Why a Music Library Might REGRET They Signed You

[TAXILIZ]

This Will Make a Music Library Regret They Signed You!


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Dear Songwriters, Artists, and Composers,

If you think having great music gets you a “pass” from getting the business aspects of sync 100% right, you’re 100% wrong!

Here’s proof in the form of an email TAXI recently got from a new client when we reached out to ask if they needed us to run any new searches for them…

Date: Thu, Jan 5, 2023 at 12:40 PM
Subject: Re: Happy New Year!
To: Tom @TAXI

Happy New Year to you too, Tom.

I'll let you know [about running new listings with TAXI]! I took a lot of [TAXI] people on for the XXXXX tracks. The problem with taking new people on is the ones who aren't regular library composers deliver frequently incorrectly.

For example, the wrong levels, versions not correct, or technical errors. If it's one person, it's not the end of the world, but I spent a huge amount of time holding the hands of most of the composers to get things to the point of delivery.

The creative quality was unquestionable, but it's frustrating having to send things back so many times when things are set out clearly in my delivery guidelines. I guess this is the difference between those who do this as a living full-time and those who do it in their spare time.

Not your fault, but it was kinda my fault that I took so many people on - I took tracks from 17 people you put forward! That was a huge amount of micromanaging!

I think I probably need to be more careful about taking too many people on at the same time - especially those who are new to the business, or less experienced. Even if the final product is brilliant!

The album is still waiting on people to deliver their corrections!

Absolutely not your fault here, but I just wanted to let you know what the issues of taking new blood are from my perspective. It is hugely time consuming, basically! I'll be in touch when there is a project I can involve you on.

Cheers,

XXXXXXX

I personally wrote to apologize for the time suck our members caused him. I also asked if I could re-print his email. He was gracious in his response, but included this in his email:
“I just had a composer finally address all the technical issues, only to deliver as 44.1 and not 48, so they need to be resent all over again. The problem is, no matter what anyone says, any new deliverable needs to be quality controlled [by us] - even if someone claims nothing has changed.

It all adds up in terms of time spent. It is a major reason why I won't work with people now. Check, check, and check again! Make a checklist - I don't care how you do it, but make sure it is all correct!”
I want to discuss this serious issue on today’s TAXI TV, and get your input as to how we can most effectively get our members to understand that creating great music isn’t enough to become successful in the world of sync. You’ve got to make sure your hands don’t need to be “held” by the companies that want to work with you.

Make it easy and pleasurable for them to do business with you!

Please don’t miss this episode of TAXI TV today. I really want your input!

Click the link below to watch LIVE Monday at 4 PM Pacific!

https://studio.youtube.com/video/O5g42rea7uI/edit?o=U

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Join us Monday on the show,

Michael and the TAXI TV Team

[Casey H]

Michael
Thanks for sharing. It's very upsetting because I know how hard Taxi works to get new clients/listings and this type of thing erases all that hard work, hurting Taxi and all their other members. I remember one client of yours whose listings say they will only take submissions from experienced composers. You certainly can see why now. So tough because what Taxi aims to do is connect members (many new ones) with the library world.

Hang in there. I hope lots of folks read this thread and watch the Taxi TV. I can't recall if there was a class focusing on track delivery at the rally (still caffeinating here), but a ballroom(?) session about all that stuff-- LUFS, 44.1K, 48K, 24 bit, 16 bit, mp3 bit rates such as 192K, 320K, track naming, etc. would be valuable. Apologies again if this was already covered at the rally, my brain's not awake yet.

Best,
Casey

[cosmicdolphin]

That's a lot of material, and I appreciate that every last part of it has been covered at some time on Taxi TV, but if there were some magically condensed versions that summed up the absolute basics I believe there would be more chance of helping everyone to get up the required level of comprehension and capability, or at least understanding where their knowledge gaps are so they can seek help.

Someone should write a book....

[cosmicdolphin]

I don't think any of us wanted to get into sync because we love file formats, alts and admin

Speak for yourself Graham

[cassmcentee]

Imagine how the design carpenters feel at Ikea

[Casey H]

Someone should write a book....

