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I compose music for 2 different libraries since 2 years,i have earned nothing,i've made 3 different albums...they like my music but no money,its a bit frustrating.I think i am not very good at composing,but then why do they take my music?!
What software are you using to enter Metadata? I want to add my Metadata myself without a distributor. Do all platforms recognize all TAGS? For example, if someone uses your music on RU-vid, will it recognize the TAGS and report it to your PRO? I read somewhere that Microsoft does not recognize all TAGS entered in Metadata, rather it more often recognizes Metadata entered as INFO. Also, are WAV files recognized?
So 2 things: (1) Where are you getting this stat from? Provide a verified source for this info we can all check. This is the internet after all, you can't expect people to believe a random number. (2) Let's assume, for sake of argument, that you're right. (BIG assumption!) If everyone who joined Taxi all submitted music that was perfect for each & every listing, we could draw some scientific conclusions. But given that anyone can join and pitch, and that they reject some listings (& give composers feedback as to why), what you're saying doesn't really make sense. For a (completely made up) example, if 70% of people who joined taxi simply don't yet write music good enough to be forwarded, and of the remaining 30%, only 5% of those submissions really resonated with what the client was looking for (as music is subjective, of course) - this all doesn't seem that crazy. If your music isn't getting forwarded and getting deals, start working on getting your music better... ...and watch what happens. You're paying to access the opportunities, not to get some guarantee of a deal. Because if anyone could guarantee that, they would be charging you a hell of a lot more than $300.
So if I'm a Christian music songwriter, is there any opportunity that TAXI provides for pitching songs for record deals? If I record my song I wrote in a studio to make a great quality production and submit through Taxi, does it make sense to pitch to Taxi if I don't intend for it to be in any movies or TV?
@@MusicForIncome awesome!! can't wait to get more videos. There's many new music libraries and publishers to cover now. Let us know when you're back!! Best
I think it would make it much simpler and easier if they just limited each listing to three or so songs per listing (doesn't have to be 3), and that every other song submitted after that is $5 per song I feel like this would make more people comfortable with submitting songs, while also weeding out the people trying to submit too many songs! I can tell you that I would much more likely submit songs to different listings if the aforementioned suggestion were utilized, and I wouldn't care that they had a limit to submit songs before having to pay.
As an ascap writer I can add a composition or song as a work or not. So why do they not allow your to be a member of ascap when you don’t have to add it to your library? 6:59
Let's say Nike wants to use a Rolling Stones song for the first time in a commercial in 2024 and the song got published and registered in a PRO in the 70s. How's that? Is it different because they are famous?
The constant chatter amounts to nothing but a scam. Taxis must enhance transparency, ensuring that members are informed about how companies select the music.
I worked recently with Klanglobby publisher and they mastered my tracks for free. For 15 tracks album I should pay almost 400£ if it was Evolution Media. Not good. :)
Taxi is really just for producers not songwriters. They only review and care about productions. If they claim an artist is looking for a song...uh their review will say change the drum beat [SMH]
It's frustrating, because Epidemic seems great... on the end of the consumer. But for the people who actually make their platform exist to begin with, they're just yet another greedy tech startup focused on short term games. It's really frustrating that companies like this seem so pro-consumer yet treat the artists and engineers who let them make money like an asset. So many like this. I was considering going with Epidemic to try and make some money on the side in the short term, but after everything I've heard about working with them I think I'd rather eat a glass of dirt.
Just watched a video that said iTunes optimizes the metadata on the program for Apple ecosystem. Not sure if it's true but worth using a cross platform metadata program.
You can submit your songs to XPN IN PHILLY IF YOU HAVE A FOLLOWING AND HAVE A SITE. IF they like your tunes they will play them on air and you can hear them in your car. Work getting a following of people and site and your music will go somewhere Unless you want to spend you money making Taxi rich.
I have a question regarding for example registering your music on BMI. When I register a song, let's say it's named somethijng common like "Great day", just as an example. How do BMI know that my exact song is played somewhere? Cause there has to be thousands and thousands of songs named "Great day". Regarding Epidemic sounds, I think it's worth it if you are not confident to make it on your own as an artist or if that is not your goal and you're simply just good at making "soundtrack" type of music, or just do it for the money. If you are an aspiring artist and believe in your abbilites, it's probably not worth it. 1 mainstream somewhat of a hit song (but nowhere near like the tophits) can make like 10 grand in a couple of years in streaming like Spotify.
This is great, thank you. I have a question, and to be honest this has tangled me up into a knot of inaction for too long now. Do composers, when not actively working on a commissioned project, stockpile their own random work and go after licensing gigs? Is there an overlap, or are "writing with hopes of licensing" vs "composing for games / TV / film / adverts" two totally separate worlds?
Great question, Chris!! There is, of course, an element of "each to his own" with this. I've definitely licensed stuff I wrote for a TV series but that the team didn't use. The only thing that I tried to keep in mind is that once I've licensed a track to a music library, it's usually an exclusive license so therefore that track has now "gone" for me for future projects. I have a few tracks that I like far too much to give away to a licensing situation, and sometimes I have used a variation of those tracks to pitch for scoring work when I don't have much time, (IF of course, the track is relevant for the pitch.) So for me, the rule is only license it away if you can easily create something similar to it again. Hope that helps!
@@MusicForIncome Thank you, it certainly does. I'd definitely only really be comfortable with non-exclusive libraries TBH, because I don't wanna sever ties with any of the meaningful stuff I write, (although if I write for someone else's project, I obv don't feel that way.) You're very generous with your knowledge, and I have enjoyed your free course tonight, thank you again!
I beg fellow composers and artists not to write for Epidemic. They are scum. An upfront fee may be tempting over waiting for royalties. But performance royalties will far outweigh any nominal upfront fee. Epidemic are a huge threat to performance royalties, which have been the bread and butter of many composers for decades now. Your music is worth more!
Most of these posts are going back a year, so Ido not know if you are still following this post or not. But, I have a ? regarding IPI numbers, because I recently spoke with dome from Folk Alliance International, and they said to include the ISRC number, and I wrote back to him and he said that I could include both the ISRC, and IPI number, and I am wondering if one or the other could be used, and what are your thoughts about using both.
Hello! As a consumer, who wants royalty free tracks: I dont want to join a platform, that doesnt support their artists. Which services like epidemic sound (like muiscbed, artlist etc) do have this "fair paid" P.R.O. structured system, that allow creators, artists / musicians to flow through their career? In the end: why should I buy an epidemic sound subscription, if I now know, that the best artists might get "shocked away" you know? Thanks! for the informative video.
Starving artist, here. I filled out their application, and shortly stumbled upon this video. I have officially changed my mind. If you don't mind sharing, what are some great alternatives to epidemic sound?
Hi, I have a real problem I can't get answered. I have some co-writers on some of my tracks, but they are happy to sign things off to me to deal with. They don't have any affiliation with Performing Rights organisations and don't want to. How do I deal with that if they are happy for me to do so?
