Recording - October 2014 - 69

Continued from page 66
us when we don't forward somebody to you or
one of our other libraries that we work with,
and then a member sends us emails saying, "I
got this on an MTV show, and the song is making
me $10k a year." And a lot of times it's just little
instrumental cues making $10k a year. So the
bar has fallen largely due to reality TV, and it
frustrates us, because we want to do the right
thing for our members. You will never call me
and say, "Send me your B stuff," right? So what's
happening to our industry that the B stuff is
becoming..."
The industry has changed dramatically, and I
know exactly when it happened. It was when
there was the writers' strike in 2007, I would
say. And the industry really went dark. It was
a very hard time for us. For about six months
there were no TV shows in production. And it
seems like during that time maybe-I don't
know if this is causation or correlation-but I
know at some point the cost of recording
kept going down and down and down, as it
does every year, so you had more home studios, and people started becoming good
enough, I guess you could say. My feeling is-
and my business partners feel the same
way-what is the point of doing anything if
you're not going to do it really, really well? I
mean, that goes for marriage, or it goes for a
business, or it goes for music. It's just kind of
fundamentally who we are. So, I don't really
want the B stuff, because every single time I
pitch something to a client, I want them to
know that I really believe in it. I have to
believe in it, because I'm selling it, right? So to
me, who wants to be mediocre? Or who wants
to be good enough? I want to do something
that's like powerful and special and makes an
impact. So, yeah, it's out there, it eats into my
market share; there's no question about it.
But we're gonna keep the bar high and find
the people that... A lot of our people in our
library they have their own studios, so it's not
like they're spending $7,000 to do a project.
They're a little bit more seasoned a lot of the
time.

use that." And they take it to the story editors
and say, "Flag this for later, you're gonna
want to use this." And then they literally have
six or seven editors compiling different stories on those reality shows, and they sit
around in a room and say, "This is the story
we're gonna go with, and we have enough
footage to support that." So they have seven
hard drives, and everybody is telling a different story on that reality show, every single
one of those editors, and they are drawing
from a huge pool of tension cues, and a huge
pool of feel-good cues or sad cues, or whatever it is. And, you're right, they've all got
hard drives, and they dump it into their Avids
[editing systems]-which is a software that
they use-and whoever's got the best story
wins. That is truly how it's done.

But the guys putting the music in then are video
editors who may have no musical taste, and
they know very little, if anything, about how to
use music correctly or effectively in the context
of the show. Maybe it's bad for our industry.
Yeah, it's too bad. But I would say that a
really good reality show is America's Next Top
Model, which has been on for like 20 cycles,
and we have been with that show since day
one. The shows that last, I think, use better
music. But, yeah, there's a lot of crap out
there. So what are you gonna do? You can't
control it, so let it go and focus on what you
do best...and that's what you do.
Don't miss Part 3 in next month's TAXI
Insider!

I think a lot of the time on reality shows they
just give the video editor a hard drive. "Here you
go, we've got a blanket license on everything on
this hard drive. Use it as you will."
This is truly how they do it. We work a lot
with Ryan Seacrest Productions and MTV.
When you're watching a reality show-and I
don't know if I should be saying this or not-
but they film, let's say, four hundred hours of
footage, and the directors or the cinematographers on those shows are taking notes, and
they're saying, "Oh, you know what? Something good happened, you're gonna want to
69



Recording - October 2014

Table of Contents for the Digital Edition of Recording - October 2014

Contents
Recording - October 2014 - Intro
Recording - October 2014 - Cover1
Recording - October 2014 - Cover2
Recording - October 2014 - 1
Recording - October 2014 - 2
Recording - October 2014 - 3
Recording - October 2014 - 4
Recording - October 2014 - 5
Recording - October 2014 - Contents
Recording - October 2014 - 7
Recording - October 2014 - 8
Recording - October 2014 - 9
Recording - October 2014 - 10
Recording - October 2014 - 11
Recording - October 2014 - 12
Recording - October 2014 - 13
Recording - October 2014 - 14
Recording - October 2014 - 15
Recording - October 2014 - 16
Recording - October 2014 - 17
Recording - October 2014 - 18
Recording - October 2014 - 19
Recording - October 2014 - 20
Recording - October 2014 - 21
Recording - October 2014 - 22
Recording - October 2014 - 23
Recording - October 2014 - 24
Recording - October 2014 - 25
Recording - October 2014 - 26
Recording - October 2014 - 27
Recording - October 2014 - 28
Recording - October 2014 - 29
Recording - October 2014 - 30
Recording - October 2014 - 31
Recording - October 2014 - 32
Recording - October 2014 - 33
Recording - October 2014 - 34
Recording - October 2014 - 35
Recording - October 2014 - 36
Recording - October 2014 - 37
Recording - October 2014 - 38
Recording - October 2014 - 39
Recording - October 2014 - 40
Recording - October 2014 - 41
Recording - October 2014 - 42
Recording - October 2014 - 43
Recording - October 2014 - 44
Recording - October 2014 - 45
Recording - October 2014 - 46
Recording - October 2014 - 47
Recording - October 2014 - 48
Recording - October 2014 - 49
Recording - October 2014 - 50
Recording - October 2014 - 51
Recording - October 2014 - 52
Recording - October 2014 - 53
Recording - October 2014 - 54
Recording - October 2014 - 55
Recording - October 2014 - 56
Recording - October 2014 - 57
Recording - October 2014 - 58
Recording - October 2014 - 59
Recording - October 2014 - 60
Recording - October 2014 - 61
Recording - October 2014 - 62
Recording - October 2014 - 63
Recording - October 2014 - 64
Recording - October 2014 - 65
Recording - October 2014 - 66
Recording - October 2014 - 67
Recording - October 2014 - 68
Recording - October 2014 - 69
Recording - October 2014 - 70
Recording - October 2014 - 71
Recording - October 2014 - 72
Recording - October 2014 - 73
Recording - October 2014 - 74
Recording - October 2014 - 75
Recording - October 2014 - 76
Recording - October 2014 - 77
Recording - October 2014 - 78
Recording - October 2014 - 79
Recording - October 2014 - 80
Recording - October 2014 - Cover3
Recording - October 2014 - Cover4
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https://www.nxtbook.com/nxtbooks/musicmaker/recording_201801
https://www.nxtbook.com/nxtbooks/musicmaker/recording_201712
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