You might be correct, but would those who are making the mistakes read it first though? The information is already out there in book and video form so how come it still happens?

Therein lies a big part of the problem. Many people refuse to really pay attention to directions, admit and learn what they don't know, etc. If you or I got an email that said "send 48K 16 bit wav" and didn't know what it meant, we would find out before proceeding. Look at how many times people submit to Taxi listings, with something that clearly doesn't meet the well spelled out requirements, often in upper case/bold/italic. Not even talking ref tracks, just basics like "can't be signed anywhere else", "you must own and control", etc.

Maybe (half joking?) there should be an online course offered when you join Taxi and you get a membership discount for taking it. Like Driver's school (Good analogy too!).

[Casey H]

Yup. I agree that the info out there is overwhelming, often too much at once. A course with video chapters, each reasonable short, would be cool IF you get people to take it. For example:

Lesson 1: Music File Formats - mp3, wav, aif, bit depth sample rates.
Lesson 2: Alt mixes, stems, cutdowns
Lesson 3: PROs and how you get paid
Lesson 4: Music libraries, exclusive, non-exclusive, etc.
.
.
and so on.

[superblonde]

The term "A&R", which stands for artist & repertoire, used by an "A&R company", means a company which offers performance services to artists in order to build the talent-skills of the artist.

[Casey H]

The term "A&R", which stands for artist & repertoire, used by an "A&R company", means a company which offers performance services to artists in order to build the talent-skills of the artist.

What is your point relative to this topic?

[superblonde]

“I just had a composer finally address all the technical issues, only to deliver (another technical problem) so they need to be resent all over again. The problem is, no matter what anyone says, any new deliverable needs to be quality controlled

ML, here is a related question to fixing technical aspects of a submission:

Typically a submission to a listing is done by uploading a track before the deadline and submitting that music to the listing. An updated version of the track can be re-submitted to the listing before the deadline to fix problems noticed before the deadline. This is done through the website by Editing the submission under the Actions column. Recently I submitted a track and wanted to resubmit a new mix before the deadline. However the Actions on the website did not allow editing the submission. The only way to correct the track was to submit a new track to the listing and pay for this new submission. I called the office and got this cleared up with the reason being "Sometimes the Actions to edit a submission is not available even when the deadline hasn't yet passed." Explain: Under what conditions does this occur, that a submission can't be edited (re-uploaded to fix a technical problem) prior to the listing Deadline? What should the composer do, in these cases (note, calling the office every time an update is needed to a track, is not a good option) ?


The related point to my question above is that the technical problems described by the music library owner are related to the inadequacies of the employer and the employer's systems, not a fault of the non-salaried gig worker (the composer). The music library owner complains about technical problems with tracks being sent in and the "cost" for quality-control of those tracks. The underlying problem is that the music library owner does not have proper submission/resubmission methods. For example, a sample rate problem can easily be detected as part of the submission process (i.e. before/during upload) so that the gig worker is immediately notified to correct the problem before the track is accepted, and this adds no overhead cost to the music library for quality-control. It is not fair to blame the Employer's lack of operational controls on the non-salaried gig workers. The employer (every music library owner) has a depth of specific knowledge & expertise which their gig workers will not have, so gig workers will rarely be able to meet the Employer's needs without training. It is the music library owner's fault, not the composers', if technical problems such as "sample rate mismatch" are allowed to enter their submission process, and it is the Employer's responsibility to handle excess time & money needed for quality-control (the financial pressure will force the Employer to upgrade their systems to reduce this cost and streamline the composer's submission process). These aspects of submitting music should be automated and provide immediate feedback to the composer, with no human intervention required; it is the responsibility of the Employer to create such systems for the gig workers. If the Employer wants more experienced & knowledgeable composers then they should hire permanent, salaried employees as composers, rather than random gig workers; that is the labor solution to ensuring the output of workers meets an employer's work standards.