They always find something ...

[PDebik]

n/a

[telefunkin]

Nice track, but I'd have to agree with what the screener said. I can't tell what the guitars in the ref tracks sounded like (your link points to ALL listings rather than a specific one, and as its expired its probably gone anyway), but I'd expect them to sound totally authentic, and that doesn't seem an unreasonable expectation here, especially when all guitarists will soon spot anything that doesn't sound authentic. Do you believe those guitars sound real?

If you can't record real guitars then try to find the best sounding simulations you can. Shreddage and UJAM offerings have impressed me, but like many other instruments, it depends how you use them. Simple, but not necessarily easy.

[macomposer]

So I am curious about this one.. as I am not a guitarist, but I use Guitar VIs alot...

Here is the listing (found on the the Taxi Old Listings page), and I have included the link to the examples from the original listing.

Lots of HIGH-ENERGY SPORTS ROCK INSTRUMENTALS are needed by a very successful boutique Music Library that has tons of credits in Big Films, Countless TV Shows, and Commercials!

This is a catalog you want to be in! Please listen to the following references they sent us to get yourself in the general wheelhouse of what they need:

https://www.dropbox.com/scl/fo/fnahmyyl ... 1&e=1&dl=0

Quoting the CEO of the Company: "We need bold and energetic stomp-clap rock tracks that have been fused with modern/hybrid elements. They need a modern touch, and should have a sound that is perfect for high-adrenaline sports placements, dynamic promos, and thrilling trailers. The modern, current touch is crucial - It's not just 'hard rock'."

Note: Given the references, we think vocal chops/fx could potentially work here. They are definitely not required though! Please DO NOT submit full vocal Songs for this opportunity.

Please submit Rock Instrumentals with a high-energy sound that could work well for Sports-related placements and promos! These tracks need to have a bold sound with lots of great production and a nice blend of modern elements to make them fresh, exciting, and current-sounding. Submissions should have adrenaline-pumping motifs, energetic rhythms, and dynamic arrangements with one central motif per piece. Production and instrumentation that's in the general wheelhouse of the reference tracks will work best for this opportunity. Please make sure any virtual instruments or samples you use are high quality and modern.

IMPORTANT NOTE FROM THE LIBRARY: "Many composers throw in way too many ideas and are not focused on ONE CENTRAL MOTIF - they try to keep things interesting by adding new harmonic lines and elements (melodies, even improvisations, etc.), instead of focusing on the productions and textures." Put simply, keep it SIMPLE! We know that other Libraries like to receive music with complementary A and B sections, but this Library is NOT one of them – stick with ONE CENTRAL MOTIF per submission please!

All submissions should be about 2 minutes long, give or take. Good edit points and non-faded, buttoned/stinger endings are required. Do NOT copy the references in any way, shape, or form. Use them only as a general guide for tempo, tone, texture, and overall vibe. Do NOT submit any material with unauthorized samples of any other artists’ music, sounds, or any other form of media. Broadcast Quality is needed.

AI ALERT: This company does not accept or sign music that has been melodically composed using generative AI, nor does it accept backing tracks or full instrumental tracks created with AI.

This Music Library offers an EXCLUSIVE deal with a cool twist. You’ll keep 50% of all gross income generated by your music, plus you’ll get 100% of the Writer’s share income generated by your PRO. In other words, if the company licenses your music under a blanket deal, you’ll get income. If they license it for a YouTube video, you’ll get income. Not all music libraries pay you for things like that! The Publisher will get 100% of the Publisher’s share.

Because this is an Exclusive deal, the music you submit for this pitch cannot already be signed with other Libraries or Publishers. You must own or control 100% of your Master and Copyright. Please send as many Instrumentals as you’d like, online or per CD. All submissions will be screened and critiqued by TAXI. Submissions must be received no later than 11:59 PM (PST) on Tuesday, December 17th, 2024. TAXI # S241217SP

[macomposer]

Yeah, just listening to the first reference track, Peter, this needs a bit more... I think it's pretty good, but the first track knocks it out of the water... Keep grinding..

Curious how you put this together? Was this someone playing? (I know it might be a dumb question, but in my experience sometimes one can tease out a performance from a player that just doesn't work as well... and it ends up sounding like a stiff midi thing.. Trust me, I've done it... ) Or was it loops? Or a VI?

[PDebik]

n/a

[Casey H]

The point is that in no way the request asked for a specifically realistic guitar.

"Please make sure any virtual instruments or samples you use are high quality and modern."

Anyway, I ran into similar picky critique before for a track that already collected 2.5+ million streams with an annual increase of 15%, but o.k., it wasn't good enough for a forward ...

Success on audio streaming is not at all related to what will be successful in Film/TV. I have some songs than none of my library contacts want to sign. But they are my best performers for in-store airplay. It's important to understand that different markets have different needs.

Casey

[macomposer]

I totally agree with Casey, and Telefunkin...

I would be careful of syncing your music to video and seeing if it works.. in that way... I mean, I often will write to picture to get the type of energy I'm working towards, but it's a tricky thing to go the other way. In my opinion, the video you have is helping the music. Yeah, it works, but there's something that's not quite working in the music.

It's the same thing when you have a bad scene, and then you hear the music that's helping to cover up bad acting or bad direction. They've asked the composer to made up for what's missing in the scene. In the case of your video, the images are helping distract us from what's not happening with the music.

The fact that it is music for media is no excuse not to make sure the music is top notch.

And what's wrong with Exclusive Deals? Most deals in media these days are exclusive. I don't understand the issue.

[telefunkin]

You can put plastic antlers on a very nice pony, but there's no point being annoyed with those who don't believe its a reindeer .

[Sorry, for that, but I thought a little seasonal humour might lighten the mood]

Final thought - If I was a screener I'd feel most fulfilled by finding tracks that I could forward. That's the job and also the thing that makes everybody happy. Its funny how we all see it the other way around.

[Casey H]

If, for example, I have a "hitworthy Country song" in my portfolio, I guarantee I won't need to submit it to a Taxi listing. It's the same with all the "hitworthy pop song" listings, etc. Currently I do not feel that it makes much sense to submit anything. The bar is definitely way too high and, as in this case, the assessment what the listener expects from a cue that runs along with power sports pictures, is simply wrong.

Songs with "hit" potential have the highest bar out there. The bar is 1000 on a scale of 1-10. That's not Taxi making that up, it's the way of the industry.

If you feel you can do better pitching your cues to music libraries and supervisors on your own, without Taxi, nothing is stopping you. I wish you success.

Best,
Casey

[Casey H]

You can put plastic antlers on a very nice pony, but there's no point being annoyed with those who don't believe its a reindeer

What a shame how it ran over Grandma. But as for me and Grandpa, we believe.