Production Music Composer Hacks with Steve Barden

Production Music Composer Hacks with Steve Barden

it's four o'clock in a Monday and you know what that means don't shed it's time for another exciting episode of taxi TV Live this week starring special guest star mr. Steve Bartman Oh Thank You Band hi Steve hi Michael welcome back to the big show buddy thank you for having my back I'm glad to uh this your second or third time second fourth fourth well Hyundai yeah well that's right the first times their house at my house right and then we did two last year and they were kind of back-to-back right that's right and because I will probably but you know what I told you last time I saw you that I had given away the book that you signed I didn't I thought are you sure I still haven't my god so anyway aside from being an extremely good composer producer Steve also wrote this book a year and a half ago about a year and half it's an amazingly good book that lots of taxi members have writing production music for TV by Steve Barden he he covers everything you've ever wanted to know basically in this book it wasn't afraid to ask yeah it's a manual you know and so anyway he and I were chatting couple weeks ago we gave away a copy of the book and I mentioned on air thinking Steve might actually see the show that and I did he should bring some books by or send him to me or whatever so I could give some away and he brought me a whole stack about two weeks ago and I said won't you come back and be on the show so here he is and let's say hello to our audience and house mojo bones woody Bradfield Darren Fletcher chapters publishing oh hey Pat war I just saw Patton Hawaii like 24 hours ago howling of Bob Gunnar felt Tom hips Vincent Nikitina Stephen spinner Martin frog David Zimmer Linda column Devi David aah Pierre screaming bird studios anyway hello everybody before we jump into the show I want to say thank you to the folks at the Hawaii songwriting festival charles Brotman his wife Joanie and their daughter Julia did an amazingly good job it's the only other conference other than in taxi Road rally that I participate in I'm proud to be part of that family because it has become like a family over the years I think I've been to 15 of them and just had a great weekend in any way if you ever get a chance to go to that the Hawaii songwriters festival google it and go so that's that while I'm mentioning festivals let's talk about the taxi road rally which is coming up November 7th through the 11th here what 7th through the 10th sorry I wrote 11th I wrote 8th through the 11th on my piece of paper you'll still be there yeah I will be I guarantee you I'll be there anyway it's the 7th through the 10th here in Los Angeles you got to be a taxi member to come each and every taxi member gets two free tickets do you pay $400 $500 $800 like some other conferences no if you're a taxi member to get 2 freebies one for you and one for a guest of your choosing abso-freaking-lutely so that's that and today Steve and I are going to talk about Composer hacks because we were kind of dancing around like can we talk about this talk about that I said let me just do composer hacks and he said oh you mean like common sense tips for production music composers and I went yep exactly so here he is I left I saw your little thing on the notes that you sent me don't eat yellow snow a metaphor for everything in life stuff that should be common sense but isn't which is you know it's funny after you around this stuff for a while you don't even have to have heard something in the past for it to register with you the common sense factor kicks in to go I shouldn't do it that way because that might be a little dumb but a lot of people just don't know because they've never been through the process they don't know so let's talk about the the first hack I've made a note it says jet lag yeah I want to mention to you guys I am really jet-lagged I kept waking going asleep at like 9:30 10 o'clock over there and waking up at 2:30 between 2:30 and 4:30 in the morning so I got home last night 10:30 I'm really stupid today so I just fall over Steve will just pick it up can we start with managing your expectations are you okay with making that one first yeah absolutely yeah I mean I I just got it down a random list of things that to me are like things that are should be common sense but it's it's really not if you talk to people because like we all know that that one person who will eat the yellow snow yeah or somebody will put their car in Reverse without looking what's behind them yeah common sense would tell you yeah exactly mirror over your shoulder yeah where's my kid oops too same right so manicure expectations that something that has occurred to me over and over about not just yourself but for other people like yeah I mean because I've had employees work under me before and it's like you need to manage their expectations so they know what their job is and what they you know what they should expect no raises this year there's an definitely but the same thing for yourself and when I when I say that I mean define for yourself what success means to you because success means something different to everybody it could be right you're somebody with a full time forty hour awake gig and you can't expect the same thing out of pursuing film and TV music that somebody who can work at it 10 hours a day would and success for this person over me could be entirely different like for them to be either a music library composer or a film composer or a singer-songwriter superstar it could be different for me I'm happy just to write music that pleases me or I'm happy to get music in a music library or I'm happy to get music on a TV show there's so many different levels right its success does not mean the same thing to everybody so if you can sort of define what did what it does for you to be happy in life then that'll go a long way to succeeding whether you succeed or not is if you're frustrated because you haven't reached this this crazy perception of what success is you know you might just be lying to yourself fooling yourself let's talk about one measurement of success that it doesn't really tick me off it befuddled me a little bit yet I understand it at the same time which is I haven't earned back the three hundred dollars I invested in taxi my first year uh-huh we hear that one a lot it's a I've seen people talk about it on other on message boards all over the Internet did you make your $300 back and it always makes me scratch my head going do people really think that you know taxi is only valid if you spend three hundred and make three hundred in the first year that's always the caveat and so set them straight Steve you use this anecdote a lot of if you were to start any other kind of business other than what we're trying to do through taxi for example opening restaurant mmm-hmm you have to invest money in certain things you have to get the proper tools which are knives and spatulas and pans and so forth you you will never open up a business like a restaurant and a year later say did I make all that money back that I invested for all that equipment even yeah then you have to fear it's not just income you got think profit mm-hmm right because you might gross you know a hundred thousand dollars that year but you might have invested a hundred and fifteen to get the doors open right so your investment into your business could take five years before you start seeing a return on investment so you have to be prepared for that up front which is managing and expectation but if all you want is your $300 back from your first year of taxi then you might be able to get that back in a couple years but again you have to put in the in the effort it doesn't just happen after a couple of write submissions and focus I mean it has happened on rare occasions for some people but it's extremely rare it's it's it's rare yeah so most people I tell people consider the first year your learning year you've just invested $300 than your education or you could go to USC for like 50k for a year mmm and then try and make that 50k back the year after you go there yeah I sort of equated I play racquetball and the first game is always a warm-up game mmm like you could suck in your first game but you might kill it the rest of the day and I treat music it's the same thing like this is my warm-up cue or this is my warmup library or whatever it's just getting to know the thing and and learning from that and then and then you get better as you go I do that at the road rally when I'm moderating panels I always hit the panelists with something I know that they can answer comfortably just to get them comfortable looking out at the audience and you know just feeling like it's working you know cuz I know people they get up on that stage they look out and see a thousand people in the ballroom and even if they're they've been on panels before there's still that moment of so I purposely do that when I write my questions like how long have you been doing this Steve you know something you could answer blindfolded in your sleep exactly and you're right about expectations as some for some people its monetary because that is that's a good measure you know X number of dollars but I like the fact that you mentioned can I get one thing in the library could I get ten things in library is success making a one Q per week just getting good enough to have that kind of output so you're right it's not all about the money well this this is a good segue into the to the next tack which is have a plan yeah okay my plan is I want to be successful all right well I have a quote in my book that it Kaos is not a strategy it's right there in that book okay so buy a plan I mean okay for example what would John Reston