Successful TAXI member Seth Littlefield
Kenny Kerner interviewed Seth Littlefield for a Passenger Profile in the TAXI Transmitter a little less than a year ago, but we wanted to do a follow-up to show how he’s gaining momentum, and why!
Let’s start with a refresher course. You grew up in a musical household, starting out on piano, then moving to percussion while in the school band. You’re a percussionist by trade, but you also play piano, guitar, bass, and sing. Your parents supported you venturing into the arts, and you live in Seattle.
You initially heard about TAXI online, signed up to our mailing list and studied the Listings to see what the industry needed. You eventually watched the YouTube video I did with TAXI member Matt Hirt, on Earning a Living with Film and TV Music, and realized you might be better off writing music to fit industry needs rather than solely pitching your band’s music.
When we last interviewed you, you said, “For me, [that] was an ‘ah ha!’ moment. I began getting forwards, which then turned into deals and now placements. Overall though, I don’t feel that ‘joining’ TAXI was the moment for me. My moment was utilizing TAXI. The Forum, the friends, the [TAXI TV] interviews and of course, the Road Rally have all combined into a truly unique (and super effective) education.”
When Kenny Kerner asked you what you had learned from all those aspects of TAXI, you responded by saying, “Wow, lots. From recording, producing, writing, networking, industry terminology, and trends, it is way too difficult to list everything I’ve learned from TAXI. I guess most importantly, I’ve learned that I CAN actually get my music on TV. It is a very real opportunity for anyone. And even more so, it’s possible to make a full-time career out of it. Even though I haven’t reached that point yet, meeting several amazing and successful TAXI members has given me confidence that one day I will.”
Last year, you had about 200 pieces of music in several music libraries and catalogs, and you were shooting to increase that to 350. Have you hit that goal?
I’m on the verge. I currently have 308 pieces (according to my Excel spreadsheet), with my BMI catalogue saying 346. This is from the inclusion of various alt mixes, stems, etc. that have also been registered. And I have several tracks that should be popping up soon with BMI. So, short answer, no. But I’d bet my next royalty check that I’ll be there in a few months.
Have you begun to earn enough with your placements that you’ve been able to cut back your teaching days and add more writing and producing days in the studio?
I have definitely been earning more with placements, but I’m going to wait until the next school year to make any major changes to my teaching schedule. But, the reality is closer than ever. For example, I recently received a call from a publisher in NYC that needed a quick turnaround instrumental. But guess where I was? Teaching.
By the way, I think there are tens of thousands of musicians out there who don’t even start down this path because they think they need a $50,000 home studio to be competitive. Is it the gear that makes you successful?
Absolutely not! In fact, sometimes gear can just be a distraction and believe me, there are plenty of those to contend with already. Of course, there are some pretty mind-blowing tools out there, and who wouldn’t love owning each and every one of them? But I’d be willing to bet that most of your favorite tracks have plenty of noise in them, I know that mine do. What’s helped me be more successful, is giving myself (or being given) deadlines. It has allowed me to fiddle less and strum more (no offense to fiddlers).
So here’s the bittersweet part; as a modern do-it-yourselfer, there can be a lot of technological hurdles. However, we also find ourselves in a time where there’s an unlimited amount of helpful information at hand, instantly. I began my production music technological journey by joining the TAXI Forum. I lurked for a while until getting enough courage to say “hi.” Saying “hi” changed my life. It sounds ridiculous, but it’s true! The TAXI Forum is filled with insanely smart people, who coincidently, happen to be some of the most giving people on the planet. Even if you don’t like being social, you can easily search the Forum database in the shadows. Gear, business, technology, encouragement; it’s all right there.
Am I exaggerating when I tell people that they can absolutely do a lot of what they need with nothing more than Apple’s Garageband and a couple of decent microphones in the $200 range? I necessarily don’t mean super sophisticated orchestral pieces, but things like stripped-down, acoustic Singer/Songwriter songs or simple instrumental cues like you might hear on reality TV shows… couldn’t you at least start there with an inexpensive home studio?
