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#551626 10/23/07 06:00 PM
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Hello,

I've written a variety of music over the years and never gave a thought to trying to sell the songs. Now I'm interested in culling from the best of them, re-tooling, and taking the shot. Sadly, I'm not a country music kind of writer...so I understand that takes away the biggest buying market of them all. I'm more rock/alternative/pop oriented... the kind of songs the bands themselves usually write.

Once I've assembled the best I can do and have listened and responded to good criticism, and cut some acceptably produced demos...comes the next step. I have zero contacts in the industry. So I am curious about your experiences with TAXI. You spend $300 a year to be involved, and $5 per song submission...and IF THEY LIKE IT, they may or may not pitch the songs in the right places.

Has this worked for anyone here? Is it something to try or not?

It seems like a better way to go than to send out dozens of demos that never get looked at...

Apologies if this topic has already been covered, but new threads yield new answers. Any informed advice would be greatly appreciated!

Thanks,

-Lyle

Mark Kaufman #551638 10/23/07 06:55 PM
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I get the impression TAXI is at least honest, and are good at what they do. I get their tip sheet monthly, which is free. I have never joined.

Theyb are reportedly *very* specific about what they are looking for; presumably, that's how they compete with the Big Boys in an arena where the industry institutionally does not want any outsiders in. TAXI's "a las," in other words, are something one needs to pay close attention to.

I am afraid I have never been "a la" anything, much less the artists that are in commercial music today. Therefore, In have never submitted TAXI anything. I figure it still could happen, so I keep paying attention. I just ain't holdin' my breath.

Lots of luck. Hope it works out well for you.

Joe

Last edited by Joe Wrabek; 10/23/07 06:56 PM.
Joe Wrabek (D) #551659 10/23/07 08:37 PM
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"You spend $300 a year to be involved, and $5 per song submission...and IF THEY LIKE IT, they may or may not pitch the songs in the right places."

Hi Lyle. This is not how Taxi works. Taxi is an A&R company who screens music for the industry.

How Taxi works is, A&R reps/labels & music publishers/music libraries come to Taxi and let them know what they need. For example:

CONTEMPORARY COUNTRY SONGS for a new Male artist who's a cross between Kenny Chesney and John Mellencamp are wanted by the Dir. of A&R at a Major Nashville Label. Fun, driving uptempos are preferred, but energetic ballads are OK too. Great, conversational lyrics are also sought. Please submit one to three songs online or per CD/cassette, include lyrics. All submissions will be screened and critiqued by TAXI and must be received no later than Nov. 29, 2007.

Then the Taxi members who feel they have a song or songs that fit that description submit. The screeners, who are music industry professionals, then listen to all the submissions, and choose only the ones that fit the listing to a T, and "forward" (pass those songs) along to the listing party. At that point, Taxi's job is done (about 6% of submissions are forwarded). The listing party may or may not sign the forwarded songs.

The advantage to the Taxi member is to make solicited submissions via an organization that is set up to help you improve your submissions until they are making the grade. Most new members don't realize how high the bar is going to be, and most new members take awhile to understand how to read the listings and match their submissions to the listings. In addition, although production is less important for song pitches than it is for film/TV pitches, it is still crucial to have clean demos with great vocals & good playing.

You will find people who don't like the Taxi model, and you will find people for whom Taxi is not/would not be a fit. My personal feeling is that a Taxi membership should be just one of the ways that you approach the industry & pitch your music. As a 3 year member, I can tell you I didn't get any forwards in the first 2 years of membership, although I made many submissions. I decided to use my Taxi membership as an education tool. Because of Taxi, my composing skills and my producing skills improved to industry standard. I know, because in the spring of 2007 I finally got my first exclusive publishing deal through a Taxi forward to an LA music publisher.

In addition to this, the Taxi Road Rally (Taxi's free-to-members Music Conference) is one of the best music conferences you can go to. The price of a Taxi membership is the same price you'd pay to attend the Ascap conference.


If you are interested in joining Taxi I recommend you a) sign up to get the free bi-weekly listings sent to you so you can see what kind of opportunties there are, b) get some professional feedback on your work from NSAI, Jason Blume, John Braheny or Pete & Pat Luboff (which you should do in any case if you are interested in pitching commercially viable work & want to make a good impression), and c) consider joining the Taxi forum to get some feedback on your work and some help on deciding whether Taxi is going to be part of your marketing / business plan for your music.

cheers
Hummin'bird smile


Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

12Feb10- *NEW BLOG: "BE YOUR OWN GURU ;)"

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Hummingbird #551660 10/23/07 08:44 PM
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Joe and Vikki, thank you for the excellent and informative responses. This is the internet at its shining best.

-Lyle

Mark Kaufman #551781 10/24/07 01:05 AM
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Hi Lyle,

I can add my 2 cents to this thread. I have been a member of Taxi for some years now and initially, like Vicki, I didn't get any forwards. However, after I took the critiques to heart and worked on improving the songs I put out, I started getting a lot of forwards. This means that your songs are at least getting listened to the people who ran the listings in the first place. That is a huge step from sending out unsolicited material and the screeners at Taxi are all industry people. If you have the songs, they will do their best for you.

In many ways, getting critiques from pros like the screeners at Taxi is a wake up call. You often don't have a realistic idea of where your songs are in relation to what is expected until you get some of these critiques...and you do have to be better than a lot of the stuff on the radio because of no connections.

