So should I Stay or Should I Go?

[reclevel]

I’ve been a Taxi member for the last 3 years. I have made 166 submissions with a forward rate of about 13%. I’ve done poorly in 2020 or my average might have been above 15%. No actual placements. My primary use for Taxi was to force myself to write more and to diversify my songwriting. In that aspect it has been good. I’ve also so learned a lot about rejection. And when I see that some gets 15 forwards in one day, well it’s a bit depressing but kudos to them – great job. I don’t think Taxi is a total rip-off.
My problem with continuing with Taxi breaks down into these issues:
1) The reviewers aren’t consistent. I’ve posted to the same song to almost identical postings and the same song that was rejected will be accepted on the other. I love the reviewers that use the term ‘developmental arc’ and ‘more organic’. Some of the reviews have been helpful and I agree with a lot of the rejections.
2) For many listings the listing criteria is a joke ‘we’re looking for the next country hit that you would hear out of Nashville writers.’ If any of us, including the reviewers, knew every time how to recognize a hit song or write one we probably would not be using Taxi.
3) Sometimes there are technical issues. One time Taxi somehow doubled the length of my song (don’t ask me how they did that) and it was like ‘oh that’s too bad’. Another reviewer said my acoustic guitar was distorted (it wasn’t it) – another ‘oh well’. No offer of a refund. It’s not the money but what else is going with our songs? One reviewer said that my microphone was too close to the piano. It was a virtual grand piano..
4) My biggest problem is with me. Writing over 80 songs to fit into a variety of listings in the last couple of years has caused me to stop trying to be original. In other words, I’m trying to be something I’m not. That’s not Taxi’s fault. That’s mine.

This is my last day to renew. I’m thinking it’s time to go.

[cosmicdolphin]

Well I guess you need to ask yourself what your goals are..why did you join Taxi... and are they realistically achievable ?

I'm not sure how achievable writing the next big Country hit is for most, but writing instrumental cues and getting into Libraries and ultimately placed on TV is not only a thrill but a very realistic goal achieved by many... And you get paid.

If you don't rejoin right away Taxi will still be here, so you can always go away and make an album just for yourself and then come back.

As for the inconsistent feedback, I think you have to take it on the round. If you're getting over the bar up to 15% of the time then you must be doing something right at least sometimes but maybe there's things to work on.

It's a tough road and it's not for everyone, if it's making you happy regardless of the outcome then carry on. If it makes you feel bad about yourself or your music then there's probably more fun to be had elsewhere persuing it as a hobby and being creative.

Consider recalibrating your approach toward instrumental cues which are faster and easier to produce and probably easier to get accepted and placed. There's nothing to stop you getting a foot in the door that way and then submitting songs directly once you've built the relationship.

Mark

[chaoticfractal]

I'm new here ... but there are several things which are confusing.

For example, most trailer music seems a lucky fit. Wouldn't the typical trailer write music around the scenes to emphasize the story? For example, one recent review said my intro was 20 seconds too long ... but wouldn't that depend on the scenes in a trailer? Although I've seen some mention of the "3 Acts", I haven't seen any hard rules over how long each should be. Is there a standard rule?!

I also think that if it were that easy writing a "hit song", then would we really be pitching it via Taxi? If I knew I had a hit country song, I'd be pitching it to Blake Shelton, not Taxi.

I am learning though. Out of my first 21 tracks, I got 2 forwarded (so 9.5%). I haven't heard anything back. But still, it is a good start.

Yet, it is interesting that my forwards came from not initially trying. The more I have tried to fit the examples, I haven't had anything forwarded since. I hope that will change.

I do wonder the idea of the original poster ... there is a part of me that wants to make sure I don't lose recording my own albums without a flip if anyone likes it. I think this process will help me be a better writer. But I don't want to lose myself in the process.

But it is a challenge. There is a part of me that wants to land a trailer once in my life.

[reclevel]

Ironically I got a song featured on Democracy Now long before I joined Taxi. It was a song that corresponded to a Pat Tillman feature. Other than a match of the name, I have no clue how it was chosen or found. As far as I know it was only on CD Baby and I only found about it because a viewer heard it announced, did a search on my name and emailed me.

[cosmicdolphin]

For example, most trailer music seems a lucky fit. Wouldn't the typical trailer write music around the scenes to emphasize the story?

They are often made up of several trailer library tracks so the different "acts" could quite possibly be from all different composers and they will cut the visuals around the music not the other way around. Or sometimes they do what's called a custom overlay which is a famous song with a layer of extra bells and whistles just for the trailer, quite often an orchestral arrangement that sits behind the original music. There are always times when a trailer composer works directly with the film makers too, like the Star Wars movies where they use themes from John Williams but it's someone else writing the trailer music. If you're interested , Dan Graham who owns a trailer library wrote a 10 part series on Library Music in 2017 which you can now read for free. Part six details the trailer side of things but they are all worth a read. His Library will actually record string parts with a real orchestra to make them sound more lifelike.

https://www.soundonsound.com/music-busi ... sic-part-6

There is a part of me that wants to land a trailer once in my life.

The trailer music world is a whole thing unto itself , very high bar - very competitive and involves the use of multiple very expensive Kontakt Libraries etc. If you are interested , it's worth watching some of the free stuff over at https://www.youtube.com/alexmoukala and seeing how he puts these orchestral/trailer type tracks together.

There are Taxi friendly Libraries that place trailer "style " music in TV shows so you might see those sorts of Listings come up , this is one of mine in the first 45s of this scene from MTV's " The Challenge "..I've had a number of these and I see other Taxi members names on the cue sheets too so you can aim for that in the beginning.

TV Spot: https://youtu.be/T3OJ7BwRUs0

Whole cue : https://soundcloud.com/user-45178330/blunt-force-trauma

Mark

[chaoticfractal]

Mark,

Thank you SO much!

I'll start working through a lot of your resources.

Thanks!
Brandon

[MusicBug]

Mark -- I just came upon this thread and I couldn't not say thank you for posting such a thoughtful and thorough response. Don't mean to hijack this thread, just wanted to let you know you helped me with your advice, too. Not about leaving Taxi -- not going to do that -- but with your other remarks and thoughts. Cheers!

[cosmicdolphin]

Mark -- I just came upon this thread and I couldn't not say thank you for posting such a thoughtful and thorough response. Don't mean to hijack this thread, just wanted to let you know you helped me with your advice, too. Not about leaving Taxi -- not going to do that -- but with your other remarks and thoughts. Cheers!

Glad to help ! Taxi is just one arrow in your quiver and there's lots of roads that can get you there.

Mark

[DW75]

Hi- came across your post and would like to share a bit on movie trailers. I have had several sessions with movie trailer experts-one being with Disney, one a trailer house owner and a music supe . First off the 3 ACT : Most trailers have a three-act structure similar to a feature-length film. ACT 1 The beginning that lays out the story idea, ACT 2 The middle a dramatic move forward and ends with a bold climax, ACT 3 is usually a montage of some of the powerful and emotional scenes and a signature sound here-powerful and moving. Most trailers are 90 sec to 2:30 and now with the use of other streaming platforms outside of TV they have become even longer. Most times the music you hear in them is not the music you hear in the movie itself- there are companies that specialize in trailer production and make them even before the movies are finished. Their job is to fill the movie theater seats with super exciting trailers- (ads so to speak) . Watch the many trailers available online now and on Youtube. You will notice the 3 act and how it all comes together- Hope this helps. Stick around Taxi for the knowledge and keep going ! ~DW