TAXI.com

So, when do I take a song I've submitted to Taxi listings and put it into a Library I've signed with? I'm currently signed on with two different libraries (thanks to friends here on Taxi) and I'm just not sure when I should take a song and move it on to a library instead of submitting to listings.

Also, if a song is forwarded, but I haven't heard back on it, how long would I wait before saying, "Hmm...I guess they didn't use it" and move on.

I know questions like this have been asked before...but I'm asking again.

When To Place A Song In A Library?

Immediately!

Once a song is rejected for a listing, send it to the libraries immediately. Patience is not always a virtue; it is a curse.

I have music in a lot of shows. That has only come from not being patient and working hard.

I'm currently signed on with two different libraries (thanks to friends here on Taxi)

Congratulations of the library places

And congratulations also on having such wonderful friends !!!

Amanda

What about forwards? What do you do when you get a forward, but then nothing comes of it?
Just curious.

Steven
There is no absolute right answer. Factors include: The track record of the libraries you are already signed with and are you seeking to spread out tracks into more libraries. Also, if you were forwarded to a library, do a little research on that library.

As you know, not all forwards turn into deals and if they do, the time can vary from days to weeks to years. So often a bird in hand is better.

One method that has been successful for many members is to sign tracks with your exisiting libraries regardless of forwards. Then, if a company you were forwarded to does contact you, let them know the track is no longer available but offer to write new ones in a similar style for them. Of course, this is best for prolific writers who CAN readily turn around new tracks of similar style.

Again, no one-size-fits-all answer is possible...

Best,
Casey

As others have said, I guess the answer is "it depends."

However, here are the variables I'd consider and the thought process I would go through...

Goals for the song
Quality of the song
Ability to write more songs and the time involved in doing so
Frequency of "perfect" listings
Tolerance for rejection

1. What do I want to accomplish with this song? If it is to get an artist to record it and I believe that the quality of the song enables this possibility, I probably won't relegate it to library status soon - it would probably take me a years' of returns to convince me to libarify it. If it is just to get it in another (perhaps better) library, it would take fewer returns. If Taxi screeners aren't "getting it" but your library will accept it and offers a high probability of placement, I'd cut out the middleman and just get it placed.

2. How quickly could I fill the void left by placing this song with a library? If I was writing several songs a month in a similar style to the song in question, I would be more likely to let it go to an existing library I am signed with because I know that I'll have a song in my catalog that will fit any similar listing that comes out. If I am not as prolific and feel relatively certain that the song in question could earn me a better opportunity than I have with existing libraries, I'd hold out longer.

3. What's the likelihood of seeing several listings requesting this type of song? If recent past experience says that future listings are likely to include a la's that are dead-on with the song, I'll hold on longer. If I've already gotten a few returns and don't typically see new listings that need the type of song I have, I'm more likely to place it sooner.

4. How much does it sting when I get a Taxi return, especially one that seems like it should have been a forward? If I am feeling disgruntled by Taxi returns, sometimes the perfect medicine to cure that feeling is to direct the music to someone who values it and likes it - sooner rather than later. If I am feeling up for a challenge and can take the occasional kick to the sack, I may keep submitting it to listings longer.

Hope this helps!

Casey H wrote: One method that has been successful for many members is to sign tracks with your exisiting libraries regardless of forwards. Then, if a company you were forwarded to does contact you, let them know the track is no longer available but offer to write new ones in a similar style for them.

Exactly how I have done it. I had a forward last year and signed the track to another library. I got a call from the forward, told the library owner the track had been signed but could get them more similar tracks. I sent in 4 tracks, they signed them all, and I now have an ongoing relationship with them and have signed about 10 tracks with them so far.

As far as how long to wait after a forward, I usually give a track about 3 months before I shop it around. But it depends on the style of the track. If the libraries I am working with can use that style I sign it up asap, to get that track working.

hth
kc

If it's a song that you think is great and is in an in demand style you might consider keeping it to pitch to the direct to supervisor listings that seem to be more and more common. Otherwise I tend to get them signed and move on thinking that next tune I write is going to be better anyway.

eo

sguiles wrote:What about forwards? What do you do when you get a forward, but then nothing comes of it?
Just curious.

Start shopping the music around.

I found out that the demands for music change by the millisecond. A perfect song now can not even be considered a few moments later. That is why it is important to shop around songs.

One reason that I got prolific and started writing songs fast is because of an issue with a forward. I had a few songs forwarded to a library. I had not heard anything for a few months. I followed up because I had formed a relationship with another company that wanted songs in the same style. I found out that the original company no longer wanted the songs that had been forwarded to them. That was much more frustrating than an outright return.

Get prolific and start shopping around.

Can I ask, and I realize this is a process that continues over years, but how many libraries are people juggling at any one time? 10? Hundreds? If you are just slamming multiple libraries with requests, the organization required must be pretty intense, systems in place before you start down that road...and to address another question, why the inconisitency in numbers? I'm sure this has to do with where the songs get signed, the contracts, etc...but why am I hearing from several (reliable) sources that you need to have 500-1500 tracks to make a decent living, while others quote more like 200 or so? Anyone else doing so well that they needed to hire staff to manage some parts of the business? Agreements etc. needed to be signed I thought so you can determine who gets to use the track if multiple parties want it, so why not throw everything out there right? (My opinion, for what it's worth, send tracks out elsewhere if they are rejected. A similar Taxi lising may come around and you can always resubmit). And it is only the case that another library can't use it if the party that accepted it is an exclusive library correct? Hence retitling? I'm asking , not quoting facts.....