Anyone Actually Obtain Deals From Forwards?

[MBantle]

Hi Matt,

Yes....I agree... Quality must come first!
A hundred ok sounding tracks may never get used...but a few GREAT sounding tracks could be used thousands of times.

I also completely agree about the 20% thing.
I have perhaps hundreds of tracks sitting in exclusive libraries that have never been placed anywhere...at least not in the last 14 years....

and yes..of course...numbers do matter...but as as you allude to... a few high quality tracks are better that a bunch of mediocre tracks!!

Again, my 2 cents,
Tim

Thanks Tim! ...in my case the worst thing is that my "Rainmaker" on Tunesat is a solo piano piece that I did not even really compose in the strict sense...I just sat down and improvised on the piano for a couple of minutes, quantized & humanized what I recorded (2 times humanizing for piano is always the best as we all know... ) and let it run through Ozone - end of story... took about 45min. And, as you pointed out, some other pieces were really difficult to put together and they now 'exclusively' sit in a library waiting for their cue (pun intended)...
Cheers,
Matt

[Shalee]

Hey!
I personally signed with my music library through TAXI, it was a very quick process, got the forward and the offer from the library within a few hours of each other. I've signed 5 tracks with them now. And I also used returned tracks to get my current publishing deal, which I've worked for them for 6 months, and used my best tracks with them to get my second publishing deal, and I'm literally a cut away from entering the international kpop writing stage it's that crazy and that close I can taste it. So yes, sometimes you get that magic sauce and you land a track that works really well and is exactly what that professional at the other end was looking for.

I understand your frustrations, but I think that it's just as much of a numbers and luck game out there as it is in here.

I say that because I'm signed to 2 publishers now, and I do industry briefs directly to the source, briefs that I've smashed out of the park and written amazing tracks for, and I've still not landed the elusive cut/placement. I've been as close as it being my song and another one and the artist at the end going for the other one. The reality is that this business isn't fair. The most talented don't always end up at the top. More often than not, it's about the right song, in the right place, with the right message, the right tone, production and lyrical content fitting the right management and artist. For sync, it's about the right song, in the right place, with the right message, the right tone, right production, right lyrical content, and right mood and emotion, and right tempo fitting in with the film/tv editing and going through about 5 or 6 people to end up placed. That's a lot of hoops to jump through and a lot of stars to align perfectly in order to land it. But people do land it, because thousands of songs and films and tv shows come out every year where someone has had that special magic sauce that has just worked perfectly and everything fell into place.

You just have to have faith and work extremely hard every single day pushing to get to that goal and statistically increase your odds as best as you can.