
It really boils down to what you can live with, comfortably.
What I am giving is a nutshell perspective, and you should always explore all of your options carefully.

I am happy to be a part of Taxi, and am learning new things weekly, about opportunities and staying positive and focused.

Happy Thanksgiving to all!