Taxi Forward but Nothing After 1 Year

[edmondredd]

I suppose you got really various professional ways of approaching this situation.
If I were you, I'd keep that track with that library and move on. I suppose it's a solo piano piece (or even with a small ensemble), and I'm more than sure that you can write lots and lots of more other material that will eventually find a placement somewhere with another library that could be more active.
Keep on writing music, keep on doing what you love, stay professional and don't worry..

[alanjmoore]

I suppose you got really various professional ways of approaching this situation.
If I were you, I'd keep that track with that library and move on. I suppose it's a solo piano piece (or even with a small ensemble), and I'm more than sure that you can write lots and lots of more other material that will eventually find a placement somewhere with another library that could be more active.
Keep on writing music, keep on doing what you love, stay professional and don't worry..

Thanks for the advice. After a lot of thought, I think I will do as you say - leave the track and get on with life. I managed to get 11 similar tracks signed to another library so it’s not too bad.

My frustration lies with the unprofessionalism of certain libraries and the lack of communication. As a music teacher, I can’t begin to imagine acting in such a way with my clients (students).

Thanks again.

Alan

[melodea]

I suppose you got really various professional ways of approaching this situation.
If I were you, I'd keep that track with that library and move on. I suppose it's a solo piano piece (or even with a small ensemble), and I'm more than sure that you can write lots and lots of more other material that will eventually find a placement somewhere with another library that could be more active.
Keep on writing music, keep on doing what you love, stay professional and don't worry..

Thanks for the advice. After a lot of thought, I think I will do as you say - leave the track and get on with life. I managed to get 11 similar tracks signed to another library so it’s not too bad.

My frustration lies with the unprofessionalism of certain libraries and the lack of communication. As a music teacher, I can’t begin to imagine acting in such a way with my clients (students).

Thanks again.

Alan

Hi Alan I can only support your feelings about the whole thing (not only because I'm a music teacher as well)! After hearing ML talking about the lack of communication I have to give in to the fact that unfortunately, the whole business around music can be very unprofessional especially if it comes to the communication part. I experienced both! Libraries getting in touch with me, zoom meetings, signing paperwork, etc, etc....and then going totally stealth forever to libraries being in touch with me on a weekly base. I feel for ML because he knows that that black hole after forwards (my and other members' maths prove that ONLY around 5 to 7% of the listings you get a forward in get a response) is a big issue! Most of us come from other professions where success rates like that would be a reason for an immediate shutdown! Taxi can't change that but a constant discussion about it with an increasing number of producers and people involved in the business could maybe change that in the long run. After being kinda sour about it I got to the conclusion to either take it or leave it. I must also say in my case even with this poor response rate I managed after two years to build relationships with enough libraries to provide me with more than enough work. I can write 2 to 3 cues on a normal week (aside from working full time as a teacher, being a dad etc etc) and right now with that output, I have composing-work all the way thru July/August. Just to mention both sides though! Chris

[VanderBoegh]

Just be happy it was only one track. You can replace that easily - and you never know what may come of that signing, though it would leave a sour taste in my mouth too.

~~Matt

[alanjmoore]

I suppose you got really various professional ways of approaching this situation.
If I were you, I'd keep that track with that library and move on. I suppose it's a solo piano piece (or even with a small ensemble), and I'm more than sure that you can write lots and lots of more other material that will eventually find a placement somewhere with another library that could be more active.
Keep on writing music, keep on doing what you love, stay professional and don't worry..

Thanks for the advice. After a lot of thought, I think I will do as you say - leave the track and get on with life. I managed to get 11 similar tracks signed to another library so it’s not too bad.

My frustration lies with the unprofessionalism of certain libraries and the lack of communication. As a music teacher, I can’t begin to imagine acting in such a way with my clients (students).

Thanks again.

Alan

Hi Alan I can only support your feelings about the whole thing (not only because I'm a music teacher as well)! After hearing ML talking about the lack of communication I have to give in to the fact that unfortunately, the whole business around music can be very unprofessional especially if it comes to the communication part. I experienced both! Libraries getting in touch with me, zoom meetings, signing paperwork, etc, etc....and then going totally stealth forever to libraries being in touch with me on a weekly base. I feel for ML because he knows that that black hole after forwards (my and other members' maths prove that ONLY around 5 to 7% of the listings you get a forward in get a response) is a big issue! Most of us come from other professions where success rates like that would be a reason for an immediate shutdown! Taxi can't change that but a constant discussion about it with an increasing number of producers and people involved in the business could maybe change that in the long run. After being kinda sour about it I got to the conclusion to either take it or leave it. I must also say in my case even with this poor response rate I managed after two years to build relationships with enough libraries to provide me with more than enough work. I can write 2 to 3 cues on a normal week (aside from working full time as a teacher, being a dad etc etc) and right now with that output, I have composing-work all the way thru July/August. Just to mention both sides though! Chris

Thanks, Chris. Yes, 5 to 7% response rate is terrible. Hopefully, with pressure, the industry can change, but I’m not holding my breath!

Good luck with the teaching and composing. I’m in a similar situation to you for the next few months. All the best !

Alan

[alanjmoore]

Just be happy it was only one track. You can replace that easily - and you never know what may come of that signing, though it would leave a sour taste in my mouth too.

~~Matt

Hi Matt,

That’s how I feel - it’s just 1 track. Yes, it would be ironic if that track went on to do great things!

Thanks.

Alan