styles of music do you want to write you might not know yet you might have played in a band where you've played a lot of different things and you're still kind of finding your way until you figure out exactly what you're the best at you're not really gonna get too far but yet people will take potshots at everything just because it it sounds tempting you know they'll see a taxi request a listing go out that says we need you know polka music for a thirty thousand dollar TV spot and all sudden everybody's trying poke even though they've never done it before sure so I understand why they do it but I think your point is well tell you know what you might find out that you're excellent at poker you've talked about stephenbaird how he didn't he's this white kid from the burbs that all of a sudden became this hip-hop giant yeah you know who knew yeah and maybe you can become the Polka King you know well there is a village in in Poland named Lascaux so there you go there you go yes or no polka where's polka from Germany I believe so somebody check that out and let us know okay so let's talk about what are some of the elements that should be in a plan because yeah okay steve says i should have a plan now what should my plan be oh let me let me just cover one other thing about this plan is that I always try to encourage people to find success early and by that I mean figuring out what it is that you do best and pursuing that before you pursue other things that you're not quite as good at so you're talking Shawn Rah's exactly okay yeah so so you might want to wait on the polka thing for a bit and when we they do a genre that they're really what if polka is there a genre and that's the thing they do really well with or well Adam not sure which preposition I should use there and they never see any polka listings what do they do what if there are not a lot of requests in the genres that they are most competent in and that happens a lot the places you're gonna first of all you need to search them out you gotta figure out who uses polka music well travel shows probably right so that's a venue that you can you can hunt down but yeah your opportunities are limited you won't find as many for polka so that's where I you know I talked about creating a list of 10 styles genres that you know that you know how to play and then he honest be honest and try to try to rate them on a scale of this is the one I do the best I know the best I have the most experience with and then go down the line and if polka happens to be the first one but there aren't a lot of opportunities then let's move on to the second one and see if you can get something from that would you recommend even if you're a songwriter maybe in the beginning and this isn't a loaded question that I already think I know the answer to I'm just curious about what what your opinion is would you if you're a songwriter would you start out doing instrumentals because I personally believe they're easier dukes you'll have to write a lyric you don't have to sing a vocal an easier mix our instrumental is an easier point of entry into the business it could be because if you have a song with lyrics you can easily just remove the vocal and replace that melody with some instrument right now there's a guitar piano flute saxophone whatever and start to learn about instrumental music that way but could you submit that to a library being that it's probably close to four minutes long and has a 35 second intro and typical song structure there are times that they just say they want instrumentals verses they want cues and you know what I should have you addressed this what's the difference between an instrumental that is structured like a song and how a typical TV cue would be structured yeah I mean a song typically has like an introduction a verse and maybe next another verse and then a chorus and then back to another verse and then maybe a bridge and then a chorus and then you know it's they could be many different sections and a lot of repetition instrumental cues are typically ABA and a section is one thing the B section is similar but different and then the final a section is the same as the first section but with some variations to it right maybe a couple more instruments and little sense of here comes the crescendo and the ending exactly I call it forward momentum yeah in in reality most music library stuff that's in reality TV does not get that much of the music plate it could be 12 seconds it could be 30 seconds I mean it really if you're lucky a minute it's really long right you've hit that's a once here the current that you've hit it out of the ballpark yeah absolutely I think I had the longest cue I think I've ever had is close to two minutes but that I think that only happened once I always tell people I think it might have even mentioned that to the the folks in Hawaii this weekend they did a thing called music library's 101 and I said my advice if you play keyboards is do cocktail jazz instrumental solo piano stuff because that will generally run longer and the reason is is it's frequently heard under people having dinner in a fine dining restaurant or a bar scene or something where there's dialogue going on for a minute or two those scenes can go run long yeah right that's that's what if you want the long plays go for solo piano yeah absolutely and go for you know imagine that you're taking your wife out to dinner for the 10th anniversary dinner what would be playing at that restaurant if you don't take her to McDonald's cuz you won't get to the 11th anniversary if you do that just saying yeah that's I mean Bob Nettie's May it made a career out of that they actually mentioned him on the pal he's done really well on it and well you know what let's talk let's include Bob in this convo for a second because he's a great example of managing expectations he's got a full time job and he sells something I don't know what it is that he sells but he's on airplanes like five days a week from all over the country and somehow the guy is still productive enough to crank out a substantial body of work every year but his expectation is probably not the same as somebody who is looking to make 200 grand a year and work 50 hours a week at this because he's got that other job mm-hmm yeah and that's part of that plan and that was the other one how many tracks will you create over a given amount of time so you need to give yourself a reasonable expectation say I want to write I told myself I want to write 50 tracks this year so that's basically one track a year well you know six months into one track a week I'm sorry one track a week what I say a year yeah we do it sometimes I do want track in here that one track a week and if I get six months into it and I found out find out I've only done 10 or 15 tracks then I need to modify my plan a little bit and because that's a realistic expectation now that I have to give myself I'm not gonna hit 50 that and that's okay you know it's good to have grand plans but you also need to be able to make adjustments and be realistic because if I get to the end of the year and I've only done 20 tracks am I gonna feel terrible about myself because I couldn't reach this this mark some people would yeah they shouldn't but they do yeah I don't think that's I don't think that's good for your soul to do that so I think if you can manage it now say okay maybe you ended up only doing 20 but if I said okay I'm gonna set my new goal to be 30 instead of 50 but you only hit 20 that's not bad right okay next year try to push yourself a little bit harder but you use that that last year to look at what happened why couldn't I achieve that you know right was the procrastination was if circumstances beyond my control family obligation right this take up a lot and you know you have to deal with those so find ways to work around that and be realistic in what you can produce I spent probably more time than I should talking about our most successful members and you know and that's largely largely judged by the quantity music they make in the quantity of money they make which usually go hand in hand and you're reminding me that I probably shouldn't land on that or push that aspect of taxi and our members so much because for some people 20 pieces of music in a year would be a landmark event because last year they only did two and you know what do 20 this year do 30 next year but I hold out the guys you know the Matt Hertz of the world that have 1500 pieces or more out there in the wild and people just hear that number and they go gosh I'll never get there but Matt hurt didn't they didn't know it in one year right and he probably did 20 in his first year as productive as he is but you know yeah I also find I'm more productive when I have a reason to write something like if if a library comes to me and says Steve we're doing an album of this kind of music can you write some tracks for it well then I'm gonna try to crank up the the output and and deliver more than I normally would write in in that period of time I might get burned down from doing it but I work better with deadlines so you know but if I just rises tomorrow better cramp yeah but if I'm just writing to try to meet my weekly goal you know I might slip here there you know I forgot to hold up my signs and I know Bree is gonna kick me under the table so I'm doing this to avoid getting my shins bruised make sure you subscribe to our channel because we do really good shows every week like it's been 48 weeks out of the year so you don't want to miss the stuff share with your friends and family see that little bell up there in the right hand corner click that sucker and you get alerts alerts are cool and last but not least I'm watching an episode of oh gosh what's I can never think of it's like