I think sometimes these boards are misleading because I see where people have a rose-tinted view of their songs when everybody comes out and says 'Oh this song is so great' when in reality it may be just good. I have gone to too many songwriter workshops to not know by now that....good is not good enough. People can become complacent about their songs and not be pushed to rewrite and improve them in cases like this which is not helping the writer at all.

FYI if you pay the first year's subscription at Taxi, thereafter $300 will buy 2 years of membership at a time which is not bad.

Another route I use, is to pay for professional evaluations of my songs to determine where I need to improve and which ones I should demo. You can get this service from Taxi as well, I currently am using the 'coaches'(again industry people) at SongU.

As with everything there is a learning curve and songwriting is no exception. The beauty of it though is that the more you acknowledge this and try to improve to reach 'the bar', the more likely you are to actually get there. What is ultimately important though is that you need to know where that bar is if you are going to have a chance of hitting it.

As one Grammy winning songwriter stood up and said at one of the Taxi conventions, Hits are not WRITTEN, they're REWRITTEN.

Cheers,

Rachel


http://www.broadjam.com/rachelkerr

As you grow older, you'll find the only things you regret are the things you didn't do. ~Zachary Scott
Ria #551792 10/24/07 01:44 AM
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Thank you, Rachel. It means a lot to me that you took the time to give me this info. Funny, I feel pretty liberated from over-sensitivity these days...I have all sorts of songs to re-write, and with a stable life, maturity and nothing to lose, it's easier to pick up what used to be my best stuff and just rip it up and re-work it. What's important to me now is to "take the shot". Much like the quote on your signature!

Thanks again,

Lyle (Mark Kaufman)

Ria #551794 10/24/07 01:49 AM
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"As with everything there is a learning curve and songwriting is no exception. The beauty of it though is that the more you acknowledge this and try to improve to reach 'the bar', the more likely you are to actually get there. What is ultimately important though is that you need to know where that bar is if you are going to have a chance of hitting it."

Great post Rachel! That's exactly the edge I feel my Taxi membership has given me. I know where the bar is, and I know what I need to learn in order to reach it, and I'm willing to take the time & put the energy into learning it. In order to do that, I had to let go of my emotional attachment to my work and step back & try to see it objectively. Not always easy to do, but IMO is an important part of achieving success.

Going to the Rally?
H


Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

12Feb10- *NEW BLOG: "BE YOUR OWN GURU ;)"

MY STORY & MY MUSIC: http://www.vikkiflawith.com
Be a FAN: http://www.reverbnation.com/vikkiflawith
Hummingbird #551797 10/24/07 01:59 AM
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Vikki,

You bet! As Michael Laskow says all the time, it is more than worth the price of membership....and he is not joking! I think I can recognise you so I will look out for you. I will be wearing glasses! By the way, have'nt seen James B. Mitchell around on the boards, any idea how he is and if he is off to the Rally this year again?

Glad you liked the post, we're all in this thing together and here's to writing stuff with the WOW FACTOR!

Cheers,

Rachel


http://www.broadjam.com/rachelkerr

As you grow older, you'll find the only things you regret are the things you didn't do. ~Zachary Scott
Ria #551798 10/24/07 02:07 AM
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Lyle,

When you lose that thin skin and realize that a critique of your songs is not a personal attack on you, the moment is liberating. I say bring on the honesty because there is generally room for improvement somewhere and somebody else's vision might be clearer than mine.

Glad you're in a good place in your life, it's the best time to just go for it. Success for me is being able to give up my day job and earn a living from my music and I am not about to get older and not at least TRY to get there.

Cheers,

Rachel



http://www.broadjam.com/rachelkerr

As you grow older, you'll find the only things you regret are the things you didn't do. ~Zachary Scott
Ria #551849 10/24/07 06:10 AM
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Originally Posted by Ria
Vikki,

You bet! As Michael Laskow says all the time, it is more than worth the price of membership....and he is not joking! I think I can recognise you so I will look out for you. I will be wearing glasses! By the way, have'nt seen James B. Mitchell around on the boards, any idea how he is and if he is off to the Rally this year again?

Glad you liked the post, we're all in this thing together and here's to writing stuff with the WOW FACTOR!

Cheers,

Rachel


Hi Rachel - both James & I will be at the Rally! Hope to catch you there,
cheers
Vikki


Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

12Feb10- *NEW BLOG: "BE YOUR OWN GURU ;)"

MY STORY & MY MUSIC: http://www.vikkiflawith.com
Be a FAN: http://www.reverbnation.com/vikkiflawith
Hummingbird #551903 10/24/07 12:16 PM
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I'm a member of SongU,I like their setup of pitching songs,just wish there were more pitch opps.I've never tried Taxi,been tempted to,but I hate the hassle of sending out CDs for every pitch,not to mention the cost.The free rally would be nice but would cost me a fortune to get there,and I hate to travel.

If Taxi had a system where you could bank songs,like SongU,I would join in a heart beat.

Everett Adams #551912 10/24/07 12:34 PM
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Everett, you can always submit music online - the submission fee still applies, but now that TAXI has its own hosting, you pay $0 extra.


http://www.zirconmusic.com/ - Award-winning music/albums for video games, film and TV!

