Testing Screeners this month, #406, #416

[singer1]

Dear screeners, #416, and #406.

This month I thought I'd try something just for an experiment. It just so happened that after I had submitted to two listings that some of my material was picked up for Advertisers and a prominent sports provider.
This was also the material that I submitted to Taxi's listings. They, of course were returned for one reason or another, as I had surmised.
1st - Y190920TV - Listener #416
"Nice job, fun listen" was picked up for all the reasons you did not give. Repetition is what a supervisor wants to not get in the way of the overlaying scene or action. Not all examples followed your rule of " Needs more developmental and dynamic arc.... less repetition." It was selected as a full song with lyrics; thought I'd try it as a instrumental. Maybe the lyrics helped. I dunno.

2nd - Y190921ED - Listener #406
"Nice start. You might get closer to the high energy EDM style that this listing requested by starting with a more driving kick at a faster tempo, Also would think about replacing some of your moodier sounds with bright energetic forward moving rhythmic parts."
I am Trying not to be just like a mold of just one cue. EDM has many different elements as the provider whom asked for this material gave us more examples. "A List" was one of the first selected. "Geared One" was also selected.
Again, I know that music is subjective as are all of us people, but it seems when I am sure of a submission, a different point of view is given by one of these screeners. Almost seems as though they want to 'educate' rather than examine the possibility that maybe they could be wrong about what they hear.
I still am a proponent of the process, just would like minds open rather than "staying within the lines" so to speak. D.

[ResonantTone]

From my understanding, screener's are meant to choose songs that they feel like they would personally vouch for when sending off to a library. The listing criteria, the background of the screener, and a bunch of other variables all come in to play... but the important thing to remember is that their job is to forward songs they feel have met the mark. It is subjective on some levels of course, but they are getting paid to have an opinion on this stuff! (and for good reason)

To be totally honest, some of my songs that have been rejected by a screener were picked up very quickly by a library after the fact. Ultimately, that's the libraries' call on if the song works for them. I don't think anyone should interpret a rejection from a screener as a "this will never work in a library". Many times they will work great, but that doesn't change the fact that the screener needs to set a bar for "forward material" that may vary widely from a library's criteria.

As far as the educational comment goes, I'm really thankful that the screener's put an emphasis on this. It helped me fix some of the big issues I had early on with my music.

Bottom line (for me), is that I trust Taxi to ensure that their screener's are keeping up with what libraries/music supervisors *as a whole* are looking for, and are staying as objective as possible while trusting their instincts.

Andrew

[singer1]

A well organized set of thoughts. Thank you. I do realize all of this, just thought it interesting that the folks in charge of getting what the libraries want, have their own set of requirements that do not reflect what the provider actually wants and can use.

You can see the disconnect. Maybe communication is a key ingredient in all of this. Just an irony of life I guess. D.

[cosmicdolphin]

It's hard to say without knowing what the listing said, what the reference tracks were and what the Libraries that ran the listings were looking for.

It doesn't automatically figure that because Library A & B picked them up from you, that it's suitable for Library C that ran the listing..they are different LIbraries with different clients with different needs.

Also just because it's returned doesn't mean it won't work for someone else..I've had a few Taxi returns placed on TV down the line and many more signed into Libraries.

PS - Was it Fox Soccer by any chance ?

[Casey H]

Keep in mind that screeners screen tracks against the criteria and bar for a specific listing.

When you say your material was "picked up for advertisers and a prominent sports provider" do mean a music library? Music libraries all have different needs based on what's already in their catalog and what their particular clients want. And libraries, just like Taxi listings, have different "bars".

It is **VERY** common for tracks to be returned for Taxi listings and get signed by music libraries. Again, The taxi listing is very specific and some libraries may be looking for a wider range for their catalog.

It's a meaningless comparison you made in your post.