friends with nerds I can never think of the name of show big-bank there he's watching it last night following sleep and there was an episode where Sheldon had to force himself to smile and his smile was like I don't think I've ever seen him smile on the show you also made a note about attending conferences and considering I was just talking about a conference talk about why they're valuable what are some of the conference's you should go to and twist the arms of people that say oh my gosh it's gonna cost me you know $400 for the airfare and 150 dollars a day for the hotel room so I'm looking at a thousand dollar expenditure to go to that conference and will I come home with a thousand and one dollars in my pocket No so convince them otherwise and it is hard and I can certainly understand it I mean I live in Southern California so I can make the taxi rally every year it's convenient for me but I can understand people traveling across the world to get it and people do they come from an Italian Hong Kong and then it's whale or well now Brazil nobody comes with business with ya anyway but yeah kudos to them for doing it but making the effort yeah so at least the conference itself the taxi rally is free to members only one it is other conferences can be as educational that is the road rolling notice the road rally what it says Tara or something candy yeah so you eliminate that part of it but other conferences are really expensive yeah but I recommend trying to go to as many as you can you know if there are local ones maybe not as big as like an ask cap Expo or the PMA the production Music Association's conference yeah all good conferences there might be smaller versions of that in your hometown it's important to go one for education because you'll always learn something there'll be some kind of a panel on the business but most importantly it's about networking meeting people meeting colleagues meeting people in the business that are like say the publishers the music supervisors the movers and shakers the ones you want to get your music to and networking is is the number one element which also happens it's taxi rally but I have found making connections with with your colleagues that have become for me at least lifelong friendships and not only friendships which are certainly valuable but oh you play guitar I don't and they're working are there's an opportunity for them and they need a guitar part and you meet the registration line at the taxi Road rally or at the bar one night and you end up playing guitar and their thing and you finally really like working together and you end up doing a lot of stuff together and in the nicest sense of the word you get to ride their cocktails into their relationships because you do something that they don't do well and and the reverse would be true especially if you work in sort of a mentor mentee mentee yeah relationship where somebody who has more experience you're collaborating them with on a pro with them on a project and they're opening these doors for you and then you're in then you're on the inside in that part of the world and you know it just continues you know you meet more people you do collaborations you know maybe this person signed to a library and you guys now you have your music sign-in in a library because of this this friendship you know you can try doing that all yourself it's it's much harder I watched a movie on the plane it was about a guy who picks up a lot of girls in bars and he's really good at and he's teaching Steve Carrell who's going through a divorce how to do it and Steve Carell you know it's like don't talk about your ex-wife cheating on you don't mention the guy's name that she cheated with don't talk about your kids and Steve Carell within ten seconds of meeting his first girl blows every and ends up going home with Marisa Tomei so good job steve carell but it reminded me is i'm watching i was thinking about little snippets of things i saw at the wise songwriters conferences or festival this weekend i see it every year at the road rally which is people hard-charging industry people hi i just saw you on a panel here's my CD or here's a thumb drive with my music and the industry pith were like whoa slow down dude you know what's so I the advice I always give is don't like run up to them right after the panel wait till an hour or two later you seem in the barn walk up and order a beer while they're ordering their beer at the bar go oh man I just saw you on the panel before do you mind if I ask you how did you end up becoming a music supervisor where did you grow up did you grow up in the industry you know ask them about them and inevitably the conversation will end or at least lead to so what do you do mm-hmm and you go oh you know I do TV musical what kind of TV music and you better have a good answer or not I do rock I do pop I do country I do this I do that think about the one or two things you do really well and if you're really good you will have stalked this person a little bit before you bump into them at the bar and if you know that they work on reality TV shows say I do instrumental cues for reality TV and I go oh I do you have anything I can listen to that's the way it's done and my humble opinion networking is so crucial and what you described is called the elevator pitch right so you have a 10 or 15 second speech prepared that describes what you do in a nutshell without being overly draggy right and it and it just it breaks the ice I feel bad every year we get calls from people to say you know I'm really shy and I'm not comfortable in crowds and I'm afraid to come to the Reverend I would never have the courage to walk up to an industry person and I immediately go to the guy sitting in the pilot seat in the movie airplane with the sweat is pouring down his brow and I think these poor people I really and you know I've noticed that the road rally in particular at our conference November 7th through the ten oh god I blew it all we get along the way telling people is the 8th through the 11th what the hell's matter with me anyway I've noticed that the ease at which shy people can approach both industry people and colleagues at the road rally seems to be easier and better at the road rally and I think that has a lot to do with you guys are members that everybody's so supportive and encouraging that they don't come across as intimidating and it gives people who would otherwise be shy an easy entree to making friends there I have found the the people that that have reached this upper echelon of whatever you know composing or songwriting or you know whatever whatever business they're in the people that are the most generous and the most kind are the ones that are usually the most most successful the ones that are very protective of their secrets these are the assholes and they don't want to share anything it's in it's really shame I I think the members the taxi members kind of are is it's sort of a pay it forward attitude mm-hmm I see that in the taxi forum I see that from you you would zoom that all the time because I mean look what you're doing on taxi TV you're paying it forward you're not charging this is no no I should be charged can be carried ollars a month for this service but yeah and and you should get that a log at the taxi rally you other conferences and not so much because it's it's a very cutthroat industry and and you've got people you know he introduced me to that music supervisor right oh no I can't right become my writing partner you know a few times a year maybe next year's road rally owner do see that person yeah and I've had friends at the roast oh let me introduce you to you know so-and-so you know I write for him you know you referring to you met Kevin Kiner at the road rally can you talk about that relationship and what came of it that was seven or eight years ago and I did exactly what you said don't do is that I went up to a new panel I said here's my seat guy he rolled with it no well I mean I did like everybody else I sit in line and I and I just wanted to meet him and I introduced myself and we chatted a little bit and tried to make it a personal conversation and I you know I told my said I admire everything you're doing you know what you've been doing he's a legit like a level TV well at the time he was working on CSI Miami right I mean he had done the Clone Wars animated show stuff and I said you know I mean everything you're doing I'd like to be doing that as well teach me how to kick gives me how to do that and I said would you listen to my my CD and I you know I wasn't really pushy about it he goes well yeah I'd love to man oh and he took it and he said yeah I'll listen to this and I mean I've been through this dance before and I figured yeah okay pal you're gonna go out and drop it in the first trash can receptacle that you see that's a car outside by the way and and believe it or not ten days later he called me he didn't send me an email he called me on the phone and he said oh man I really like your stuff I'm working on a show do you want to write some cues for it oh let me think about that I could be busy next week no I'm good yeah and and I get yeah of course really excited and ya said yeah and it wasn't you know co-writing on a CSI Miami as a ghostwriter which is very common but it was you know a reality show on TLC mm-hmm it was cool I got a lot of tracks now now the deal at the time was he took 50% of the writers share okay giving you entree so he was acting it is and you know when we we're gonna talk about contracts at some point today but and that's one of the things I recommend not doing is giving away writers share unless it benefits you in substantial way and in this case I got a lot of keys in that library I got a lot of airplay I made a lot of money from