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So, the one and only "pitch panel" I'm wanting to attend is the Film/TV Panel. It's on Sunday morning.BUT, half an hour before it's over, a Driver's Ed class with Pat Pattison begins that I'd hate to miss.Is it better to leave the pitch panel early to get to Pat's class or better to stick it out with the panel til the end (hoping to still get played/listened to) and sneak into Pat's class a little late? I mean, NEITHER option makes me happy. And neither seems like a very courteous or respectful way to treat my fellow members or the panel members.How would you guys approach such a conundrum? Advice? Rules? Ideas?Thanks ahead of time,Ted

Well, chances that your song will get played during one of these panels are so TINY that IMO you should leave that early and get into Pat's class on time. I've done many of Pat's classes and if you come in late you're missing out and it could be hard to follow it.

IMHO...I've sat and watched as people stuffed ALL the listening panel boxes with multiple CDs of the same artist no matter what genre they were. The panels in the main room are MASSIVE! The chances that you will be picked for listening is slim and none. I've been to three rallies and a TAXI conference at the Musician's Institute and was never chosen for listening. While the best time to connect with these speakers is at the end of the panel, they are inundated by people who are trying to do the same thing you are and they get overwhelmed. The Driver's Ed classes are more intimate, in smaller rooms, and it's 'easier' to connect with the speakers.I would suggest that if you feel like you're getting what you want out of the listening panel, hang in there till the end and go to the driver's ed class late. Otherwise, bail and go to the more intimate setting.Good luck...

Thanks, you guys. That clears up a lot.I've also taken some classes with Pat, and his insight and his easy manner make him one of the BEST. Appreciate the simple truth of my odds. I'm CERTAIN my time can be better spent learning than sitting for 2 hours with fingers crossed.Anybody else out there ACTUALLY ever get played during one of the panels? Stories to share?Thanks,Ted

Quote:So, the one and only "pitch panel" I'm wanting to attend is the Film/TV Panel. It's on Sunday morning.BUT, half an hour before it's over, a Driver's Ed class with Pat Pattison begins that I'd hate to miss.Is it better to leave the pitch panel early to get to Pat's class or better to stick it out with the panel til the end (hoping to still get played/listened to) and sneak into Pat's class a little late? I mean, NEITHER option makes me happy. And neither seems like a very courteous or respectful way to treat my fellow members or the panel members.How would you guys approach such a conundrum? Advice? Rules? Ideas?Thanks ahead of time,TedI have the same problem on Friday morning - I wanna go to Jason Blume's class on melody, I want to hear what Matt & Dave have to say at the panel they're on, and the 3 mentors I've picked are all only on Friday morning.If I were you Ted, I'd skip out on the panel. I will be there, and I will share my notes with you if you share yours re Pat's class with me.In fact, this is a good way to do things - my guest & I and other folks I know will sometimes coordinate our attending classes & panels and then share our notes at lunch or dinner.H

Oh, Miss Vikki, that may be the smartest thing I've read YET about the rally. You got a deal, BABEEE. wooHOO!And FYI, I have very legible handwriting and my notes shouldn't be THAT tough to decipher. Ted

Quote:I'm CERTAIN my time can be better spent learning than sitting for 2 hours with fingers crossed.Just wanted to point out that there *is* a lot to be learned at these panels, even if your own song doesn't get played. Listening to these people critiquing random songs actually gives you an excellent idea about what they are looking for, which in turn will help you target your submissions better in the future.Plus...it tends to be a lot less nervewrecking when it's somebody else's song .

Quote:[quote author=tedsingingfox board=rallyopen thread=1194040891 post=1194050096]Plus...it tends to be a lot less nervewrecking when it's somebody else's song .No doubt. I used to facilitate/manage the monthly San Francisco Open Mics for the West Coast Songwriters, and even when I had nothing to do with the end results of the evening, I ALWAYS took my own notes on the songs and what I liked, what I'd do differently, etc. (even if it was --or seemed like-- only my way of paying more attention) and I always got more than that out of it.Thanks for the reminder. so the plan is to sit as long as I can for the pitch panel, taking notes, and then head out to Pat's "writing from a title" Driver's Ed class. (so far... )Thanks, again Matt and ONOFFON, for the input.Ted

Quote:I used to facilitate/manage the monthly San Francisco Open Mics for the West Coast Songwriters, and even when I had nothing to do with the end results of the evening, I ALWAYS took my own notes on the songs and what I liked, what I'd do differently, etc. (even if it was --or seemed like-- only my way of paying more attention) and I always got more than that out of it.TedI've been managing the West Coast Songwriter Competition in Berkeley for my second year. (They recently changed the name from Open Mic to Competition.) It's a small world here at the Taxi forumNomi

VERY cool, Nomi. The very last of the six "Best Song" certificates I won through those amazing events was earned at the Freight & Salvage. It's in a frame on the wall above my headboard to this day.Catch me up on the WCS goings on when I see you this weekend. OK? (woohoo!)Ted