Impact Soundworks - Cutting-edge sample libraries for Kontakt
Everett Adams #551974 10/24/07 04:04 PM
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Originally Posted by Everett Adams
I'm a member of SongU,I like their setup of pitching songs,just wish there were more pitch opps.I've never tried Taxi,been tempted to,but I hate the hassle of sending out CDs for every pitch,not to mention the cost.The free rally would be nice but would cost me a fortune to get there,and I hate to travel.

If Taxi had a system where you could bank songs,like SongU,I would join in a heart beat.


Taxi has had on-line submissions for the whole of my membership. They used to go through Broadjam, and you'd have to pay an extra $40 a year for the priviledge. However, earlier this year Taxi set-up its own hosting site, and it's free to members. You can post up your music, make it public or not, and access the listings & submit directly to Taxi on-line.

http://www.taxi.com/


Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

12Feb10- *NEW BLOG: "BE YOUR OWN GURU ;)"

MY STORY & MY MUSIC: http://www.vikkiflawith.com
Be a FAN: http://www.reverbnation.com/vikkiflawith
Hummingbird #552125 10/25/07 12:59 AM
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Hi Everett,

The reason behind the $5 submission fee for each song you submit, is to get you to think very carefully about what you want to submit and chose only the best and most appropriate songs. Before they had this fee, people would just send 'everything and the kitchen sink' for every listing....because it was free, and the Taxi guys had to wade through a ton of inappropriate stuff. Spending five bucks per song does make you consider very carefully what you want to send and that is really what Taxi set out to achieve.

Cheers,

Rachel


http://www.broadjam.com/rachelkerr

As you grow older, you'll find the only things you regret are the things you didn't do. ~Zachary Scott
Ria #552644 10/26/07 01:50 PM
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Hey,I didn't know that Taxi had this service,maybe I should look into this.Is there any limit to how many songs you can store there?

Everett Adams #552649 10/26/07 02:19 PM
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Hi Everett - you can store up to 50 for free as a Taxi member.

H


Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

12Feb10- *NEW BLOG: "BE YOUR OWN GURU ;)"

MY STORY & MY MUSIC: http://www.vikkiflawith.com
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Hummingbird #552745 10/26/07 07:36 PM
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Rachel and Vikki,

You ladies have really opened my eyes to TAXI. I have read both good and bad...have tended to believe more of the good than the bad. I know that Brian is a HUGE supporter of TAXI, but I often wondered if their partial sponsorship of JPF may have influenced his perception of them. Brian is very loyal to those who support him...and I think that that is usually an admirable quality.

For many people, $300.00 per year is a pretty big slice to handle. And considering that an average of only 6% of the submissions are fowarded, that make the can be discouraging. Although, your points that it forces you to hone your skills if you truly desire success by that avenue. I have wanted to join for a number of years. But for me, the $300.00 is unaffordable. I am now retired with a decent retitrement income. But, with my wife's monthly medication costing over $8,000.00 (that's not a typo, BTW...it really is EIGHT THOUSAND DOLLARS!), I simply have to be very cautious how I spend my discretionary funds. With that kind of an obligation, I have to spend my funds on realtively sure things...there is no money for "the learning curve".

If their membership fee were less, I would probably join, as I write a lot of Movie/TV Theme genre and that would be an excellent place to submit that kind of work.

After all of that, what I really wanted to say was that you two ladies gave some very, very good information about TAXI services and how it might or might not be a good avenue for various composers. You did a very nice job and I wanted to let you know that.

All the best to you!

Al

Last edited by Al David; 10/26/07 07:37 PM.
Two Singers #552768 10/26/07 09:14 PM
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You're welcome Al. I also belong to SongU, which offers some great educational classes via the internet on all aspects of songwriting, producing, business end, + pitch opps here and there. My SongU membership costs me $75 per quarter ($300/yr). Sonicbids is around $50 a quarter ($200/yr). I'm not made of money but, living in a little backwater that doesn't provide much business/education to songwriters/producers, I need to have access to educational opportunities as well as access to the market. The internet gives me that.

In terms of my Taxi membership, I figure I can afford $25 a month + submission fees to get access to music libraries & music publishers with my targeted, solicitated submissions. I'm confident this will pay off over the next three to five years, because I understand that growing my skills and growing my cataloque is a long term investment. My Taxi membership, along with other professional memberships, are part of my overall business & marketing plan, for myself and my music.

Hummin'bird



Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

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Hummingbird #552826 10/27/07 12:17 AM
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As an outsider looking in from the UK.i daresay Taxi has it's good points,probably their critique/evaluation service would be a good tool for the budding Songwriter,having a proffesional pair of eyes giving your work the once over,seems not a bad deal at 5 bucks a time...but as only 6% of all work submitted is forwarded for consideration,that means in essence 60 songs out of a 1000, so that leaves 940 songs on the compost heap,out of every 1000 submitted for consideration...and probably out of the 6% that are forwarded they are in most cases up against the "creme-de-la-creme-" so that really puts the screw on your chances...so by definition of mathematics only,we zone in on the -% chance of getting thru ...So in essence what Taxi are looking for is the "Golden Needle in the Haystack" type submission,which ends up on the success page on the web-site..BUT..if iam reading the script right,you can get your cash back..I.E. your $300 smackers,if you are not happy with the service..That seems ok...do Taxi put in the public domain how many folk apply for re-imbursement?...So if the $300 joining fee is to save timewasters,and also your key to submittimg songs...Why doesn't Taxi scrub the joining fee,and probably all those folk who want their cash back...and up-the-ante on their critique/evaluation service,and forward any suitable submissions.and kill two birds with one stone...Timewasters and people clamouring for their cash back...Just a thought from the other side of the pond.....Terry Moore..