that and I have to say 50% of all this stuff was tons better than a hundred percent of nothing mm-hm so and you got a relationship and I got a relationship and he wrote the foreword in my book oh and he invited me to write Q's on Jane the Virgin and I wrote some guitar cues and one of them I wrote it for season four last year and one of the keys became Joan's romantic Jane's romantic theme and they're using it again this season nice so this relationship built up to that and that's broadcast network primetime dollars right there it is yeah I mean CW is not as is hi hi cc I thought was on Fox but it's on CW so it's just just a little bit lower but it's way above a local cable right so you know it's a good relationship and there's still a writer split on that but you know that's fine I've developed this reporter with him yeah kind there's a nice guy maybe it's time to have him back it's been a while I we haven't done one of those things where we've had a big time composer score a scene live in front of the audience that might be cute please make a note Kevin Kiner okay let's move on to know how to use your dog which means digital audio workstation for those of you who don't know the shorthand no duh well that this follows under the hack category of do your homework yeah so first one is learn how to use your dog know your dog in and out inside and out you don't want to be wasting time figuring out how do I set a marker here or how do I loop this section or how do I add an instrument you want to be able to do this stuff quickly and efficiently and you want to spend time writing music not programming your computer so basically it becomes like driving your car you know where you know the air conditioning button is Inigo they're almost a force of habit and that's the level of familiarity people need absolutely that's a perfect explanation you have you had to figure out where the air conditioner was every time you got in your car you've been and that's funny does for some reason is there a methodology to learn I mean obviously you should just put music through it and sit down is it a fair statement to say make some tracks before you have to make some tracks yes I do the same thing with when I get a new music library is that I virtual instrument libraries that I just write a track you using those instruments so I learn how they work same thing with a doll put in whether you're doing microphone instruments I could guitar or vocal or something you know set up those get the compressor set up the EQ just so you know how to use these things and the same thing with MIDI instruments figure out how to set those up and how to do quantization and just all those editing features that you need to learn you could open up their instruction manual and read through hundreds of pages that it's really tedious and boring I I'd recommend going on YouTube there's tons of great videos of people showing you how to do a certain feature or I recommend service groove three which they do instructional videos oh other taxi members have told me about that yeah you talked about in the book as well right I I didn't know about them at that time okay we talked about something in the book one of the services yeah they were let's see I'm talking about that book right there I know Linda Linda calm has always had some instructional videos on software like logic and Photoshop and things like that but they're they typically tend to be dated and group 3 is constantly updated I'm now on Cubase and they just released a whole bunch of videos on Cubase 10 you know came out a few months ago let's talk about which DAW to use because pretty much everybody you know the Pro Tools people love Pro Tools the logic people of logic the Cubase people love Cubase what's the other one think there's one that a lot of EDM yeah Able's Ableton the studio one there's a digital performer and in sonar now the best DAW is the one that you used – honestly I was a sonar cakewalk user for 30 years before Gibson destroyed the company and went out of business and I had a crap they were gonna be a sponsor at the road rally now you're blue and and so I had to move on and I end up choosing Cubase another company ended up picking up sonar but I'm I'm gone at this point if I had to go back I'd have to relearn it what about if you have to go grab files just export the session and dump it in yeah and fortunately I've only had to do that a few times so but all these dolls they're there almost it's a level playing field for the most part there are some features that Cubase has that sonar didn't have and vice versa and just learn how to you know do it in there in the different way what about the interoperability I think you would call it let's say that you need a vocalist tool a vocal on something and you want to send them you know the session so that they can overdub on is there any compatibility stuff going on well you're not you shouldn't be sending them a logic session or a cube a session exported station export the WAV files of an AI F files and they'll just import them and you tell them what the tempo is and they'll put it in their DAW and as and whether it's in a 44 one or a forty-eight K file format you know you got to work that out ahead of time but they're just they're gonna plug those tracks into their da record their part and just send you their part back and then you record then you put their audio file into your project how advanced does a relatively new user need to be in order to have that level of competence in order to send files back and forth and do what you just explained choosing the the right file format all that stuff and it's like everything there there's a bit of a learning curve you got to you know figure out what the right things to do are and how can I send these files can I email them are they gonna be too big a lot of people use Dropbox or you know you send it or some one of these services that allows you to transmit files over the Internet and you know it's it's if you're collaborating with somebody they've probably done it already and they can explain it to you how to how to do it same with publishers they say oh I prefer you to send our tracks using we transfer you know or one of these services and then they'll tell you you know what their expectations are they tell you what data the format that they're expecting so you know when you export your your tracks you need to set it to you know what they're asking for 48k 16-bit or 48k 24 bit you know they'll give you the specs and tell you what to do now if you don't know how to do that that's what you need to go to youtube or you know groov 3 or something and figure out how do i export a track yeah absolutely but there are just basic things that you need to know how to do in your DAW to get by there's tons of all kinds of stuff that it's that 8020 rule 80% of the stuff you'll do we'll take up twenty percent of the available functionality the rest is just bells and whistles yep the Pareto principle i'm referenced in one of my panels over the weekend knowing your instruments virtual and real let's tackle virtual first I've heard this advice given out by several taxi members in the know and they say you know it's going to be 80/20 again you're gonna use 20% of your instrument possibilities in any given library to do 80% of your work so do you keep any sort of running list do you favorite stuff how do you know when you're looking for a drum sound you're looking for a string sound and you intuitively know okay so this is kind of a big orchestral anthemic you know we're going to war piece and you know that certain strings will sound better on that then other strings will and that it may be that you're using violence from one library and violas from another because in the context of this piece that that's what works how do you remember all that stuff boy it's it's difficult i what i recommend is creating templates so you open up a project with all the tracks that you will use for that type of music say you're writing a trailer track then you know you're gonna use this kind of string sound like you like you just said so those tracks are going to be in there already these kind of drum sounds are going to be in there already these kind of Bram brass sounds are going to be in there already if I want to do something slightly different I can go ahead and search for something and load it in but I've got 99% of what I would typically use already in there and I just make modifications as I see fit so do you copy that template over and start anew well most dollars have a way to open up a track based on a template okay so I have a template code trailer I have a TED template called you know piano solo I have a template called you know polka sad the truth that's cool now let's talk about real instruments for a minute and tell them the dirt that dirty little secret tell me exciting good little secret about real instruments and I don't know if I can fit you don't have to be that good that's what I was going for which is it's more about the texture in the tone than it is about virtuosity and yeah we digital editing you can do so much to fix bad playing so for instance let's say somebody is not a guitar player I think somebody actually asked me this question the other day if you're not a guitar player but something calls for a guitar and the question I got from the audience in Y was are there good guitar samples out there and my answer was yes there are great guitar samples out there however it doesn't come with the player you know and you have to understand the nature if you're working with virtual instruments you have to understand the nature of what that instrument does and and what a virtuoso string player would do or what an orchestral string section would do as far as the articulations and