Moving goal posts?
Posted: Wed Sep 19, 2018 6:25 pm
I've been complaining too much lately...let me start off with that! But this overarching topic has come up from time to time:
Michael has made it clear that a track that meets the criteria of the listing should always be forwarded, whether the screener happens to "like" the track or not. I may not be quoting ML verbatim, but that's the message I've been hearing for at least the last ten years of Taxi...if it meets the "quality" bar, and it hits what the listing is asking for, it's a forward...does that seem to be a fair representation of what ML contends? Challenge me on it if that's not the case...
But then I get returns like this:
"Thanks for the submission. I like the performance. I didn't send it over because the melody is a little too familiar and safe for this listing."
Y180903AD
ACOUSTIC-Driven, SINGER/SONGWRITER INSTRUMENTAL CUES are needed by a Music Licensing Company with a long and impressive list of great placements in TV, Film, and Commercials. They’re looking for Mid-to-Up-Tempo Instrumental Cues that would fall within the general stylistic ballpark of the following references: “Hold On Forever” by Rob Thomas https://www.youtube.com/watch?v=xCLN6JuXfpE “What I Wouldn’t Do” by A Fine Frenzy: https://www.youtube.com/watch?v=zrJA5eDhh9I “From Afar” by Vance Joy: https://www.youtube.com/watch?v=nYUcqmpHJbk Even though the references have vocals, they’re looking for Instrumental Cues only for this pitch! Please send them well-crafted, acoustic-based Instrumental Cues that could work for a wide range of sync placements. Little accents like handclaps, foot stomps, or whistles could give your submission some added spark, but they’re not absolutely necessary. Your submissions should feature a central melodic idea. Build momentum by adding and subtracting different elements to add dynamics and interest as your Instrumental progresses. Please avoid using any instruments that sound stiff, synthetic, or obviously quantized and MIDI-driven. All submissions should be at about 2 minutes long (give or take). Non-Faded, Buttoned/Stinger Endings will work best. Please do not copy the references in any way, shape, or form. Use them only as general guide for overall feel, texture and tone. Broadcast quality is needed. This company offers an EXCLUSIVE deal. You'll split all upfront sync fees 50/50. The Publisher will get 100% of the Publisher's share, and you'll get 100% of the Writer's share. You must own or control your Master and Composition rights. Since this is an Exclusive deal, please be sure your material is NOT already signed with any other Libraries or Catalogs. Please submit as many Instrumentals as you’d like online or per CD. All submissions will be screened on a Yes/No basis - No full critiques. Submissions must be received no later than 11:59PM (PDT), on Monday, September 3rd 2018. TAXI #Y180903AD
My track is Clapping Into Reserves. https://soundcloud.com/kerry-cox-9/clap ... rves-again
My question is: Where does it say they are looking for unfamiliar and dangerous? Why does the screener have criteria for the listing that was not included in the listing verbiage? I actually think you could make a decent argument for returning this track for this listing based on 1 or 2 of the criteria...so why does the screener go out of his/her way to list as the reason for return something that was not remotely alluded to?
I am not in a huff...it just seems like this happens more than it should. Anyone else experience this? Thanks!
kerry c
Michael has made it clear that a track that meets the criteria of the listing should always be forwarded, whether the screener happens to "like" the track or not. I may not be quoting ML verbatim, but that's the message I've been hearing for at least the last ten years of Taxi...if it meets the "quality" bar, and it hits what the listing is asking for, it's a forward...does that seem to be a fair representation of what ML contends? Challenge me on it if that's not the case...
But then I get returns like this:
"Thanks for the submission. I like the performance. I didn't send it over because the melody is a little too familiar and safe for this listing."
Y180903AD
ACOUSTIC-Driven, SINGER/SONGWRITER INSTRUMENTAL CUES are needed by a Music Licensing Company with a long and impressive list of great placements in TV, Film, and Commercials. They’re looking for Mid-to-Up-Tempo Instrumental Cues that would fall within the general stylistic ballpark of the following references: “Hold On Forever” by Rob Thomas https://www.youtube.com/watch?v=xCLN6JuXfpE “What I Wouldn’t Do” by A Fine Frenzy: https://www.youtube.com/watch?v=zrJA5eDhh9I “From Afar” by Vance Joy: https://www.youtube.com/watch?v=nYUcqmpHJbk Even though the references have vocals, they’re looking for Instrumental Cues only for this pitch! Please send them well-crafted, acoustic-based Instrumental Cues that could work for a wide range of sync placements. Little accents like handclaps, foot stomps, or whistles could give your submission some added spark, but they’re not absolutely necessary. Your submissions should feature a central melodic idea. Build momentum by adding and subtracting different elements to add dynamics and interest as your Instrumental progresses. Please avoid using any instruments that sound stiff, synthetic, or obviously quantized and MIDI-driven. All submissions should be at about 2 minutes long (give or take). Non-Faded, Buttoned/Stinger Endings will work best. Please do not copy the references in any way, shape, or form. Use them only as general guide for overall feel, texture and tone. Broadcast quality is needed. This company offers an EXCLUSIVE deal. You'll split all upfront sync fees 50/50. The Publisher will get 100% of the Publisher's share, and you'll get 100% of the Writer's share. You must own or control your Master and Composition rights. Since this is an Exclusive deal, please be sure your material is NOT already signed with any other Libraries or Catalogs. Please submit as many Instrumentals as you’d like online or per CD. All submissions will be screened on a Yes/No basis - No full critiques. Submissions must be received no later than 11:59PM (PDT), on Monday, September 3rd 2018. TAXI #Y180903AD
My track is Clapping Into Reserves. https://soundcloud.com/kerry-cox-9/clap ... rves-again
My question is: Where does it say they are looking for unfamiliar and dangerous? Why does the screener have criteria for the listing that was not included in the listing verbiage? I actually think you could make a decent argument for returning this track for this listing based on 1 or 2 of the criteria...so why does the screener go out of his/her way to list as the reason for return something that was not remotely alluded to?
I am not in a huff...it just seems like this happens more than it should. Anyone else experience this? Thanks!
kerry c