Terry Moore #552833 10/27/07 12:42 AM
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Terry, what makes you think that A&R reps, indie labels, music publishers and music libraries aren't "looking for the "Golden Needle in the Haystack" type submission"? As far as I'm concerned, the experience that most folks have with Taxi reflects the reality of the industry for the professional songwriter. It's a tight, competitive market, looking for commercially viable music, and competition is fierce. Good & pretty good don't cut it when you are up against pro writers and pro producers.

As I said above, you will find people who don't like the Taxi model, and you will find people for whom Taxi is not/would not be a fit. However, Taxi's model is successful for the dedicated folks I know who are composers/producers for film/tv.

Let it be said, I don't part well with my money, so you can bet if I'm a member of Taxi, or SongU or SAC, or whatever, that I feel I am making a valuable investment in my career that's part of my long term vision for success.

H


Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

12Feb10- *NEW BLOG: "BE YOUR OWN GURU ;)"

MY STORY & MY MUSIC: http://www.vikkiflawith.com
Be a FAN: http://www.reverbnation.com/vikkiflawith
Hummingbird #552848 10/27/07 02:08 AM
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Hi Alan,

Thank you for your kind words. Glad you found the posts about TAXI useful, I do find it worth the investment if you can find the money. If not investing in pro critiques through somewhere like SONGU is another option. Vikki is definitely on the money about investing in songwriting if that is what you are looking at as a career.

What TAXI has certainly taught me is to assess my own work more objectively and realistically and I am trying to work at targeting the Film/TV market since placements there are a lot easier to come by than major label cuts. Pro song critiques are especially important (more than one if in doubt) when you are targeting this market since everything you produce has to be broadcast quality and that usually takes money which is better spent AFTER you have fixed the flaws. My suggestion to you would be to build a catalogue of broadcast quality stuff that you have had evaluated, join a site like Broadjam which is now running Film/TV listings as well and for a $50 membership fee per year and $10 per submission, you can pitch to quite a few Film/TV opportunities. You don't have to join anything until you have at least one finished song/composition that meets the standards of master quality and great performances.

I am at the point of almost being able to say what will and will not be forwarded and why, in terms of my own stuff because of the experience of several critiques. I hope I offer some of this experience on the boards and I can probably help you in terms of objective assessments which are easier to do on someone else's songs than your own.

Wishing you all the best,

Rachel


http://www.broadjam.com/rachelkerr

As you grow older, you'll find the only things you regret are the things you didn't do. ~Zachary Scott
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I dare say it is all down to one's opinion and perception Vikki.Iam not pro-Taxi,nor am i against it...probably iam a musical agnostic when it comes down to it.We all take different routes trying to attain our goals..whichever option any individual thinks works for them..who am i to say it won't...but there must come a time,... somewhere down the line...when you gotta do a personal musical inventory on your goals and ambitions,and really evaluate your chances,and i do not mean that to anyone personally,i mean in general....it is all very well having plans etc,but Songwriting can be a very hungry mistress,who never knows when they have had enough to eat cash wise...and i know it takes money to get your music out there,that is the nature of the beast,it is so easy to get caught up in this vicious circle merry go-round...When do you jump off the musical carousel...when you have little or no return for your outlay....or are we addicted...i wonder..Terry..

Terry Moore #553135 10/28/07 12:46 AM
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"When do you jump off the musical carousel...when you have little or no return for your outlay"

I've spent 17 years studying music and I spend 24 hours a day doing it, and I couldn't imagine doing anything else, so for me the investment in training, practice & performance are worth it because I'm living my passion. I can't and won't measure that by dollar signs, although I also have a lot of common sense and don't like wasting hard-earned cash. As long as I am growing and improving, I will continue to invest time & money in my career. I don't consider it a carousel, either, I know exactly where I want to go, and I can see how to get there, if I can learn the skills, devote the time, and perservere. So I'm not going around in circles, I'm heading straight down the path I've chosen for myself. That's just me, though.

H


Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

12Feb10- *NEW BLOG: "BE YOUR OWN GURU ;)"

MY STORY & MY MUSIC: http://www.vikkiflawith.com
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Mark Kaufman #553191 10/28/07 09:53 AM
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Lyle

Some great advice here and view points about TAXI.
I think there may have been more discusssions about Taxi here than anything else.

It's a very very simple thing to decide.. ask yourself What am I doing with my music?
And who do know that I can send it too? If the second questions answer is No One then Join TAXI

Most impotantly it will get you going, and learning about submissions, deadlines,
demo's, you'll get critiques. All good stuff for you to be doing. And they are honest and on the up & up.

I like you do not write Country songs. I write Rock/Alternative songs which sound like a band, many bands actually.
So the biggest thinh you want to look into is Film & TV placement. Cause friend you have no where else to go.
I used to be a member of TAXI... I was lucky enough to get a Forward on my Third submission. Never heard a word past that forward.
I have no funds to re-join Taxi at this time. That's the tough part about Taxi as well
Once you get passed the screeners it gets screened again by the people who posted the placement add.
I have exhausted this area and angle....