such well the same thing would be true for an acoustic guitar it's one thing to just go round and have it strum it's another thing to have it strum with a little bit of soul you know and getting that nuance in there so are you saying if you need a guitar part rather than using a sample because the guitar part even though you're not a very good acoustic guitar player just hit that chord and then you else with it yeah you'll you'll end up doing a lot of editing to create a part but it is possible if you don't have access to a real guitar player and you can't perform it well yourself but you can play it one note at a time it is possible for you to edit it in a way that's that'll sound okay when it's mixed in with all the other stuff so you mean I could actually do stairway to heaven someday you could it might take me a year to edit that what are some good examples of acoustic instruments that are what they do is they full the listener into thinking more of the track is done with real humans than actually is done with real humans by just simply laying an acoustic guitar doing arpeggiated strums on top of something the imperfections in the humanity of what your right hand does I think fools the brain into thinking oh is that real or is it Memorex well some of these sample libraries they have like fret noise and squeaks on guitar what people been trying to take out for trying to take out but by putting it in and makes it sound human yeah so there are libraries take let's take guitar for example in acoustic guitar there are libraries that we'll have a sound of a strum but um but then they're starting adding performance elements so they have rhythm so dun dun dun tent and you know that kind of a pattern and then there's variations on that so it's possible to to create a track where you're just pressing the key down and is playing a G chord and with some kind of syncopated rhythmic pattern are there patterns that are what's the song thinking of a funk it from like four years ago I can't think of the name of song with the artist but stuff that really puts a lot of like backbeat in the in the part and that you could play like really funky parts with it and it works and actually sounds good well there there are some libraries that are using a lot of loop based parts where it's a one bar pattern or a four bar pattern and then you're able to change the the key that it's in do they have a Nile Rodgers library probably man that Nile Rodgers right hand makes every record he's on sound like a hit yeah that dudes yeah really good let's move on to understanding the ins and outs of style of music you're creative we touched a little bit on you know playing To Your Strengths before but what do you mean by understanding the ins and outs of the style well that means if you're if you're a poker player and and you want to you want to learn you want to write a jazz cue but you don't know the ins and outs of the Jazz style the Jazz style means what type of harmonies they use what type of instrumentation they're using what type of rhythms that they'll play in how the mixes are balanced all these elements you need to really understand because if if you don't play it in an authentic way people will be turned off by it first of all no sound inauthentic by the end of the first bar yeah authenticity is is huge even if you're not a good player but if it's a really authentic performance you can get away with a lot of sloppiness and then it sounds more human all right I'm like humans well we we talked about this kind of know your weaknesses don't do everything if you can't do it seek help so does that apply to production does it apply to engineering does it apply to playing does it absolutely you know can you give some specifics as to yeah well I mean first of all in playing if you can't play guitar very well sorry you could spend hours and hours editing a part and it might you know sound okay but it's better to bring in a real musician who can play it so how would you typically let's go with that exact scenario and you made a buddy at the road rally and you reach out to that person do you make them a 50/50 partner for putting on one piece let's go with the fact that it's fairly key do you give them 50/50 do you pay them a hundred bucks how how do you compensate them whatever you guys work out whatever whatever are gonna want to know kind of what's the wound so I mean I would consider somebody first off if I would hire a musician I would hire them as a session player and I would pay them for that session and then they would in turn sign a work for hire agreement that says I don't claim any any rights to this music at all I'm just performing on it and that's it the only right you have is when the movie comes out in the theater you can stand up and yell I played the guitar part exactly that's about it they will escort you out of the theater yeah but if somebody's coming up with a part that you didn't write and they're very creative and it's like Louis Sheldon played the guitar part on lowdown bus gags lowdown that's significant yeah he made up that part so he should have been credited with some writers for that so it's it's a negotiation if you know the player says you know what I think I deserve some of the writers share or as a composer you say you know you made the song great I'm gonna split the writers share I'm gonna 10% or I'm gonna you know you work out something that you feel is equitable and if you're a good person paying it forward let's say they you talk to your guitar player friend and he's coming over or sending you you know doing it remotely and you hire him just to play a funky rhythm part but he comes up and so he has you guys have set the deal before the session takes place that he's just a hired gun and you're gonna pay him 50 bucks hundred bucks whatever it is for the part and then he comes up with the magic lick that I called the Duane Hitchings like because he came up with da da da da da dun a nananana now on the Rod Stewart song I think that one ended up in a lawsuit I think yeah anyway so that person I was hired just to play a part a kind of insignificant part if you will but then they come up with something that becomes significant even though that wasn't in the plan and you like a lot you should be mention of to say you know what dude even though I was only going to pay you a hundred bucks in that and you were gonna do this part at that point I think I would say the person how about if I don't pay the hundred bucks but I give you 50% on the writing of this because what you did is significant mmm and that's the way people should work together because that person that's any kind should do that for you a year later when you come up with a part for them yeah now the session music musician may say may think to himself the socks really not very good I'd rather have the hundred dollars okay you know but if he says you know this is a killer song I think you're right I think it's gonna do something I'll take that that percentage okay do you use any standard forms for like writers split agreements or work-for-hire things like yeah I mean there's actually one a copy of one a work-for-hire in my book but you can just search the internet you can you can you know get it from a music attorney there's lots of ways ways to get this stuff see like here's a library music composer agreement exclusive and I'm not gonna tell you what's in it because then you buy the book let's talk about contracts it feels like a good natural place to talk about a library agreements that's how this whole conversation that's how today's show started Steve actually said to me I'd love to talk about various kinds of agreements and clauses within agreements that you should watch out for so can you give us kind of a an example two or three of you know bullet points of what typical library contracts sound like music production music library contracts you know 5050 exclusive maxes talk about that stuff and then talk about the clauses that should be a yeah so the first thing I'm going to preface this this section of the show you're not an attorney I am NOT an attorney I knew that about even though I play one on YouTube I'm just gonna say RT FC read the effing contract it's actually that you come some RTFM read the effing manual yeah that's no everybody goes with the QuickStart guide come on okay so raise your hand if this is you you've never had your music in a music library you're just starting out and a you get an email in your inbox from a music publisher that says we love this track or tracks that you sent in either through taxi or other only through taxi because we're the only thing in the world that exists and we we want you to sign this we'd like to sign your track here's the contract how many of you have sent that track that you're so excited about getting your music in a library that you didn't even read the contract you just flip through the page where do I sign where do I sign and you send it back I've seen the opposite we've had a fair number of members that call us up there they're white there's sweating they look like they're gonna pass out over the phone and they say I didn't respond to him because I was afraid they'd ripped me off so there that's how other end of the spectrum but go ahead we'll talk about the clauses that well and and just as an aside I spoke to a publisher friend recently I was telling him about some of these things and he was saying yeah I sent a contract to somebody they opened up the email and within 3 minutes he got it back which means they downloaded it printed it out signed it scanned it emailed it back look honey I've got a publisher exactly so ok who raised their hands oh yeah okay so typically there's going to be two types of agreements exclusive or non-exclusive exclusive means