TAXI.com

I've seen quite a few listings saying:

This company has a strong preference for composers who understand music licensing companies and how typical music library deals are structured. If that's not you, they politely ask that you don't submit to this request.


I've had a few forwards but nothing signed yet, so I've been self-eliminating myself from these. However, I've been with Taxi for a few years and have pretty much kept up with Taxi TV, research materials, books, etc and feel I have a modest understanding of how licensing works. But I have no personal experience.

Now, I see a few opportunities that are in my wheelhouse and I feel I can do a good job with them. Am I doing myself a disservice by not participating? Should I go ahead and submit even though it sounds like they want someone more interested than me? What are your thoughts?

I‘d give it a try. There are still enough hurdles on the way.
And without trying, it’s surely not going to get you forward.

What do you have to lose - a few bucks.

Just my 2 Cents ….

I've paid attention to the forum threads (and Taxi TV episodes!) where signing contracts is discussed, and tried to absorb the info.
Not having gotten signed yet, my take is that if I'm not afraid to sign a contract that's offered, then go for it!

Telefunkin wrote: ↑

Sun Aug 01, 2021 2:21 pm

...

Graham, thank you for summarizing the essential nature of all I've learned about licensing from Taxi so far. This should be a sticky in the FAQ section

I will have to make this into a checklist

So this
This company has a strong preference for composers who understand music licensing companies and how typical music library deals are structured. If that's not you, they politely ask that you don't submit to this request.
boils down to this:
understand music licensing companies - the business model may not be exactly the same for each company, but there are few variations. They all include the composer signing at least some of their rights away. Covered in depth by Taxi TV.
how typical music library deals are structured - everybody wants the best outcome from an IP exchange, and it's a buyer's market. How far the library is willing to go to compensate the composer follows from the above statement. Understanding this helps prevent contract paralysis.

It's up to us as writers/composers to establish our limits. If we haven't thought well enough about it, we may fall into the traps that you've outlined above and alienate the library after they've taken the time to reach out. That's a 'lose-lose' outcome, and what they are wanting to avoid. Establishing a good rapport with a library is really the first big step toward being a working composer. Will I be willing to give away more than I'd like to get that first deal? Maybe. But if it's one cue (not a song that I'm sure will top the charts ) it becomes another learning experience. I expect to sign hundreds of cues during my lifetime, and am not afraid to get the short end once or twice.

Alan

As I read this, it means that they don't want to spend time on composers who think they can negotiate the contract, take too long to get the paperwork done, or don't have their own paperwork in order. Some production libraries just want to deal with you in a fast pace, and focus on quantity, so they don't want too much hassle teaching you things or negotiating with you.

Kolstad wrote: ↑

Tue Aug 03, 2021 3:25 am

As I read this, it means that they don't want to spend time on composers who think they can negotiate the contract, take too long to get the paperwork done, or don't have their own paperwork in order. Some production libraries just want to deal with you in a fast pace, and focus on quantity, so they don't want too much hassle teaching you things or negotiating with you.

+1