TAXI.com

Dear Fellow Members,

I would like to share my ongoing experience with Taxi, which may come across as negative, but isn't intended to do so. I joined Taxi in April 2017, and to date I have had 429 individual songs (mostly instrumentals) forwarded. Collectively my music covers a wide variety of music, which can be heard at https://soundcloud.com/user-499527710/sets. I have publishing agreements for 37 of my songs with seven music libraries as a result of those forwards, but only one song so far has generated any income. As of today, 09/14/2020, that total dollar amount over the last three years is $84.36 according to ASCAP, and has only been played in Finland. I'm thankful for the publishing agreements I currently have, but I've learned that just because a music publisher represents my music doesn't mean it will ever get used? There are literally thousands of music libraries worldwide with millions of great tunes and tremendously talented artists fighting to be heard! It truly is a numbers game, and for me, over the next three to four years my goal is to approach one thousand forwards in hopes of increasing my income potential? I'm sure many of you have a lot more forwards and success stories, which is awesome! For me, I'll continue to write, submit, and forget. Taxi is legit, and is the only way that I know of to get my music heard by music executives. Getting my music played in a film or on television is a completely different ball game, and one that is out of Taxi's control.

Best to all,

Carl Lord
www.carllord.com
https://soundcloud.com/user-499527710/sets

Hi Carl, thank you so much for writing your experience. It really helps to get some perspective and what one can achieve. You are right about this, Taxi is the only way that most of us have to showcase our work to exclusive libraries, so giving everything we have is all that we can do.
I would have thought that after creating 400+ cues and having several forwards, the story would be different. I know the market is over saturated and is becoming more difficult to "new" authors in the game, specially if we started after the "subscription model" and royalty free mayhem.
I listened to your music and is very well produced, wish you have the success you deserve after putting all that hard work.

Once again, thanks for sharing your story and music to have a better understanding of your experience and try to apply it or having it on mind when thinking about the future.

Wow Carl - I'm a bit shocked.

429 Forwards...7 Libraries ...and yet.... ONLY 37 cues signed to them ? 5 or 6 each ? Really ? That doesn't sound right to me. More on that later.

Had a listen to your catalogue...All pretty licensable stuff on the whole. A few things I picked up on, you have some nice piano pieces so you clearly have some decent playing chops, yet a lot of the catalogue is drone-y sound design type stuff. Whilst I think it has it's place, that sort of stuff is 10 a penny because it's not overly difficult to produce and you seem to have an over abundance of it compared to the stuff that requires more skill and musicality. So I would say leverage your talents as your music will stand out more.

With the above in mind , I did feel a pervading sense of bland samey-ness once I'd listened for a while. I don't know what sound sources you use but it felt like everything was coming from a workstation synth , it had that vibe to it. i.e. The sonic palette seemed very homogeneous which didn't always work in favour of the cue.

So onto your Libraries, like I said only signing 5 or 6 cues to each on average seems really low to me. I started in Feb 2016 , I'm about 350 cues in now but around 300 of them are in Libraries. My very first Taxi Library now has around 80 non-ex, another 60 excl, another 40 excl, another 20 excl ...so that's around 220 signed to Taxi Friendly Libraries and although I don't have the number to hand I I know I had under 100 Forwards. I can't help but feel that once you've gotten a foot in the door you're not making the most of the opportunity.

With 7 Libraries under your belt you they should be keeping you plenty busy with direct opportunities. So what 's gone wrong there ?

Placement wise it's the same issue, with only 37 cues out there , it's not a large enough number to generate much action. My first 40 signed cues have generated 4 placements since 2016 and not much income...later years have proved more fruitful as I got better.

cdl wrote: ↑

Mon Sep 14, 2020 8:58 pm

Taxi is legit, and is the only way that I know of to get my music heard by music executives.

Yes it is legit but if you feel it's the only way you haven't done your homework. There are many paths into music publishers / libraries, Taxi is just one. But once you're in there you need to work the opportunity.

Mark

Thank you, TaxiLurker and Mark for your response. Feedback and constructive criticism is appreciated if it helps each of us to further and attain our goals. I've often joked that I work so I can afford to write.

One of Taxi's mega-successful members told me that there are very good music libraries that Taxi works with, but there are a lot of libraries that just aren't or not very aggressive at getting songs placed. I'm not putting all of the blame on them. Maybe my music as Mark suggested is just too bland. Yes, it was good enough to get forwarded, but once listened to by prospective libraries-it was tossed into the trash bin because it couldn't compete with other submissions? It doesn't hurt my feelings to acknowledge this, it just motivates me to try and get my music to a higher level.

