Dispatch #D200416DR - signed composers only?
Posted: Mon Apr 06, 2020 11:57 am
Hi all - This Dispatch listing for Dramedy cues (full listing below) has a curious caveat:
"Also, this company is only interested in signing material from composers who have worked for libraries and licensing companies in the past and understand how standard deals work. If you don't have that experience and know the drill on typical deals, then they politely ask that you don't submit to this request."
I know this means they don't want newbies who will drag them through the legal weeds and nit-pick the contract. I understand.
But as someone with lots of forwards but no deals yet, and who would trust a deal from a reputable library and not make a fuss, this restriction seems out of place in the Taxi world.
Are the screeners going to screen my deal history as part of their forwarding criteria? Should I ask forgiveness rather than permission, and go ahead submit anyway?
Would love to hear from anyone on this, especially any Taxi admin folks.
Thanks,
Robert
Here is the full listing:
This company prefers to hear music from composers who are already experienced in the ways of music library deals.
Lots of ORCHESTRAL-Based DRAMEDY INSTRUMENTAL CUES are needed by a U.K. Music Licensing Company with GREAT Worldwide Distribution and lots of awesome placements in Film and TV.
They’re looking for A LOT of Dramedy Cues that can range from quirky and mischievous to playful, sneaky, or quizzical sounding. Please listen to the following examples to get in the broad stylistic wheelhouse of what they’re looking for:
"Desperate Elves" by Steve Barden
“Sneaky Snitch” by Kevin MacLeod
KAPTAIN MUSIC - DRAMEDY STORY
IMPORTANT NOTE: This Company has a high bar and they tend to gravitate towards music that “sounds like releasable commercial Songs” rather than material that sounds like it came from a "typical music library." Also, this company is only interested in signing material from composers who have worked for libraries and licensing companies in the past and understand how standard deals work. If you don't have that experience and know the drill on typical deals, then they politely ask that you don't submit to this request.
Please send in well-crafted, Orchestral-driven Dramedy Instrumental Cues that capture the fun, quirky range of the references above. Your Cues can include Orchestral elements like pizzicato strings, mallets, woodwinds, harp, and pianos. Percussion elements like maracas, castanets, and shakers could be a nice touch as well. Be sure to build your submissions around a central melodic theme or motif, and keep them dynamic and forward-moving by layering other instruments in and out as they progress. Avoid submitting anything that's overtly busy, as it could interfere with a scene’s dialogue.
Your submissions should be 90 seconds to 2 minutes in length, give or take. Non-faded, Buttoned/Stinger endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed.
This company offers an EXCLUSIVE deal, so please be sure the Instrumental Cues you pitch for this opportunity are NOT already signed with other Companies or Catalogs. You'll get 100% of the Writer's share, and the Publisher will get 100% of the Publisher's share. You must own or control your Master and Copyright to submit. Please submit as many Instrumental Cues as you’d like, online or per CD. All submissions will be screened and critiqued by TAXI. Submissions must be received no later than 11:59 PM (PDT) on Thursday, April 16th, 2020. TAXI Dispatch # D200416DR
"Also, this company is only interested in signing material from composers who have worked for libraries and licensing companies in the past and understand how standard deals work. If you don't have that experience and know the drill on typical deals, then they politely ask that you don't submit to this request."
I know this means they don't want newbies who will drag them through the legal weeds and nit-pick the contract. I understand.
But as someone with lots of forwards but no deals yet, and who would trust a deal from a reputable library and not make a fuss, this restriction seems out of place in the Taxi world.
Are the screeners going to screen my deal history as part of their forwarding criteria? Should I ask forgiveness rather than permission, and go ahead submit anyway?
Would love to hear from anyone on this, especially any Taxi admin folks.
Thanks,
Robert
Here is the full listing:
This company prefers to hear music from composers who are already experienced in the ways of music library deals.
Lots of ORCHESTRAL-Based DRAMEDY INSTRUMENTAL CUES are needed by a U.K. Music Licensing Company with GREAT Worldwide Distribution and lots of awesome placements in Film and TV.
They’re looking for A LOT of Dramedy Cues that can range from quirky and mischievous to playful, sneaky, or quizzical sounding. Please listen to the following examples to get in the broad stylistic wheelhouse of what they’re looking for:
"Desperate Elves" by Steve Barden
“Sneaky Snitch” by Kevin MacLeod
KAPTAIN MUSIC - DRAMEDY STORY
IMPORTANT NOTE: This Company has a high bar and they tend to gravitate towards music that “sounds like releasable commercial Songs” rather than material that sounds like it came from a "typical music library." Also, this company is only interested in signing material from composers who have worked for libraries and licensing companies in the past and understand how standard deals work. If you don't have that experience and know the drill on typical deals, then they politely ask that you don't submit to this request.
Please send in well-crafted, Orchestral-driven Dramedy Instrumental Cues that capture the fun, quirky range of the references above. Your Cues can include Orchestral elements like pizzicato strings, mallets, woodwinds, harp, and pianos. Percussion elements like maracas, castanets, and shakers could be a nice touch as well. Be sure to build your submissions around a central melodic theme or motif, and keep them dynamic and forward-moving by layering other instruments in and out as they progress. Avoid submitting anything that's overtly busy, as it could interfere with a scene’s dialogue.
Your submissions should be 90 seconds to 2 minutes in length, give or take. Non-faded, Buttoned/Stinger endings will work best. Do NOT copy the referenced material in any way, shape, or form. Use it only as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed.
This company offers an EXCLUSIVE deal, so please be sure the Instrumental Cues you pitch for this opportunity are NOT already signed with other Companies or Catalogs. You'll get 100% of the Writer's share, and the Publisher will get 100% of the Publisher's share. You must own or control your Master and Copyright to submit. Please submit as many Instrumental Cues as you’d like, online or per CD. All submissions will be screened and critiqued by TAXI. Submissions must be received no later than 11:59 PM (PDT) on Thursday, April 16th, 2020. TAXI Dispatch # D200416DR