Best,
Casey

[singer1]

Thanks Casey! Good to hear from you always. It was a week that saw the library reach out for material for a particular request. Wording in Taxi's request sounded almost verbatim, so I just assumed, ( I know), that it was the same. No matter. Different avenue to same destination.
I actually was going to call Taxi to say track was already picked up, when I thought, " ya know, it's probably going to get returned, so no need."
Again, my underlying point is that - Music is subjective as a painting is. Five different people will see possibly many different things in the same view.

The byline was a minor joke in it all... D.
PS - My words are never meaningless.

www.davidbradleymau.com

[jaywilliams]

I'd love to read more tips on how to break through to these libraries without a Taxi forward.

It's great if you have an existing relationship with a library and can shop your tracks to them directly.

But without that, how do you go about turning your Returns (or for that matter, your Forwards) into Deals and Placements?

Jay

[singer1]

Hey there Jay, it does take a previous relationship unless you have that forward. Sometimes it can happen at a Road Rally, like the one that is coming up.
I also have direct business with some of the major sporting networks as we have provided music to them since early 2000's. That turns into expanded opportunities for us. As the industry grows these people move on to other networks, staying in contact of course, if you've given them what they need to succeed in their jobs.
Remember this. If you are pleasant and helpful to music supes and network folks, they do remember!! As important as the quality of your material is the way you conduct yourself to them.
(It helps to have a good sense of humor and be a little self-deprecating.lol)

Take care and keep at it! D.

www.taxi.com/davidbradleymau
www.davidbradleymau.com

[MBantle]

To be totally honest, some of my songs that have been rejected by a screener were picked up very quickly by a library after the fact. Ultimately, that's the libraries' call on if the song works for them. I don't think anyone should interpret a rejection from a screener as a "this will never work in a library". Many times they will work great, but that doesn't change the fact that the screener needs to set a bar for "forward material" that may vary widely from a library's criteria.

Andrew

Totally agree with Andrew! It happened to me a couple of times but (!) I always tweaked the "returns" (applying all or parts of the screeners feedback) before sending them to a publisher for consideration. The BIG difference in all of that is that if you just send a track to a publisher for 'general' audition purposes there is obviously no specific brief. And, this is very different to a Taxi screener listening to your track as they are bound to the specific requirements of the individual listing! In other words, a great track can be used for tons of purposes but it can still fail the requirements of an individual Taxi listing if that makes sense.
My five cents.
Cheers,
Matt

[cosmicdolphin]

I'd love to read more tips on how to break through to these libraries without a Taxi forward.

In a nutshell - By offering them high quality licensable music that they can use for their clients.

Unfortunately many folk don't understand what high quality licensable music sounds like when they start out ( i.e. they can't tell how much their stuff sucks in the beginning ) , so they need a service like Taxi to provide objective feedback, briefs, deadlines, peer support etc. Which in turn forces them to raise their game and improve in whatever areas they are lacking at the start ( and this can vary from person to person ) If they went straight to the Library before they werre ready they'd probably just get flat out rejected and / or ignored, after a while with no feedback or motivation it's easier to give up.

PS - I watched a few of the videos on your Youtube channel out of curiosity and noticed we have pretty different approaches to the business of music licensing. You seem to focus on ' Mailbox Money ' and quantity of tracks produced each month , forwards, returns, streaming revenue etc. That's a very goal oriented way to look at it but I am not convinced it's the best way in the early years. You can make as many tracks each month as you like but if they don't get over the quality bar then it's not going to help you get tracks signed or placed.

Whlst I like numbers and stats, for the past few years since I started out I have always tried to focus on the process of making better music until it reached the point where I was getting music accepted and ultimately placed. If you commit youself to the process of writing and improving the numbers eventually follow. I have had to learn different styles I never listened to previously, learn to play instruments I couldn't before, mix & master better than I had for 20 years all over the course of a few years whilst holding down a full time job and helping to raise my 3 kids. It's not easy but if you focus on the process and not the result I think you will get there faster. Feel free to disagree with me !

Mark