"Hang Ten" Surf Rock Instrumental

[johndalenow]

Thanks, Casey! If you were me and wanted to find a collaborator, what would you do?

Best!

John

[Casey H]

Thanks, Casey! If you were me and wanted to find a collaborator, what would you do?

Best!

John

Well definitely ask here on the forum. No guarantees, especially not quickly enough for this listing. Also, longer term, the road rally is a great place to meet people and build collaborative relationships.

One thing you could do is get the chords/melody in good shape even if midi and then bring that to a collaborator to use live instruments and quality samples. I think in this case, your melody and tempo need to be more energetic and surf-rock-ish. So working on that such that the ONLY issue is sound quality would be a good start IMHO.

Also, are you willing to pay a work for hire fee to get your track recorded? Just throwing that out as another option once you get the music in shape.

Best,
Casey

[johndalenow]

Casey,

I am new to Taxi and this end of the music business in general, so please bear with me in my efforts to educate myself. That said, with all the competition that "hits the hopper" at Taxi, how can an investment that involves paying individual musicians ever pencil out?

Do you happen to know any percentages and/or stats on just what the overall picture looks like?

What has been your personal experience?

My "long suit" seems to be the ability to "crank it out." I CAN spend a few bucks if the risks make financial sense.

Any info you can provide is greatly appreciated. Thanks in advance for your help.

John

[ttully]

Hi John,

I can't speak for Casey.... but accurate stats on this type of thing are very hard to come by.
Everyone is completely different!
What works for one person may not work for someone else.

Remember.... you could collaborate with some other musicians and they could get a percentage of the sync fees and royalties.... If you do not want to pay upfront for their service.


I figure it's like trying to win the Indianapolis 500.... 'Well, I've got this Toyota Camry.... it's pretty fast.... BUT If you want to compete with the BIG BOYS... ya gotta buy a real race car!!!.. and that will cost a lot of money... and you still may not win...
but at least now ...you have a better chance!


My 8,000,000 cents worth,
Tim

[johndalenow]

Thanks, Buddy!

[cosmicdolphin]

how can an investment that involves paying individual musicians ever pencil out?

It likely won't IMHO, you have to write a lot of high quality music to get into Libraries to get any placements. Even the successful folks say that it's around 20% of their catalog that generates the majority of the income so 80% may be sat gathering virtual dust. Paying someone else to play on your cue is no guarantee of anything.

If you can find someone willing to collab and split anything that may come down the pipe later then great but OTOH a good guitarist can just as easily write their own cue.

At this stage you are probably better off making tracks where you do everything yourself ( keys based ? ) and getting those to a standard where they are regularly getting forwarded for opportunities, then with a bit of luck Library deals will follow..the the hard work REALLY starts.

Mark

[Casey H]

Casey,

I am new to Taxi and this end of the music business in general, so please bear with me in my efforts to educate myself. That said, with all the competition that "hits the hopper" at Taxi, how can an investment that involves paying individual musicians ever pencil out?

Do you happen to know any percentages and/or stats on just what the overall picture looks like?

What has been your personal experience?

My "long suit" seems to be the ability to "crank it out." I CAN spend a few bucks if the risks make financial sense.

Any info you can provide is greatly appreciated. Thanks in advance for your help.

John

If you pay for production on all your tracks, becoming profitable as a whole isn't really possible.

So to clarify, a few tracts you can take:

Use some paid WFH in parallel to you learning how to do it yourself as a way to get in the game and build relationships.

Collab with folks who can do the play/production for a 50/50 split of the ownership. MANY of us do that all the time. If you send a really good idea to a potential collaborator, they are often willing.

Relationships with other songwriters/composers is the most important thing for so many reasons. They can help you learn tricks of the trade to make better productions yourself. They can be collaborators. They can teach you about the business.

Go to the road rally. I can't think of any better way to meet and build relationships with other songwriters/composers. It totally changed my musical life as it did for so many others.

Best of luck!
Casey

[cassmcentee]

Casey's Advice = +1

[johndalenow]

how can an investment that involves paying individual musicians ever pencil out?

It likely won't IMHO, you have to write a lot of high quality music to get into Libraries to get any placements. Even the successful folks say that it's around 20% of their catalog that generates the majority of the income so 80% may be sat gathering virtual dust. Paying someone else to play on your cue is no guarantee of anything.

If you can find someone willing to collab and split anything that may come down the pipe later then great but OTOH a good guitarist can just as easily write their own cue.

At this stage you are probably better off making tracks where you do everything yourself ( keys based ? ) and getting those to a standard where they are regularly getting forwarded for opportunities, then with a bit of luck Library deals will follow..the the hard work REALLY starts.

Mark

Thank you, Brother. Best! John

[johndalenow]

Casey,

I am new to Taxi and this end of the music business in general, so please bear with me in my efforts to educate myself. That said, with all the competition that "hits the hopper" at Taxi, how can an investment that involves paying individual musicians ever pencil out?

Do you happen to know any percentages and/or stats on just what the overall picture looks like?

What has been your personal experience?

My "long suit" seems to be the ability to "crank it out." I CAN spend a few bucks if the risks make financial sense.

Any info you can provide is greatly appreciated. Thanks in advance for your help.

John

If you pay for production on all your tracks, becoming profitable as a whole isn't really possible.

So to clarify, a few tracts you can take:

Use some paid WFH in parallel to you learning how to do it yourself as a way to get in the game and build relationships.

Collab with folks who can do the play/production for a 50/50 split of the ownership. MANY of us do that all the time. If you send a really good idea to a potential collaborator, they are often willing.

Relationships with other songwriters/composers is the most important thing for so many reasons. They can help you learn tricks of the trade to make better productions yourself. They can be collaborators. They can teach you about the business.

Go to the road rally. I can't think of any better way to meet and build relationships with other songwriters/composers. It totally changed my musical life as it did for so many others.

Best of luck!
Casey

Thank you for the help, Casey. Best! John