But The most important thing you have to do with your style and approach is SOUND really good. Don't make a dozen songs half strength, make a few and polish them up strong.

I have thread on the Songwriters Board called The Art Of Writing Vague (film placement) check it out. It even has a movie clip that one of songs is in for you too see.

Best Of Luck I'll look for your material on the boards, if I hear it I can help out more
hopefully.


Thanks!
Peace Mike
Sub

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Thanks, Mike, and everyone. Seems this is a thread we're all wondering about, from several different levels of experience. Some among us believe this is the best shot we have; others view it as an exercise in futility...one that you pay for.

Well, I intend to give it a shot, but not just yet. Before I pay to play, I'm going to work on craftsmanship. The idea of making money from our art is always tantalizing...but how many of us wrote our first song for the money? I know I wrote mine because I really wanted to hear it...it just called to me and egged me on. I've enjoyed the process ever since, and once a song was written, I always felt good about bringing it into existence.

On this particular journey, I'm going to keep my feet on the ground. If it earns me nothing in the end, I intend to leave a few good songs on this earth. And if that's the best I can do, I figure that kid in me--the one who couldn't let go of that guitar or that idea for a song--will die happy.

But you'll never get a hit if you don't take a swing.

Mark Kaufman #553343 10/28/07 08:37 PM
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To be 100% clear on this: I haven't written an article about TAXI since they became a sponsor. I did write an indepth article on TAXI before I knew anyone there, more than a year befre they became a sponsor and when I had zero vested interest in them. That article is still on their home page 9 years later. We've received support from a small number of companies because we turn down 95% of the offers we get for sponsorship. If we were only about money and our advice and endorsement was for sale, we'd have 100 sponsors or more right now. TAXI is 100% honest. They do exactly what they say. If TAXI has a flaw it's probably 2 things: 1 is the don't do a great job tracking what happens after they forward a song. I understand the reason for that, but I think it significantly makes their life more difficult. The second flaw is that they probably forward TOO MANY songs, not too few. As someone who has personally screened over 50,000 songs in one year alone, and who has personally met and seen over 15,000 artists perform live, the percentages of truly amazing material is likely way lower than what they forward. I wouldn't forward as much stuff as they do.

People want to save their money for a sure thing? There isn't such thing as a sure thing. If anyone EVER tells you they can promise you success for any amount of money, large or small, they are liars and you shouldn't give them a dime. Only spend money when you need a specific service and someone can specifically fill that need in a reputable and honest way. TAXI fits that bill if you are creating worthy music that fits the specific need of those looking. I've told many people NOT to join TAXI because I felt their work wasn't good enough and they weren't really interested in improving it and being realistic.

My endorsement is not for sale. But it is true that I am very loyal to those folks who have proven themselves honest and moral and capable. That's why I am loyal to our friends at TAXI.

Brian


Brian Austin Whitney
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Brian's right. A lot of music is good. Very little music is exceptional.

For example, I've got over a dozen instrumentals of various genres that I'll be pitching through Taxi. But first, I need to update some of the sounds and do a remix and remaster. The music sounded good to me, and I've had some industry folks here tell me they sounded "ready," even have an experienced agent who is pitching a few for tv, but one very savvy person told me the sounds were out of date. So once I get a little time, probably this winter, I'll be remixing the midi files with new, modern sounds and maybe adding some new tunes. When that's finished, then I'll join Taxi.

Once I join, I'm going to keep a blog at MySpace, which I'll copy here, on the experience.




You've got to know your limitations. I don't know what your limitations are. I found out what mine were when I was twelve. I found out that there weren't too many limitations, if I did it my way. -Johnny Cash

It's only music.
-niteshift

Mike Dunbar Music

Mike Dunbar #554354 10/31/07 05:56 PM
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Like many, I've studied the TAXI question from afar. Really, as folks say, use it as a critiquing service and as an inroads into FILM/TV.

It is NOT an inroads into the Nashville scene. Publishers have a vague awareness of TAXI but precious few can speak to any personal interaction with them or their submissions.

-Ethan

Ethan #554455 10/31/07 09:49 PM
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Ethan,

Which major publishers have said they've not done business with TAXI? Or are you talking smaller independent publishers?

Anyone in the business has HEARD and is AWARE of TAXI. Even if they don't use them. I'd be very leary of anyone who said they'd never heard of them at all. Taxi may not be everyone's cup of tea (though I am not aware of major publishers who haven't worked with them at some time), but if you're invovled in the business, it's pretty hard to miss them completely unless you're really disconnected.

Brian


Brian Austin Whitney
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Facebook: www.facebook.com/justplainfolks

"Don't sit around and wait for success to come to you... it doesn't know the way." -Brian Austin Whitney

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Mostly publishers at NSAI events. The impression was more that they "didn't use them" and couldn't really say much about them personally.

Ethan #554720 11/01/07 05:46 PM
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So how do THOSE publishers acquire material, I wonder?

Ethan, do you have any other insight into how an unknown songwriter might get a submission seen by one of those publishers?

Mark Kaufman #554811 11/01/07 10:27 PM
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I am sure many of the publishers with staff writers wouldn't have need of TAXI very often. They are paying people to write and most can have their writers write to spec. Large labels with publishing arms looking for hits for their artists on the other hand would have far more reason to use TAXI. They want hits and aren't as choosy about where they might come from, especially if the writers aren't already connected to a publisher which would be the case with most TAXI members.