that that publisher owns the piece of music now they have the exclusive right to place that music and you can't do anything with it ever again basically we just had a member submit something that was signed to a library to a taxi listing which happened to be for the same library got forwarded to the person who owns the library and she called them up and went what the hell you and I have an exclusive deal and you're still pitching it uh-huh move yeah excuse me um yes continue on I just had to don't don't do that so most most exclusive library deals are in perpetuity which means they just they'll own it forever some of them have why are they so owners why do they need to own my music forever and others are well we'll have a reversion clause where you can get your music back after a certain amount of time usually like three years or three to five years something like that non-exclusive means it's in their library but you have the right to place it in other libraries or license it yourself what will happen then is as a non exclusive libraries that they will retitle the track before they will register it with your PRL anybody else who has your music they have to register with your PR Oh with their title you're the writer so you can't have all these same the same song with the same title multiple times registered but Steve isn't it illegal and I know you're not an attorney is it illegal to take the same piece of music and give it different titles and register them under different names that sounds like a scam no it's not and that's common practice problem with that and networks have been cutting getting telling people publishers that they will not accept music unless it's exclusive because what happens is that they will get submissions from publisher a publisher B publisher C so they're doing a show and they're all submitting their tracks for the show and what if your music the same track is on this libraries this libraries and this libraries track and under different titles ma they're under different titles but it's the same exact track right same master recordings same composition and the music supervisor here's the track up from the first library go I like that a market and I'll put it down here and they get to the second library and they're going through all the tracks and they go ah this one sounds wait a minute didn't I just listen to that one and they find out that it sits in the same track well who do they license it from which library do they license it for I think it's easily solved by first over the transom is the person you know and on all it's gonna be time stamped because it probably came well you know what it wouldn't be if they got three hard drives let's say with a thousand tracks each it's not as time stamped as getting an email yeah I mean I asked music supervisor Jen Malone man this question and her answer was whoever said it to me first yeah that makes the only fair thing common sense yeah but now what happens is this music supervisor what is licensing it from library a but they have a deal to only license the track for a hundred dollars whereas the deal with licensed library be they would have licensed it for five hundred dollars well you just shot yourself on the foot and what if the cheaper library is the third library that sent it to him the time stamp no longer has any meaning because they're gonna go with the cheapest one yeah exactly so even with non exclusive stuff personally I treat it as as if it were signed exclusively right the only reason I would sign it elsewhere uh I wouldn't sign with another library but if I were to license it myself then I would do that makes sense I know Matt hurt one of our longest income-earning and makes a nice living doing music and he's very meticulous about the business side of things he's always treated exclusive or non-exclusive deals that he signed as exclusive in other words it's a non-exclusive library but he doesn't put it in five others we have other mutual friends who will take the same piece of music and put it in 20 libraries yeah and they're making six-figure incomes and nothing's ever come back to bite them on the butt so well the only thing that where will bite them in the butt is when networks stop utilizing services that are packages of non exclusively signed tracks it hasn't become widespread even though it's been talked about it's been talked about a lot yeah but I can only think of a couple of networks and they're they're big broadcast networks that's like and no more non-exclusive but yet the people that we both know that make a lot of noise Lucis has haven't really been hurt by it mm-hmm so typically any contract that you get from a publisher whether it's exclusive or non-exclusive it's going to typically say we the publisher will collect a hundred percent of the publishers share of the back-end royalties you as the writer will will collect one hundred percent of the writers share that's typical you're splitting it half and half they take the publishing you take the writers okay now license fees that are the upfront fees let's say they're going to give you 2,500 to put something in the show so there's different types there's a license for if they license that one track and usually the agreement is if they license a track we'll split that license with you 50/50 that's pretty common but then there's this thing called a blanket license so a publisher takes a hard drive with a thousand songs on it and they just ship it to this music supervisor or network and they say here's all the songs that we have available for a blanket license that covers everything you're free to use use this as much as you want oh you can eat it's an all-you-can-eat and we'll renew this every year if you choose to continue so how does a publisher fairly cut up that blanket license to split it with all the composers there could be a thousand tracks it could be 700 different composers and it might be that only one hundred and thirty six of the tracks by forty two of the composers actually get used during the course of a season exactly so what what's fair in my experience I've never seen anything share from blanket licenses this is just mathematically it's too hard to figure out in a fair way well I know libraries that will do that and it's a huge pain in the butt to do the math on that or do that a lot of these libraries are mom-and-pop shops it's one or two guys and I understand and I sort of it's sort of a given that I'm probably not going to see any money from a blanket license yeah because you can't really let's say you get five grand for a season on a thousand tracks I'm on a blanket I guess you could then apportion you know let's say let's just to make the math easy let's say there are thousand composers that crank out a thousand tracks and the library gets five grand so the library would take half of that five grand in theory I'm talking theory and no I'm not a music attorney yeah because they're still gonna go with that 50/50 split they're gonna get half of it and you guys get the rest of it right so now they're gonna take the 2,500 bucks and divvy it up amongst a thousand people and frankly it's not a very significant amount of money at that point I'm a dollar forty-two it used to be you know that blankets would be 25 grand or 50 grand and now they're more like five or ten thousand four especially in the world of reality TV so there's really not enough to justify doing the the work of apportioning it out and a lot of libraries are giving away blanket license for free because they like because they want to get those tracts used and everybody will collect money on the backend mm-hmm which you know that's okay too so you're getting something people will reach out to us and say you know I ran this contract from this library by my attorney and they live in you know Evansville Indiana and who's your attorney well it's my wife's brother but he took some music law courses when he was in college he's a real estate attorney here in Evansville and the first thing that guy is gonna say is oh my god don't give up half your publishing don't give up a hundred percent don't ever give up your publishing well that's true if you're a hit songwriter you would try to hang on to your publishing but for you know a 90-second instrumental queue that's probably gonna earn you $26 next year why would you pay an attorney 350 bucks an hour minimally to even look at this contract when that's the world that you're gonna be living in so although I'm not saying don't ever use attorneys but you might find that reaching out to other people who have signed a deal with that same library go how have they been on a business level mmm do you get paid on a regular basis do you feel like they're ripping you off in any way shape or form do you know other people in that catalog are they happy with them oh they are okay so that's a good barometer again if you were writing songs for Beyonce definitely have an attorney involved but but let's talk about some things that are in contracts that yeah tricky tricky clauses if you're not reading and I understand you're not you don't know please you're not an attorney I recommend hiring a music attorney to read over contract especially if it's your first one okay it's a learning experience it's expensive but it's a tax deduction but find a lawyer that actually knows music library contracts and there are very few of those yeah I find ya reach out to other taxi members that are successful in the music library world and get a recommendation on attorney because you could hire you know Donald Passman who is probably the most revered music attorney out there certainly the best-known I don't think Don would know much about he would look at it and go okay this is fair this isn't but he doesn't understand that part of the