Mark, you mentioned that my music at times sounded like it was created using a workstation? My production chops are probably lacking because I currently use Omnisphere, Native Instruments Ultimate, SoundIron, Sonuscore, Sample Logic, and numerous other top of the line software. I'll continue to try to improve my sound production. Thank you!

With regards to only having 37 songs spread out over seven publishers, I was unaware that was a low number? Every couple of months I try to make contact with each publisher, but several never even respond. The ones that do communicate aren't looking to add more of my material at this time. My other question to each music library was how long does it normally take for each song to receive airplay and generate income? Each said-2 to 3 years.

Other than Taxi, what other ways can I get my music to prospective libraries? I'm told by several sources to stay away from the Royalty Free libraries.

Thanks again for the response and feedback!

Best,

Carl

cdl wrote: ↑

Tue Sep 15, 2020 7:47 am

Other than Taxi, what other ways can I get my music to prospective libraries?

I'd say, start searching on music libraries. You'll find many that are not royalty-free, and also have a open submission policy so they will accept links to music on personal websites or Soundcloud etc. There is nothing to stop you doing this in addition to making Taxi submissions, just like many members do. The hard part is finding libraries to submit to that are a good fit for your music and that are also active in placing that style. Libraries are usually proud of their placements and show them on their web pages, so you can figure some of this out with a bit of work.

Another way to reach libraries is to collaborate with other Taxi members (for example) with library contacts that need some of your piano playing (for example). In general, writers are quite guarded about their contacts, but you could easily get lucky this way, or at very least get some tips.

Its a shame there's no 'in person' Taxi rally this year, because that's a great place to meet potential collaborators, and also to pick up all sorts of info on libraries. All those people under one roof at the same time, and a high proportion of them have library dealings as their main focus!

These things are easier said than done, but not as hard as they might seem. I wish you good luck in finding your way through, but I'm sure you will, and I wouldn't be at all surprised if you get some better help and advice than mine.

cdl wrote: ↑

Tue Sep 15, 2020 7:47 am

Yes, it was good enough to get forwarded, but once listened to by prospective libraries-it was tossed into the trash bin because it couldn't compete with other submissions?

Usually Taxi screens at a high enough bar to get into any of their clients libraries, and I believe the bar has actually raised over the years.

So if you are getting forwards, then there is a good chance the library will sign it IF THEY NEED A LOT OF CUES.

If the first couple writers they contact supply them with a plethora of cues you might not get the call as the library is satisfied for the moment.

cdl wrote: ↑

Tue Sep 15, 2020 7:47 am

With regards to only having 37 songs spread out over seven publishers, I was unaware that was a low number?

You will find that people who are "successful" at this will usually have thousands of cues in their repertoire that are represented and being worked by library / publishers.

You may also find that some pieces do well, and others either get smaller placements, or languish in obscurity in the corner of your library.

Don't be surprised is 80% of your money comes from 20% of your signed cues. And with only 37 signed, don't be surprised if the money makers haven't been signed yet.

cdl wrote: ↑

Tue Sep 15, 2020 7:47 am

Every couple of months I try to make contact with each publisher, but several never even respond.

People are busy. Every company has a different style. Some publishers get back very quickly. Some don't. Usually that gives you an indication of who you are going to want to work with.

It may hurt to feel like things have gone cold with the ones who don't respond, but if the others get back to you and need music then you can be getting your music out there which eventually leads to earning some $.

cdl wrote: ↑

Tue Sep 15, 2020 7:47 am

The ones that do communicate aren't looking to add more of my material at this time.

Well - unfortunately you will never know if:
1) its your music
2) they don't need that style
3) they will need that style in a year but right now have other fires to fight.

There are a lot of different ways that music is released.

Some publishers send out briefs of stuff they need NOW for certain shows or productions. If you can write for those opportunities then you can get stuff signed. Sometimes you might have to ask and / or demonstrate competence in a certain genre.

Some publishers (especially larger exclusive companies) may release music on an "album" basis. They often have their entire release scheduled for a year or more in advance. They might need certain genres of music and they have a lot of existing writers who they know will hit a home run in those genres. It might be hard to break into the elite ranks if you are a newcomer.

cdl wrote: ↑

Tue Sep 15, 2020 7:47 am

My other question to each music library was how long does it normally take for each song to receive airplay and generate income? Each said-2 to 3 years.