TAXI is but 1 single tool. It harms no one other than other companies who want to make money offering the same services. When people lash out against TAXI I always wonder what their motivation is. Usually it's lack of knowledge or they are competition. Publishers who are against TAXI see them as competition. The fact they are angry and negative indicates me that TAXI must be doing well enough in what they do for those folks to feel threatened. Labels with artists hungry for hits are generally happy to use TAXI as one more tool on their end. They know that checking out the solicited material won't be a waste of their time. And in the end, it's really up to individual TAXI members to write songs compelling enough to make the grade. TAXI is but a conduit.. not the writers of the songs. They can only work with the quality of material their members submit. Believe me.. I've heard a range of music that TAXI members submit. Sometimes it's brilliant. Often it's just not good enough to find success, with or without TAXI's placement efforts. Fortunately if you use TAXI correctly and are open to criticism and changing your approach to fit their opportunities (which is quite possile for commercial level writers who have learned) it's a wonderful tool. If you are convinced that the handful of songs you've already written prior to feedback are good enough and insist on keeping them just as they are and not adjusting your artistic integrity, you'll likely get nothing from membership. But if you think Art and Commerce are the same thing and that Commerce must accept great art and that great commercial music must be brilliant artistically, then you have little hope of finding success in commercial world in the first place.

Brian


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Skype: Brian Austin Whitney
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"Don't sit around and wait for success to come to you... it doesn't know the way." -Brian Austin Whitney

"It's easier to be the bigger man when you actually are..." -Brian Austin Whitney

"Sometimes all you have to do to inspire humans to greatness is to give them a reason and opportunity to do something great." -Brian Austin Whitney
Mark Kaufman #555012 11/02/07 06:28 PM
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Originally Posted by Lyle
So how do THOSE publishers acquire material, I wonder?

Ethan, do you have any other insight into how an unknown songwriter might get a submission seen by one of those publishers?


You get a referral to them from someone they trust.

If you belong to a PRO like BMI/ASCAP/etc, you want to meet with a representative there and discuss your career. Ask them for a referral - if they think you're ready, they'll give one.

Ethan #555039 11/02/07 08:30 PM
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Thanks, Ethan.

Mark Kaufman #555719 11/04/07 05:41 PM
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6% of submissions are forwarded.....

I've heard artists say they/their team listened to 1200 songs to find the twelve that go on an album. That's only 1%. So the Taxi submission rate is probably very fair. You gotta understand...when you get to the national/international level...you gotta be extraordinary in talent or luck or both.

I live in the town where the 2007 World Little League Champions are from. That's really an accomplishment when you think about it. There's lot of ball players, lots of little league players, lots of really good little league players, lots of great little league players, but there's only one World Little League Champions.

It's the same in music...lots of writers, lots of songs, lots of good songs, lots of really good songs, lots of great songs, but only a few great songs that meet the need.

Tree Publishing had 62,000 songs in their catalog twenty-five years ago when they were bought by Sony. God only knows how much they have not but lets say it doubled. If they had the top five chart records every week since 1960, it would only be 12,000 songs or thereabout...which would mean only 10% of their songs made the top 5.

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kinda off topic, but usually there is a post- Road Rally JPF Jam
Not this year?

guitaryoda #557238 11/08/07 09:03 PM
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Lyle, alot of good stuff here. I'll put another perspective on Taxi: I look at my Taxi membership as a motivator. Sometimes I'll get slack in the writing department because "I don't feel like it." Now, I've got a $300 - $400 investment that I don't want to be wasted. I definately have been more creative and productive since joining.

Second, Taxi has caused me to branch out into genres/styles that maybe were outside of my nice little comfort zone -- a necessity in becoming a better songwriter IMO.

Larry

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TAXI is definately a reputable business from just about everywhere I have read.
I have had the brochures and have asked around myself.

But in my case, I don't have talent, nor am particuliarly thrilled with much of the music that supposably requires talent that I have heard lately.
Not that I don't appreciate that, and I also listen to mainstream rock, but I have my own vision.
I would like to do music for films and maybe the occasional ad jingle. As well as my own idea of pop/rock albums.
But I am not for everyone.

I would invest in TAXI for what I am doing if they could find that exact medium (audience or publishers) for me.
But there are so many other options with that.
And since TAXI is staffed with A&R reps, looking at those other options and fulfilling them might look good on a resume'.

But if you made headway in your local doing rock, c & w, pop, or whatever else you may do, TAXI should be great from everything I have read on the net in the last going on 4 years.

mattbanx #557782 11/10/07 04:34 PM
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At 46, I've lost interest in "being" the act--I'm interested in selling songs. TV and Film listings do appear on TAXI, and I'm very keen on shooting for some of those as well.

But, Mattbanx, you say "But there are so many other options with that." Where else do you look to pitch your soundtrack ideas?

Thanks, -Lyle

Mark Kaufman #558104 11/12/07 12:04 AM
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Lyle, if you're interested in LIBRARY music (very different than writing a score or soundtrack from scratch on commission, a gig you most likely wouldn't get through Taxi) then you can very often just approach the libraries directly. I have cold called at least a dozen libraries and struck deals with 5-6 individual ones. Most of them are happy to take submissions from the general public. Sure, without Taxi you won't know exactly what they're actively looking for at any given time, but that doesn't mean you still can't make deals, get in their catalogue, and/or get some sweet buyout money up front. I am living proof that it's not only possible, but quite easy (assuming you have good music!)

