『TAXI TV』のカバーアート

TAXI TV

TAXI TV

著者： TAXI Independent A&R
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今ならプレミアムプランが3カ月 月額99円

2026年5月12日まで。4か月目以降は月額1,500円で自動更新します。

概要

 🚕 World's Leading Independent A&R Co. 🏁 Music Opportunities with: Record Labels / Music Publishing / Film & TV 🎵TAXI.com Phone: (818) 222-2464 Email: taxitv@taxi.comAll rights reserved 音楽
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  • What Nashville Is REALLY Looking For in Country Songs (Right Now)_[041326]

    What Nashville Is REALLY Looking For in Country Songs (Right Now)_[041326]
    2026/04/14
    What does Nashville actually listen for when deciding whether a country song gets cut—or passed on? In this TAXI TV live stream, we’re joined by Steve Bloch, a veteran Nashville music publisher, song plugger, and A&R professional who’s been working in the Music Row community since 1993. Steve has had songs cut by major artists including Faith Hill, Lee Ann Womack, Dierks Bentley, and Cody Johnson, and has pitched material that landed with artists like Kenny Chesney and Tracy Byrd. Today, he continues working closely with top Nashville talent and artists at labels like Black River Entertainment, including Kelsea Ballerini and Chris Young, as well as long-time collaborators tied to Dolly Parton’s camp. We’re going inside the decision-making process that most songwriters never get to see. 🎯 In this episode, we cover: • What Nashville A&R listens for in the first seconds of a song • Why some well-written songs still never get cut • What separates a “good song” from a “cut-worthy” song • How authenticity in country music is judged today • Whether modern demos need to sound like finished records • How writers can stay current without chasing trends • What improves (or kills) your chances in co-writes and song camps • How new country artists are discovered and signed If you’ve ever wondered how your songs are evaluated behind the scenes in Nashville, this conversation gives you a rare inside look.
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    1 時間 42 分
  • Why Editors Reject Your Music (vs What They Actually Love)![040626]

    Why Editors Reject Your Music (vs What They Actually Love)![040626]
    2026/04/07
    Why isn’t your music getting placed in film and TV, even when it sounds great? Most composers assume that high-quality production is enough to land sync placements, but in reality, music for film, TV, and media is chosen very differently. In many cases, it’s not the music supervisor making the initial call—it’s the video editor. And editors aren’t looking for the most impressive or complex track. They’re looking for music that is usable, flexible, and easy to work with in a scene. So what actually gets your music placed? In this episode of TAXI TV, host Michael Laskow is joined by composer and educator Dave Kropf (52 Cues) to break down what editors really want and why so many tracks get passed over. You’ll learn: • What makes music “easy to cut to” for editors • The most common sync licensing mistakes composers make • Why simplicity often beats complexity in film and TV music • How arrangement and production impact usability • Why phrase lengths and edit points are critical • How to create emotional clarity that fits the scene • How to evaluate your own music more objectively If you’re a composer, producer, or artist trying to get your music placed in film, TV, ads, or trailers, this episode will give you a clear understanding of how to make your tracks more sync-ready and increase your chances of getting licensed. Have a question or something you’ve struggled with? Drop it in the comments, I do read them!
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    1 時間 44 分
  • Why YOUR Music Doesn’t Get Placed (Sync Agent Explains)![033026]

    Why YOUR Music Doesn’t Get Placed (Sync Agent Explains)![033026]
    2026/03/31
    Why isn’t your music getting placed...even when it sounds good? In this episode of TAXI TV, I’m joined by sync agent Jim Thacker, who started out as a TAXI member and now represents music for placements in film, TV, and media. Having worked on both sides of the business, Jim shares what actually happens after you submit your music and why some tracks move forward while others don’t. We cover: • What makes a track “representable” vs. just “good.” • The difference between music that gets signed and music that actually gets placed • How sync agents pitch music to supervisors behind the scenes • Why strong tracks still get passed over • Why does he often not listen to music when people send it directly And we take a deeper look at how AI is starting to impact the sync world: • Why many sync agents and libraries aren’t using AI-generated music (yet) • How TV networks, film studios, and advertisers currently view AI music • Why AI is being used in some parts of the music industry, but not in others • What this means for composers right now If you’re trying to get your music placed in film, TV, or media, this conversation will give you a clearer picture of how the business really works and what you can do to improve your chances. About TAXI: TAXI is the world’s leading independent A&R company, helping songwriters, composers, artists, and producers connect with music libraries, music supervisors, publishers, and record industry decision-makers since 1992.
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    1 時間 34 分
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