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Hi there,

So, I've been beavering away here for a bit, made a few submissions, no forwards yet, but I think I'm nearly there.

Now, one of the biggest take aways from advise and feedback etc. is that I need to diversify where my music goes.

I've tried doing a bit of research, but it's quite loaded with sponsored crap or alternatively click bait articles, as such I was looking to see if there are any recommendations that you guys would give?

I'm quite diverse music wise, can turn my hand to anything really, I do love doing a bit of rock, but then I'm also very much into making synth landscapes etc.

I suppose I'm just trying to feel out what others would recommend to help me get the most of the stuff that might be good, but not quite on target for Taxi but a great piece irrespective.

Thanks in advance for any help!

Hi David, no one can answer that question publicly. TAXI hosts this forum and it wouldn't be kosher for us to be posting names of libraries here when TAXI's business is to screen music for the industry.

People often recommend Music Library Report as a resource. Be aware that the comments and reviews may or may not be from experienced composers, but it's a place to start.

H

Good advice here already. One of the worst things a library can hear from a composer is "I can do a ton of styles." Whether or not it is true is besides the point... they want focused composers that have strengths and specialities. Stick with what you are strong at, the music you grew up listening to, etc. Once you've made contact and submitted some music, then you can ask about other genres that they might need.

Create a playlist of five tracks in your strongest genre and start shopping it. This is one of the best ways to get in the door. Another option is to find other musicians that you get along with that work in your preferred genres, and see if you can do a collaboration together for a library that they are already in.

I also think there may be some misinterpretation at play here as well.

When you say that "one of the biggest take aways from advise and feedback etc. is that I need to diversify where my music goes.", I am assuming that they're saying your track doesn't go anywhere. This means that it doesn't develop at all; it just kind of sits in one place.

If you don't mind quoting the screener, we could probably help clear that up for you as I'm sure many of us have heard similar comments in the past.

MichaelSpilnerKirby wrote: ↑

Thu Jun 08, 2023 3:22 pm

I also think there may be some misinterpretation at play here as well.

When you say that "one of the biggest take aways from advise and feedback etc. is that I need to diversify where my music goes.", I am assuming that they're saying your track doesn't go anywhere. This means that it doesn't develop at all; it just kind of sits in one place.

If you don't mind quoting the screener, we could probably help clear that up for you as I'm sure many of us have heard similar comments in the past.

I'm pretty sure this means to have your music represented by many different libraries, and not to put all of your eggs into one basket. I don't think it is meant as a critique of the music itself.

Jeff

jefflaplante wrote: ↑

Thu Jun 15, 2023 2:34 pm

MichaelSpilnerKirby wrote: ↑

Thu Jun 08, 2023 3:22 pm

I also think there may be some misinterpretation at play here as well.

When you say that "one of the biggest take aways from advise and feedback etc. is that I need to diversify where my music goes.", I am assuming that they're saying your track doesn't go anywhere. This means that it doesn't develop at all; it just kind of sits in one place.

If you don't mind quoting the screener, we could probably help clear that up for you as I'm sure many of us have heard similar comments in the past.

I'm pretty sure this means to have your music represented by many different libraries, and not to put all of your eggs into one basket. I don't think it is meant as a critique of the music itself.

Jeff

You could be right. I was reading it in the context of the sentence before that about not getting any forwards yet and being close. Maybe the advice and feedback mentioned is from the forums and not the screeners?

jefflaplante wrote: ↑

Thu Jun 15, 2023 2:34 pm

I'm pretty sure this means to have your music represented by many different libraries, and not to put all of your eggs into one basket. I don't think it is meant as a critique of the music itself.

+1 That's how I interpret it as well.

Casey H wrote: ↑

Thu Jun 15, 2023 5:23 pm

jefflaplante wrote: ↑

Thu Jun 15, 2023 2:34 pm

I'm pretty sure this means to have your music represented by many different libraries, and not to put all of your eggs into one basket. I don't think it is meant as a critique of the music itself.

+1 That's how I interpret it as well.

Okay, majority rules

Maybe I was projecting my experience having dozens of returns in the past saying the track doesn't "go anywhere" or it "sits in one spot" LOL

Just jumping on here to reinforce what others have said in that it's better to have a signature style and be the go-to composer for that style than being ostensibly able to do anything.

That's one of the misconceptions people have about composing for screen - they think that in order to be successful you'd have to create every style under the sun; horror one day, kids' music the next. This is totally not the case. I've only had composing work come to me when it's been in my wheelhouse to begin with, not because of an assumption that I can do everything.

If you do want to approach libraries directly, I think the other bit of advice would be to make sure you have a full album ready to go in a particular style that you can pitch as-is. If you approach a music library with a bunch of random tracks and say you can compose anything, then you're really coming to them with a problem (i.e. asking them to tell you what to write) as opposed to a solution (i.e. giving them a full album ready to publish). This also shows you can finish projects and follow things through, which will go a long way when it comes to landing clients.

So I'd say, either keep grinding away at Taxi submissions and learn from the feedback (I know I've learned some tricks as a composer from Taxi feedback and improved as a result), or set out to creating an album in one particular style that you're best at and pitch that to a ML when it's finished.

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