There's also the option of going through a broad catalogue site like AudioSparx.com, where tons of people go to get content. You basically set your price and market yourself there, and AS takes half the cut.


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Andrew Aversa #558185 11/12/07 07:08 AM
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Thanks, Andrew! Another avenue to investigate.

Mark Kaufman #558808 11/14/07 06:23 AM
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Lyle:

I should have thought of mentioning where else for song ideas.
I hav'nt sold music yet, but I have seen what has worked for others on the net.
Only of the method though.
What can be done where to pitch seems to be what one does with it.

I have been fishing and investigating different internet sites to find out who is more toward my interests or what potential audience I could obtain.
I have been to different sites that serve different purposes.
To obtain critiques and ratings, I have been to more mainstream sites with average listeners and musicians at all levels, sites that are more theory oriented with pros, and also sites that are more geared for video, as well as music.
Project Overseer, which is on the link in my sig, seems to get more into fillm and instrumental type music out of all the sites I have been to so far. As well as the typyical song.
There are also sites I have seen to where there are reputable musicians doing critiques that have worked for magazines.
Though I don't feel ready for a magazine critic to review me just yet.

Much seems to be like going through channels.
How the listener and pro musician responds to songs is also interesting.
Pros often look more at detail in the performance where as the listener seems to look more at the sound.
Which would be the natural way with it I guess.

But I think the same to where I don't want to put myself in a box and do just one thing.
I know what I am inclined to do, and film is one of my interests.
It is sure more realistic and fun than wanting to be a rock star and get discovered.
Musicians that seem to get anywhere were smart enough to see what they had to work with and persue that interest over a course of years.
I don't think it would be wise to invest good money into something like TAXI without playing for a while and at least gaining some perspective.
I guess that has happened, and with people that found success doing that..
But that would kill the joy of the experience,

Before I spend x hundreds of dollars to publish or whatever method, I would like at least some certainty that it is worth my investment.
I have probably learned quite a bit about BMI and ASCAP just by reading posts here and through the net.
I treat such like knowledge required learning for if I ever make that move.

Thanks much!

mattbanx #558895 11/14/07 03:52 PM
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Matt,

It was interesting going to all the sites you have listed in your footer. Hadn't heard of any of them (except soundclick). I wonder how many music posting sites are out there?

Kevin


"Good science comes in peer reviewed journals. Conspiracy theories come in YouTube videos. "
Kevin @ bandcamp: Crows Say Vee-Eh (and Kevin @50/90 2019)
Kevin Emmrich #559023 11/14/07 11:50 PM
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My guess Kevin, is that there would have to be tens of thousands of mp3 sites.
I think it is safe to say I have investegated hundreds for placing my uploads on before I narrowed it down to what I have.
I have many more than in my sig at my homesite, and that may not have been heard of much.
I look for how well the administrators and members respond, people that don't hustle me, and honesty without flaming.
Insults don't affect me, and I usually wind up making the other persons face purple, and I don't want to be like that.
It also wastes time.
I have wanted to get on American Idol just to laugh at Simon's insults.
But it tells me nothing about how to improve myself.
I want to know where I suck, not just simply saying it.
Ratings are for that, not forums.

But a lot of these less heard of upstart sites have the stuff that is the most interesting.
Because they want to set themselves apart from the big guy.
At least some of those kind of sites may be our future in internet music.
They all have to start somewhere.
I look at it more for the thrill of doing it than if I will make any money.
I'm more interested now in learning about home video productions from the site I mentioned in the previous post.
Not just simply the music for film.
Looking for what interests my artitic persuits have become my faith.
And there are so many great sites waiting to be explored.
It is upon the indie artists to determine the greatness.
Not just establshed, reputable sites.

Mark Kaufman #562767 11/28/07 06:33 AM
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Lyle,

While at the Taxi convention years ago, two guys were riding the elevator up a few floors with me in the Renissance hotel. Do you know who they were? Two guys who landed a Taxi connection from demo to record company via Taxi on the song "Buy Me A Rose" recorded by Kenny Rogers.

Cut and dry answer: A good song is a good song and professionals review the songs at Taxi and have a plethora of expertise. Taxi made that song possible for the songwriters success and connections and gave Kenny Rogers the honors to sing it.

Taxi is not a sham or scam.. it is an honest organization with proven results even I can attest to.

My theory, and it is a literal one:

Taxi is a vehicle.

It pays money to ride in a vehicle.. the vehicle drops you off where you NEED to be, BUT it is up to the driver (professionals/experts) to know EXACTLY where the Taxi needs to stop and get the proper destination.

Just Plain Jill


♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫ ♥ ♫

wishes and creative blisses...

Jill Sansores
(a.k.a. Just Plain Jill)
Ria #566759 12/11/07 07:46 PM
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well actually that would scare me a bit, becuase in my case my material is already released the way it is... it's not something i really can change at this moment, it's done really nice in press and i keep being told to submit for being licensed for tv/film but for me it's too expensive right now to take the risk, been wondering about it and i might try next year maybe when I can make a little investiment in promotion


Priscilla Hernandez singer-songwriter
http://www.yidneth.com
New album at:
http://theunderliving.com
pRISCILLA #566768 12/11/07 08:05 PM
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Hi Priscilla,

I've got issues with money, too. One $300 payment is enough to rock my financial boat for sure, right here and now. And I certainly understand what it would mean to change things that have gone to press already, after an expensive enough recording process.