This depends on so many factors. Lots of people who have gone through TAXI have had things getting placed on TV in the same month it was written. Others wait for years.

On my last statement I had two pieces written and signed in 2014 that both got placed and generated ~$600 each in royalty.

You just never know.

IN YOUR CASE:

429 got forwarded. How many individual pieces does that represent? How many total pieces do you have in your catalog?

You might be sitting on a gold mine. Your Soundcloud has a LOT of material on it, and its organized into genre. Each genre has a number of tracks. I think the stuff sounds pretty decent collectively and there are some stronger and weaker parts of it.

So you need to get this stuff out there. Nobody is going to sign it if its not pitched. And its never going to get placed.

Others have remarked on some ways to do this in this thread. Good luck!

Hi Carl....Congratulations!!! Those numbers are awesome. You have 7 contacts who should be willing to listen to how you can help them serve their customer base. I think its all in the packaging. Here is what I would say.....
1. Not a chance in hell I would have hundreds of cues of your quality sitting on my computer. My first focus would be getting them signed
2. I would package them into albums much like you have but come up with more creative descriptive titles.... I know this is a little weird but some of my albums I believe were signed strictly because of the title it really shows the library how to pitch your music some example Music for reality tv competition, music for when the s%*!t hits the fan, your middle eastern stuff.....under the dessert sky.... From my experience this works
3. start sending an album a week to a library give them two weeks to respond if not.....move on to another library
4. You have 7 libraries that should be 7 contacts that you know by name, 7 people you send a friendly email every holiday, 7 people you ask how they are doing? 7 people you try to learn as much about as you can because you care and you you want to learn what they need
5. They are not doing you a favor and you are not doing them a favor this is the business we are in..... they need music.....and you make music.... sometimes they don't know how to ask for what they want,,, sometimes they don't even know what they want,,,,,,BUT when you show they they sure will know what they need
I've rambled enough.....HaHa
but seriously.....You've got the stuff! these should all be in a library already

Best of luck
John

Thanks guys for the honest and constructive feedback. I now realize that I have been depending entirely too much on Taxi to move my writing career forward. I believe they are still an important part of the equation, but I'll start focusing more on the marketing aspect of getting my music heard. John, great advice on packaging my music. I guess I never though of that even though most of the libraries I'm currently with package their music/album content the same way. Brilliant!

Do any of you know or might suggest any publications/books, which might focus on marketing our music as you suggest?

Thank you once again!

Carl

Pvgeldrop wrote: ↑

Tue Sep 15, 2020 11:43 pm

Plenty of 'em!

Dan Graham's book 'The Composer's Guide to Library Music' is one you'll love: https://librarymusicbook.com/

On marketing and music, Bobby Owsinski has a variety of books: https://bobbyowsinski.com/

Dan's book is probably the best one to start with in this case, as it's aimed specifically at library music.

I just finished the Dan Graham book and it's really excellent, I tore through it in a day and a half. It got me to start thinking in terms of pitching whole albums versus random tracks. I think doing things the Taxi way is great in several ways-- learning how to hit deadlines regularly and trying a wide range of musical styles to see what you're best at doing-- and several other reasons. But the ultimate goal that Graham advocates is moving toward creating and pitching whole albums.

Carl, I listened to your stuff on Soundcloud and it's really good. I think you'll have a lot of success pitching your tracks in album form.

Thank you, Paul and Ted regarding the book info and endorsement. I'll definitely check them out! Ted, thank you for the album packaging suggestion. I've already started to formulate my ideas of how to group my tunes into the album format to pitch. When John first mentioned that, it really got me to thinking.

I'm also at the beginning stages of also selling my Ambient and New Age music online. I'll still need to find a digital distributor like CD Baby. My website, which I'm tweaking as we speak is located at www.cypresscovemusic.com. Once I get to the point of which 12-13 songs I might include on my first album, I might reach out to you all and the Taxi Forum members to maybe get feedback on which songs to include?

So far, I think everyone's suggestions on the Thread is very beneficial for most Taxi members, especially those who are determined to be in it for the long haul.

Blessings to all!

Carl

www.carllord.com
www.cypresscovemusic.com
https://soundcloud.com/user-499527710/sets