business because it's not something in his wheelhouse whereas a smaller attorney who maybe has 70% of his or her clients are people cranking out TV tracks would know exactly what to advise you mm-hmm so yeah get to the right attorney so we talked about blanket licenses also mention direct license a direct license is exactly like the blanket license they're paying you a fee to use all these tracks for as long as for whatever all-you-can-eat the difference is a direct license they don't participate in PRL which means their network doesn't isn't a signatory is that the right word for ASCAP or BMI or SESAC correct so they don't pay anything in the back end so that's that's the bad part you you'll never see royalties from it so Scripps network which is HGTV food network and I forget what else but they've always been that way now I've heard that they were changing they were gonna be working with PR o–'s I've heard that it's I don't know if that's happened yet so so here's a case in a contract that I got from a publisher oh and I'm gonna say this first whenever you have a relationship with a publisher ask to see the contract first before you do anything so I met this publisher and I started writing some tracks for him and I did three tracks and they say okay we're gonna we need to submit these you know for this album that I'm here's the contract and I got the contract and it's like okay I said hmm sir why are you expecting to hit to take 100% writers share for direct licensing he said first he became defensive immediately that's not what it says but that is our contract if you have pause please do not sign it and so I cut copy and pasted the clause I said company shall collect and retain both 100% of the publishers share and 100% of the writers share so did he Frankenstein a contract from other people's contracts and not even know what was in his own contract I have a feeling yeah which again mom-and-pop guys they probably get it off the internet summer me didn't even know was in here probably but again now he's defensive yes it appears it does say exactly that for direct licensing but what sir why do you need my right or share for direct licensing I can't agree to this that's fine will remove your track from the folder tomorrow this is quite unusual I don't understand the need for this particular stipulation if you remove it I'd be happy to sign up no worries we've taken your content off the volume so okay so here's the thing with direct licensing if they're not working with PR OS there is no writers share to begin with but the fact that it's in there and he's very defensive about it because I don't I don't know what kind of relationships internationally he might have and how this plays out do I know this person we'll talk later yeah I'm you don't have to mention names I did somebody perhaps first initial J anyway anyway so yeah so I did I felt very uncomfortable with this clause in the contract I just felt like he's trying to be sneakier you know he's at best being diabolical at best dope either dopey or sneaky and those neither of them is a good option right okay which dwarf or you dopey or sneak so as a mean it's a good thing I read it now I had written several tracks these tracks aren't going to waste they'll go somewhere else yeah okay case number two now this is this was not something that happened to me but a colleague said got a blind solicitation from a music library offering $25 per Q work-for-hire fee and they keep 50% of your writers chair Wow okay and a hundred percent of the publishers sure yeah all over $25 knowing that keeping a hundred percent of your writers share is standard in someone taking your writers shares actually pretty unethical so you might be in a position where you say done you know I could use that $25 but you've cut your writers share in half so this is why I say never ever give up your writers share even though I did it with Kevin Kiner because we don't know I don't know anything about this library I don't know what kind of connections they have what kind of placements they get if it's on network TV it could end up being okay oh but it gets better so if they tell a network TV show you can use anything from our library for $3,000 per episode total then they'll keep a hundred percent of that share publishers share and 50 percent of your router share but hey you get $25 up front and 50% of a writer's share on a cue sheet if you see a deal or blind email looks like it sounds like this read deeper into it and read their standard agreement oh reading more of the agreement this is where it gets better you're also not allowed to mention that you wrote any of the cues or mention any of the placement in any way to further your career why I don't understand that says he says you can't get IMDB credits or credit anywhere other than the 50% writers on a cue sheet then says if they sell the library in total to another library you will not be entitled to percent of the proceeds that could be standard I don't know yeah that I understand so this is a great example of the music library that's building up a catalog for the sole purpose of just selling it to a bigger library because it's a clean delivery no money owed to the composers who contributed it's all work for hire so a hundred percent owned by the library and it comes with built-in publishers shared and built-in 50 percent of writers share forever and ever in your country contractually forbidden to ever disclose hey I wrote that piece I don't understand that do you have any idea why they would include that I couldn't think of one reason why they would want to say that I can't either but you know what $25 to track whoo-hoo but here's the thing so you think okay I'll just I'll submit my worst tracks and I'll just make all this money from it right well they have to accept the track it's got to be a quote good quality enough that they would want to use it so they can make money off of it you know you're still gonna make 50% of the writers share but $25 is in my mind not worth giving up 50% it's you know IFT percent of the writers of the writer share yeah so it's possible that a track in its lifetime could earn less than $100 or it could earn $10,000 there are a lot of tracks that are nothing you know that that's something else that we should qualified this whole discussion with is 80% of the tracks that you get in libraries over let's say a five-year period are not going to earn you a penny so please don't sit by the telephone or stare at your you know your iPad or your laptop going but you know I just signed 10 things with that library over a six-month period why haven't I made any money yet because nobody needed from that library what you've got sitting on there it's not really necessarily their fault it's just there was a need for that kind of music so there's that ok so here's another contract and I and I knew this publisher personally and it was an exclusive deal but there was some wording in here that I just let go I saw it and I just let it go said the terms of the agreement shall commence as of the execution date a and shall continue for period of three years and unless who we provide the other party with a notice of our intention to terminate the term by written notice given at least 90 days prior to the end of this five-year period well we just had three years the sentence before definitely a Frankenstein country yeah then the term show therefore continued for an additional five years until written notice blah blah blah until 90 days prior to the expiration of the of each subsequent three year three year term okay so he has three years in there twice five years in there twice that's a lot of conviction and honestly I I just I thought you know what I don't care I'm I'm going to you know I'm not gonna ask for these drags back you know let's let's present our viewers with a caveat if you're talking about a solo piano piece and it's not a big deal I know I'm not saying get yourself or let yourself get ripped off but if it's a solo piano thing get banged out in a couple of hours it's not worth ruining a relationship or fighting you know a death match over that one thing because you can create ten more of those during the course of a week mm-hmm so you got to know pick and choose your battles but yeah it's also is some indication of this company's business practices they're either sloppy or sneaky yes and the the gist of this particular story is that I ultimately asked for my tracks back after appear up here a period of time after several years was it three or five I'll tell you entertaining it was four and a half you split the difference in okay so and just one other thing that they said talking about buying your tracks back if the track has if you've received or deemed to have received an amount during the term equal or greater than $500 spelled out $500 but then in parentheses three zero zero $300 maybe they just had defective keyboard where every time you hit the five it came out as a three or some of the time so yeah I mean obviously this is this contract started off as one thing and then they made some edits and didn't do it a hundred percent you have to tell me who these people are when we're done with the show and no don't reach out to me aspects I'm not gonna and I guys I I will not disclose who any of these people are I'm sorry but I want you to but if you buy this book right it's right there baby but there was a clause in here we were talking about the direct licensing and okay so he's talking about how you will be paid some money for this direct license okay where the other guys you never talked about we shall calculate your share of each royalty they talked about putting money into a royalty pool your share of the royalty pool by taking the ratio of the number of your songs included in