Recording - March 2017 - 61

them a little time, see where it goes."

Continued from page 58
down. There are some libraries that are kind
of bottom feeders. They're not fighting to
keep writer's integrity; they're not fighting to
make sure the PROs are still able to collect
money on their behalf; they're doing a lot of
direct licensing; they could give a darn how
you guys end up doing in the end. They're
absorbing a lot of music, as much music as
possible, possibly so that in five years they can
go, "I got a hundred thousand tracks-buy
me."
They're not looking out for them [pointing to the
audience].
Bob: They're not. I don't deal with them; I
avoid them. They are not going to last. They're
not going to be around in five years; they're
not going to be around in 10 years. The people
I like to associate with are building and fighting for you guys. They're trying to keep
copyright alive; they are trying to keep royalty
rates up.

That's the thing that bothers me is when a TAXI
member doesn't get a deal through us because of
the various reasons I mentioned before, and they
would do a deal and put their music in that company's catalog because they accept virtually
anything. Then the member posts something
online like, "Why do I need a filter like TAXI when
I can get my music signed by myself?" Because
you want to get your music to the quality publishers and music libraries, that's why!
Bob: Well, and the reason that I'm qualityconscious is because of something I learned
years ago with another music supervisor that
we were talking about earlier. I remember I
was doing a lot of business with him, and all
of a sudden a new kid in town came on the

scene, had a library, guys started using his
music, and then in two years I'm getting
phone calls [and requests] from that supervisor again. So I asked, "Hey, so what happened
to that company?" His answer was, "He
started absorbing a ton of music-stuff that
sounded like it was coming off of cassettes.
And, you know what? I'm never using him
again."
Again, if you're in business, pay attention. My
bulb went off, I am never gonna be that guy.
I'm never gonna be the guy that sends you
[pointing to Frank] or anybody else mediocre
stuff, because you'll never call me again.
Read the final part of this interview in next
month's TAXI Insider!

Some of my very good friends are pretty far
up in the BMI/ASCAP world, and if we don't
all kind of try and keep it up, it's going into
the toilet.
Frank: And you can ask around about reputations. Everybody knows who to work with
and who not to work with. There are no
secrets. Go on their website and do some
searching. A lot of times you can stream some
of the music that they have there. Listen to the
quality of music they have on there. Think, is
this a cool song, or is every single track you
click on worse than yours? If it is, then it's
probably not the one for you, you're probably
the best in their catalog. If you're hearing
some great stuff, hey, they've got good stuff.
Talk to them, talk to other people about them.
If everything lines up... Like I said, this business is about intuition, man. There was a
company that was just signing people left and
right like crazy, and they went out of business
last year and they stiffed everybody. And I'm
sure a lot of the people in this room know who
they are. People are saying, "I didn't get paid; I
didn't get anything submitted to any PROs;
I've got nothing." But this company made a
couple million dollars and then just dipped
out. And it seemed shady from the get-go.
But they were kind of a brand name; they were
pretty well known.
Frank: They seemed it, because they
appeared to be. But if you would've asked me
about it, I was like, "Eh, I don't really do business with them. I don't know much about
them, and they don't seem that legit. Give
61


http://www.kiqproductions.com

Table of Contents for the Digital Edition of Recording - March 2017

Contents
Recording - March 2017 - Intro
Recording - March 2017 - Cover1
Recording - March 2017 - Cover2
Recording - March 2017 - 1
Recording - March 2017 - 2
Recording - March 2017 - 3
Recording - March 2017 - 4
Recording - March 2017 - 5
Recording - March 2017 - Contents
Recording - March 2017 - 7
Recording - March 2017 - 8
Recording - March 2017 - 9
Recording - March 2017 - 10
Recording - March 2017 - 11
Recording - March 2017 - 12
Recording - March 2017 - 13
Recording - March 2017 - 14
Recording - March 2017 - 15
Recording - March 2017 - 16
Recording - March 2017 - 17
Recording - March 2017 - 18
Recording - March 2017 - 19
Recording - March 2017 - 20
Recording - March 2017 - 21
Recording - March 2017 - 22
Recording - March 2017 - 23
Recording - March 2017 - 24
Recording - March 2017 - 25
Recording - March 2017 - 26
Recording - March 2017 - 27
Recording - March 2017 - 28
Recording - March 2017 - 29
Recording - March 2017 - 30
Recording - March 2017 - 31
Recording - March 2017 - 32
Recording - March 2017 - 33
Recording - March 2017 - 34
Recording - March 2017 - 35
Recording - March 2017 - 36
Recording - March 2017 - 37
Recording - March 2017 - 38
Recording - March 2017 - 39
Recording - March 2017 - 40
Recording - March 2017 - 41
Recording - March 2017 - 42
Recording - March 2017 - 43
Recording - March 2017 - 44
Recording - March 2017 - 45
Recording - March 2017 - 46
Recording - March 2017 - 47
Recording - March 2017 - 48
Recording - March 2017 - 49
Recording - March 2017 - 50
Recording - March 2017 - 51
Recording - March 2017 - 52
Recording - March 2017 - 53
Recording - March 2017 - 54
Recording - March 2017 - 55
Recording - March 2017 - 56
Recording - March 2017 - 57
Recording - March 2017 - 58
Recording - March 2017 - 59
Recording - March 2017 - 60
Recording - March 2017 - 61
Recording - March 2017 - 62
Recording - March 2017 - 63
Recording - March 2017 - 64
Recording - March 2017 - 65
Recording - March 2017 - 66
Recording - March 2017 - 67
Recording - March 2017 - 68
Recording - March 2017 - 69
Recording - March 2017 - 70
Recording - March 2017 - 71
Recording - March 2017 - 72
Recording - March 2017 - Cover3
Recording - March 2017 - Cover4
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