Dear Readers,
I was moved when I read this post on TAXI’s Forum a few weeks ago. The authenticity and introspective honesty hit me like a ton of bricks. Rather than doing our usual interview for this month’s Passenger Profile, I decided to re-print this awesome post by TAXI member Tony Hiebert in its entirety.
Thanks for sharing your inner thoughts, Tony. Much appreciated! -- Michael
A Long-Term Perspective
Post by Watcher7 (Tony Hiebert) » Mon Feb 22, 2021 10:31 pm
Hi Gang.
I've rejoined TAXI after a very long absence, and have been reading some of the posts. What I enjoy most is seeing the fire and passion present in people's hopes and dreams as they embark upon a journey to become more than what they have been in the music business.
I thought that I would put some thoughts in print, as most members who have been around as long as I have, are either the uber successful members in the ads, or long gone. I am neither.
Having joined TAXI in the Fall of 2007, I was an active member until 2010. I was never able to attend a Road Rally, as I was the father of three young boys and the sole bread winner for the home. Perhaps I should have made more of an effort. That's my reflection, especially this year as travelling outside of my Canadian home is currently not even an option.
My initial submissions were attempting to post songs that I had composed for various album projects, to the listings as I thought they might fit. This was met with mixed success, and looking back, after my initial ten or twelve submissions with one or two forwards, I got discouraged until the next year. It would be another four months before I had the courage to try again, and this time I started writing specifically for the listings.
During the three years that I was an active member, I made 57 submissions to listings, and had 21 forwards, for a lofty 36.8% success rate.
“…over time I established a number of relationships with music libraries, [and] by the end of the three years it was hard for me to justify spending the submission fee when I had choices of places to send tracks when they were complete.”
It was only towards the end of the first year that I got my first deal. I cannot even remember what it was for, but slowly, over time I established a number of relationships with music libraries (three or four that I don't think that I am supposed to name here), and by the end of the three years it was hard for me to justify spending the submission fee when I had choices of places to send tracks when they were complete.
So, I let my membership lapse. TAXI members are a very friendly bunch, and with the advent of Facebook, I was able to connect with many of them. I would look wistfully at pictures from the Road Rally and wonder if....
Meanwhile, I discovered that libraries that one connects with through TAXI really do want to work with new composers. As in, sign the cues that get forwarded, but also many more. They want people who can deliver. Lots of high-quality cues and for the foreseeable future.
“If you think that TAXI screeners are rough, I can tell you that they prepare you for what is coming for those who want to be regular composers for other libraries.”
It was a baptism by fire. If you think that TAXI screeners are rough, I can tell you that they prepare you for what is coming for those who want to be regular composers for other libraries. You might not agree with their assessments, but in the end, you will develop a thick skin and get used to rejection. You will also become proficient at creating useable music.
The years ticked by and the number of published tracks began to accumulate. One library might like the guitar-based cues, while another might come for more electronic stuff. Another might like the approach to kid’s music. All good experience. Always exciting when stuff got placed.
In 2015 my Mom died of cancer. She was the one who had taken me to my first guitar lesson at the age of 6. She was always available to bounce a new piece of music off of. And so began a period of years where it literally hurt to open up Logic and look at a blank session. It would literally make me feel sick to my stomach. What a shame I thought. All of this time developing into a full musical package from composing to engineering to producing to mixing. And it just didn't matter anymore. I didn't know if the Muse would ever return.
During this time I would listen to music. Not often, but once a week or so. I sort of reviewed my life by the different eras of music and how they made me feel. What was going on during those times from early childhood to my adult years. Just enjoying a select few tracks and artists for the songs without the agenda of copying production or trying to glean anything from the experience.
In the closing days of 2020, I set myself a challenge. Compose and send out a single piece of music. Just to see if the muscle still existed. In that one little challenge, and pushing through that little bit of resistance, I suddenly found Joy. Joy in creating something fun and listenable and useable. Excitement to get back down to my computer after a day of work to pick up where I left off. The satisfaction of pressing send as a new piece of music is sent to a publisher.
I discovered that it was time to go back to school. Immerse in the boot camp of TAXI. Establish some new relationships. Sharpen my skills. Dive back in with fresh eyes, but with the background of experience.
So I am back. 13 and half years after first joining TAXI. I am back.
“Placements....that counter says just North of 900.”
Accomplishments, if you can call them that (I now think that the joy of the journey was worth far more). It's neat to hear a piece of music used and remember creating the tracks. What was going on in life at the time. Even the colours that were used on the session....anyways.....
Signed Cues....I am not sure. When libraries sign material, they will often retitle it, and often several times. My PRO only goes to 1,000, and even though a track might have been titled several times, the counter hit 1,000 a few years ago. I would estimate 500-600.
Placements....that counter says just North of 900. Not sure how many different shows as my PRO doesn't divide that up so nice and neat as ASCAP and BMI do.
“I used to say that I composed for 'coffee money'. But eventually I couldn't drink that much coffee. My best year would have been in the mid-five figures.”
Money....I used to say that I composed for 'coffee money'. But eventually I couldn't drink that much coffee. My best year would have been in the mid-five figures. Never the Senator pay that some of the TAXI stars make. Don't get me wrong, whatever the amount it's a rush to make money from music.
Looking back, there are a few things that I would have done differently.
1. Stayed with TAXI and submitted a cue to a listing per week or some regular interval just for the discipline of it. Having more places to write for would have been a massive bonus.
2. Not taken myself so seriously. Musicians are notorious for being self-absorbed and I have been no different. A lighter approach to track creation would have made the rejection sting less, and any success all the more fun.
3. Guarded my energy more carefully. I have worked with collaborators who have sucked my energy and made music creation no fun. I have also placed goals about how many cues I wanted composed and signed that sucked my energy and made it no fun. Pushing hard can be fruitful, but burnout can be counterproductive.
Finally, I want to give a shout out to TAXI itself for being a very real option for people with no connections (like me) to receive training and make a real go of the music library business. What a ride.
If you made it this far, thanks for listening.
Glad to be back
Tony Hiebert