the license divided by the number of all songs licensed to the licensee under this license and multiplying that ratio by the amount of income represented so I mean it's a fair equity we're just splitting it up evenly number of composers by the number of dollars that composers that got used are all composers in the bucket I read it as all composers okay so there's the thousand composers you get one 1000 times the multiplier okay so there came a point when I I needed to get the tracks back because the publisher stopped working for me okay and and guys you need to understand that these music publishers they work for you okay you're not working for them if they are not representing you like they say they are then you need to do something about it get your tracks back and that's what I did and I read through the contract and I thought you know this is a mess I need to make sure I can get these tracks back has it been three years or five years well this was 2012 so I actually hired in a music attorney I heard Erin Jacobsen we endorsed Erin Jacobsen she's awesome she was wonderful and she is one of the attorneys that actually knows music library contracts and and she read through this contract which is oh my god this is horrible and you know I mean I felt a little bad cuz I I should have had him make adjustments so it was a correct contract but you know what a lot of libraries don't want to because number one they're too small to spend the money number two they don't want they're afraid if they do that for you then you're gonna talk to other composers and other composers gonna call up and say I need you to customize it and they don't they need to have standardized contracts so because it is one size fits all because if they've got 200 500,000 composers and everybody's got a slight variation on the contract they wouldn't know how to even talk to people about their deal oh did he get that dealer did she get that deal so I'm not defending people who are sneaky but I understand why they can't do custom deals for every writer in the catalog yeah and I don't think that they're trying to be diabolical I think they're just too small and maybe they're overwhelmed and they're trying to do too many things you know wearing too many hats and you know maybe maybe shouldn't be in this business and it's also worth saying that a music library doesn't do like what Warner Chappell or Sony or one of the big publishers a Universal or somebody would do for you if you're a hit songwriter trying to be hit songwriter and they've picked up your stuff and put it in their catalogs they are pitching your stuff actively oh this would be a hit for Beyonce this would be you know something Halsey would do and they're going out and trying to play matchmaker in the generally speaking not a hundred percent of time but most of the time in the music library world they're filling orders people are reaching out to them saying I need you know a dramedy queue an urban dramedy queue or a comedic drama DQ I guess I'm kind of misnomer but you know what I'm saying there so before you mention that the library wasn't working for you if you're under the delusion that you're gonna sign a contract on a piece of music and they're gonna pick up the phone and they are going to start calling every TV show at every network or even 5% of the shows on 5% of networks and say I decide to track from Steve Barden it's awesome you should hear it it's not what they do because who needs that kind of music who knows so they're waiting for those shows to reach out to them do you have this kind of track so understand that in the world of music libraries they are not proactively pitching until the point where they've been asked for something at that point you want to know that they know their catalogue well enough to go either they've tagged the stuff well enough that they can search it effectively and submit the right material to the person who requests it or they have personal knowledge and go you know it Barden sent me something like three years ago that's never been out there but I'll bet just to be really good for that you know so you want that kind of involvement but just understand that they do not do what one of the big publishers would do with hit song yeah I think a lot of these guys they just want big numbers of tracks in their library so they can say we have 10,000 tracks right and they don't know anything about any of the tracks you know I wonder about the big libraries I mean I know that they're very effective they've got teams of people that know how to search them well and I won't mention company names but there are libraries out there with quarter of million half a million tracks nobody could know all that stuff and what happens if somebody who does know a portion of them really well jump ship and goes from one big library to another big library and they take that knowledge in their head which they will that's why tagging becomes so important and can you come back next week because we should do we talked before the show today about doing the cartoon and well yeah there's a lot more stuff yeah and we've got like three minutes left no anyway I I feel like there's so much more to talk about heck we could do an entire show just on things to look for in contracts so to reiterate yeah read the effing contract yes Artie Artie FCC like 40 years I've never heard of Artie FC is there anything we can bang out in like two minutes before we wrap today's episode um you want to take any questions or you just well if you look away let's give a book away because if we take questions we'll be here for another half hour but I really want you to come back and I haven't booked anything for next weekend so if that's possible or even the week after but I would much prefer next week if you could just because we have that way we can have two parts that are headed right up against each other yeah I think we have far more important than your job right much more okay we are going to play you know I will let you know that I actually spent some time over the weekend while I was in Hawaii at that conference I should look at the camera looking at spinning wheels so that we could do some contests be things you know they're expensive I mean I found some that are really cheesy for like forty seven dollars but nice one so like 250 bucks for a spinning wheel and then I realized we couldn't put all their names on a spinning wheel anyway so we're going back to Umbria and her magic finger and how we're gonna do this like it Stephen spinner speaking of spinning wheel Stephen spinner is already typing at plus one for those of you who have never been on one of our shows before what are you waiting for number one and number two here's how we do it when I go go and that wasn't a real go that was a fake go when I say go you guys type in plus one and Bria is going to shut her eyes and run her finger up and down chat room and she's gonna land on somebody's name and that person is going to win a free copy without the post-it notes it's so hard working backwards of Steve's really really really good book and if you don't win a copy today and you don't own this book I know a lot of our taxi members already do own the book but this is one of the five books everybody should own it really is you gotta buy it so and how much is it to buy $29.99 right I'm gonna tell you right right now as of today on Amazon it's 26 dollars and 82 cents it says there are only six left in stock they were like 18 yesterday I think since you sent out in time that's really going out and bought it but they replenish the stock pretty quickly so if you're not and the link is in the description Bri just told me so look here's the deal if you guys don't think this book was worth that 26 bucks or whatever you spent I'm gonna give you Steve's home address he can drive right over and he'll give you a back rub or something absolutely all right one two three go don't don't don't don't well you guys are typing in your plus ones I'm gonna run through some of the sound effects because my old sound effects machine died and I ordered this one and so I can kill some time [Applause] wuff long laugh that's a good one how so good oh that was definitely stolen from money Pink Floyd put that one in here huh and look I have taped it up to mute the volume level because we have some love as well somebody wrote me and said your hand claps from this thing are so loud that it hurts my ear so now I hold it farther from the microphone and I wanted this too and on this week's show Bria has a name okay and that name is woody Bradfield you are the winner today yay woody Bradfield gratulations woody woody you get your very own autographed copy look Steve I even put a sharpie I put a sharpie and a fatty sharpie up there for you to autograph the book woody Bradfield should I should I sign my name or whose name would you like on that uh well don't sign my name yeah you know like oh man I've got a really bad woody joke but I won't say dear woody I hope you enjoy the book love Steve that would be so with that Dean ko Tosca says sign Andy anyway congratulations woody thank you guys for watching Steve will be back either next week or maybe the following week but really soon hopefully next week so cuz we have a lot more to talk about any such a great guest so with that Steve thank you buddy thank you I really genuinely love having you on the show you're not only a good guy and a good friend but you know your stuff really really well thank you and with that I bid you ladies and gentlemen a fond farewell see you next week for another exciting episode of taxi


  • TAXI Independent A&R says:

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  • Vox Lovejoy says:

    Helpful info! 😀👍🏽

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