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Bigg Rome
I’ve signed library deals through Taxi as well as FMN and on my own. These are libraries that have made placements for me. Tons of people have had placements due to Taxi. There are big lists of placement successes on their forum. I know the people involved in those placements personally… It’s all very real and true.
Again, I’m not saying that Taxi is the only way or works for everyone. Go with what works best for you.
🙂
“Michael L as in Michael Laskow owner of Taxi.”
If you are trying to imply that MichaelL, on MLR, is Michael Laskow of Taxi you are so far off base as to be laughable.
“Michael L as in Michael Laskow owner of Taxi.”
If you are trying to imply that MichaelL, on MLR, is Michael Laskow of Taxi you are so far off base as to be laughable.”
Thanks Art. Yeah…ROTFLMAO!!!!!!!
NO I AM NOT Michael Laskow. This kind of thinking is a prime example of why some people do not do well in this business. They make too many assumptions and/ or conjectures about how things get done, and who is involved, etc.
Sorry big Rome..two different guys …..3,000 miles apart. The closest I’ve come to Taxi, is riding in one!
MichaelL (NOT LASKOW)
It seems the real supes are at Narip, mores because they always on that site showing someone. Plus the admin is way cheaper. I want to see a working active major supe name from past Taxi conference, not some A&R who is out of a job, cause the record industry has changed.
But I trust Narip a heck of a lot more.
I actually joined NARIP for a year. I didn’t get much out of it. But this is only because most of the opportunities to meet Music supervisors were in L.A., NYC, Nashville, or Atlanta. If I stayed in one of those cities, I would probably rejoin in an instant.
Taxi and companies like that work for some just not for me. I was a member. $1500 in membership renewals. I went from a forward here and there to no forwards at all. Maybe I just kept getting worse every year. I wasn’t even getting critiques anymore because of “deadlines” so I thought what do you do if a slot machine never pays off when you gamble your money? You move on before you’re broke.
In fairness,I don’t fault their model. They do what they say they do. You pay them, they listen to your music and forward it if they decide to and not if they decide not to. Clear away all the advertising smoke and glitter and that’s really all they ever say they’d do.You might get a useful critique, you might not.You might get nothing, you might get something but they will always get paid. That’s how it works.
Some can do well with that.I didn’t. Not their fault.They didn’t promise me anything more than what I got.
Sometimes you find out what doesn’t work before you find out what does.In my case, I was the former.
These days I’ll give up some publishing or sync fees in exchange for getting “something” I won’t do any more “give us your money first and we’ll see” deals. I give you music and when you get money “from” my music it is because you did something “for” my music.That’s it.I was a member and got the impression that Taxi does well for folks learning the ropes of the business, or for folks who were getting placements and wanted to take the risk on joining hoping that Taxi contacts would get them into libraries cover their membership fees. I learned a lot through them which gave me a springboard and enough confidence to try things on my own, which actually led me here. I think their marketing tactic of mentioning huge success stories set a lot of members up for unrealistic expectations and frustrations (Composer X got 50000 placements through Taxi!). If I saw evidence that Taxi was consistently helping composers make back their membership fees at least I would likely rejoin. Have to give Michael Laskow credit for being smart enough that if he were to come to these forums, he would likely use a pseudonym which wouldn’t be Michael L (: .
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