But money trouble always changes eventually. I'm saving up a little at a time, so I can soon spare that extra $300 and get on with this. I think the sooner the better. I'm interested in two different aspects of TAXI. One is obviously the possibility of a forward that might lead to a placement--I think everyone likes that idea. But more important to me is to get involved with the reviewers' suggestions...they know quite well what their clients are looking for, and I lack that sort of knowledge, foresight and sense of the current "bar". Once that first bill is sent, $5 a pop for submissions won't hurt, and the lessons I expect to learn from the feedback will be well worth the price.

Besides, Priscilla, you still have more music to write, yes? smile

Also Priscilla, check out their listings:

http://www.taxi.com/industry.php?Listings-index-box

If you read through these, you may find that a lot of clients are looking for acts who already have CDs ready to go... Many possibilities.

An example listing...

WORLD MUSIC BANDS/ARTISTS are sought by an Independent Music Distributor that represents North America who is licensing completed CDs from talented artists. They're looking for a range of World Music artists a la Djvan, Gipsy Kings, Gilberto Gil, Zap Mama, Etc. Great performances are essential. For those submitting online, if you're forwarded and they're interested, they'll contact you for your full CD. Songs must be Master Quality. IMPORTANT: your CD must have a 12-digit UPC barcode. Please submit two to three songs online OR for ground submissions submit your FULL CD indicating which 2-3 songs you want screened; include photo and bio. All submissions will be screened and critiqued by TAXI and must be rec'd by Jan. 23, 2008.

Mark Kaufman #566828 12/11/07 11:18 PM
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I'd like to add something here that I posted elsewhere in the forum: Taxi works IF you have well-produced commercially viable music that makes the grade in every way. It works IF you are willing to listen, and learn, and work hard at composing & producing. If you think you're 'God's gift' to the music industry, you will likely be disappointed. The people I know who are making it have been working on developing their craft for years, either as members of Taxi, using it as an educational resource to get their music to the right place, or as an additional method of marketing their already market-ready work.

As I said above:

The advantage to the Taxi member is to make solicited submissions via an organization that is set up to help you improve your submissions until they are making the grade. Most new members don't realize how high the bar is going to be, and most new members take awhile to understand how to read the listings and match their submissions to the listings. In addition, although production is less important for song pitches than it is for film/TV pitches, it is still crucial to have clean demos with great vocals & good playing.

You will find people who don't like the Taxi model, and you will find people for whom Taxi is not/would not be a fit. My personal feeling is that a Taxi membership should be just one of the ways that you approach the industry & pitch your music. As a 3 year member, I can tell you I didn't get any forwards in the first 2 years of membership, although I made many submissions. I decided to use my Taxi membership as an education tool. Because of Taxi, my composing skills and my producing skills improved to industry standard. I know, because in the spring of 2007 I finally got my first exclusive publishing deal through a Taxi forward to an LA music publisher.

In addition to this, the Taxi Road Rally (Taxi's free-to-members Music Conference) is one of the best music conferences you can go to. The price of a Taxi membership is the same price you'd pay to attend the Ascap conference. In my humble opinion the Rally is well worth the cost of a Taxi membership.

If you are interested in joining Taxi I recommend you a) sign up to get the free bi-weekly listings sent to you so you can see what kind of opportunties there are, b) get some professional feedback on your work from NSAI, Jason Blume, John Braheny or Pete & Pat Luboff (which you should do in any case if you are interested in pitching commercially viable work & want to make a good impression), and c) consider joining the Taxi forum to get some feedback on your work and some help on deciding whether Taxi is going to be part of your marketing / business plan for your music.


Vikki Flawith: Songwriter/Composer, Singer/Voice Teacher

12Feb10- *NEW BLOG: "BE YOUR OWN GURU ;)"

MY STORY & MY MUSIC: http://www.vikkiflawith.com
Be a FAN: http://www.reverbnation.com/vikkiflawith
Hummingbird #566894 12/12/07 04:44 AM
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I am of the mindset that only those that put their ax to the grind and shop their stuff to the listening public have the one sole best chance in music of cracking the scene outside of playing at a tavern or backing us some special somebody.
In my little bit of experience, the listening public will look at things like uniqueness in sound while being something listenable to set what they do apart.
Not conformity.
That is in a way to where these "expert" sites are missing the boat.
That is why for me even the less mentioned sites are just as important.
Alternative rock was'nt even accepted until the indie sights could make it credible.

Some like a DeVinchi and others like fingerpainting.
It is up mainly to the average listener on where that falls.

mattbanx #566946 12/12/07 01:20 PM
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All these screeners like Jason Blume, John Braheny or Pete & Pat Luboff, where did they get their expertise to judge other peoples songs? Did they learn from others by reading their books or were they born songwriters, naturally gifted? I'm not being critically, I just like to know. By what or whose standard do they judge or compare a song to? We all know that the final judge that makes a song a hit or miss is the listening public. If the industry that puts out the songs knew ahead of time what was gonna be a hit, then they wouldn't put out all those misses. It's almost like playing the lottery, no one knows the winning numbers in advance, they just take a chance and hope for the best.

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