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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 (: .
So let me see if I get this learning curve straight here: Composers generally start off starry eyed and it is the be all and end all to get your music placed on t.v., You write for a while (quite a awhile, depending on the composer , could be years) and eventually, you hope, you begin getting placements, which even on reality tv/cable /whatever, is to a relative newcomer like hitting the (artistic) jackpot. You start getting more placements , and this goes on for a number of months/years, before you start doing the math and saying I’ve spent x number of hours/months/years writing and uploading and the numbers are not what you hoped they’d be. You start whittling down the libraries you submit to to the ones that are really working for you placement and money wise, and start seeking out more exclusives and other libraries preferably ones that pay you upfront in hopes for a bigger payday. Backend is not necessary the payoff one would hope for. I guess stye one thing I am missing is how do composers balance quantity with quality. Seems quality is the defining factor. Quantity helps, but without the focus on quality you may be grasping at straws and getting involvement in libraries that only deal with backend. There is nothing wrong with this, but the learning curve seems to come back to “I want to write great quality tracks, even if this means writing fewer of them” and hope instead to go for upfront money and better placements. Nothing wrong with any of the above, just seems to be part of the learning curve. Please comment, I am merely paraphrasing/summing up what I think I see as a theme here amongst composers who have been doing this awhile. If I am makin gnome incorrect assumptions, please feel free to correct these mistaken assumptions. In a perfect world, a composer is able to produce quality tracks daily in order to thrive opt even survive in this biz. Good discussion , very interesting. Thanks DI for starting it.
I like it. I can’t hear any issues with the mix in my monitors. Maybe a little long for what it is, meaning I would offer some shorter versions and loops out of this I think. I like the guitar sound, sounds like some clean Amplitube sots of sounds (listen to chill pill on my sound cloud page for a similar sound, was also my first full track sale on PT). I like it , think it does what it is supposed to do. Maybe a commercial sort of pitch even?
I thought it was a bit odd that Pond 5, although I’v relatively new at this and my sales in general are just starting to trickle in, was the one library to sell a couple of my southern rock and rock tracks. MIBE has said they needed rock tracks more in the blues rock vein, Coney island Music was also looking for rock tracks. I would think a lot of the libraries that specialize a lot in “car” based reality shows – hot rods, etc – could use it. I hear this stuff all the time on there. I would inquire any of the the libraries that are looking gfor rock tracks.