Yes, absolutely. In fact, TAXI recently had a listing that specifically asked for stripped down, lo-fi songs. There it is, a music supervisor needing tracks that are not focused on production. Watch any reality TV show and you are going to hear a ton of somber piano instrumentals or maybe a motivating acoustic guitar instrumental. If you are starting out with limited gear options, figure out what you can do, do it amazingly, and when you start making money on it, upgrade the gear.
“Before joining TAXI, I had no idea what production music is, or how it’s used.”
-Seth Littlefield
Do you tend to do more songs and go for placements that are likely to generate an upfront sync fee, or do you try to crank out a bunch of instrumental cues that mostly don’t generate snyc fees, but can earn really good backend income from performance royalties?
For me, instrumentals are a lot easier to hash out, and I am not nearly as attached to them personally. But most days, I enjoy working on songs more. A few years ago I was under the impression that I needed to make a choice: songs or instrumentals. Thankfully while attending the Kaua’i Music Festival, I was fortunate enough to have the great [TV composer and songwriter] Adam Zelkind listen to a variety of my tracks and he encouraged me to do it all. So that’s been my mantra. I also think being able to rotate around from song to instrumental can help keep things fresh and motivated. I’m not really targeting sync fees vs. backend royalties per se, but rather focusing on finishing projects. I do have to mention that the art of the co-write has been enormously helpful. Talk about motivation to work! It’s a whole lot easier to let yourself down with laziness or lack of motivation, as opposed to letting a friend down who you’re co-writing with.
I was looking at your website, and I was impressed with how many different genres of music you have up there, and how good they are! You’ve only been a TAXI member for five years: One would think you’ve been doing this in earnest a lot longer than that when you hear your music. Is most of that music stuff you’ve created since becoming a TAXI member just five years ago?
Thanks Michael, much appreciated, and it means a lot coming from you, but I still have a ways to go and I’m learning tons every day. Yes, all of the music on my website was created after joining TAXI. Before joining, I had no idea what production music is, or how it’s used. I had been playing drums a lot in various Rock, Jazz, Salsa bands and also sang/wrote for a Seattle indie rock band called “The Scarlets.” But until TAXI, I wasn’t even aware of the real possibility of making income as a production music composer and songwriter.
Has TAXI helped you get out of your comfort zone and “forced” you to explore musical genres you never thought you might capable of doing?
Oh yes, definitely. Before TAXI, I was mainly writing Indie Rock, Singer/Songwriter stuff and the occasional Jazz chart. I have always liked to listen to a variety of styles but never considered writing them. Now I find myself writing all kinds of genres: Dramedy, Tension, EDM, Corporate, Pop, and the list goes on. Personally, I have discovered that there are so many amazing things about each and every genre that you are truly missing out if you shut the door on them. Simply put, try and find something you love in the music you don’t like. It might end up being your new favorite!
I also noticed that most of your songs and instrumentals have titles that could easily “telegraph” what the music is going to sound like, or a type of scene it could potentially work for. I think a lot of talented musicians miss out on publishing deals and placements because they don’t give their music the right kind of titles. How did you learn how to do that, and do you think it has helped you get more deals and placements?
I admit that there have been plenty of times where I sit there, ready to bounce a track and get held up for at least 10 minutes struggling with a title. If you put yourself in the shoes of an editor who’s probably under a time constraint and scanning a long list of tracks, what would get your attention? That’s been the place I try to visit every time I come up with a title. It’s the first impression, so I try to portray the vibe immediately, so they get the idea prior to having not heard a thing yet. I first considered the importance of titling during Chuck Schlacter class at the TAXI Road Rally, and it’s been addressed in numerous TAXI TV episodes.
I currently have music in 14 libraries. That includes co-writes, so some of which, there are only a few tracks signed to. Overall, it has been my experience that certain libraries get more placements with certain genres. So part of the game is figuring out what does well and where. If you put all of your music in one catalog, it could potentially be risky considering even though they “love” your tracks, they might not have stellar opportunities for those particular tracks. It’s definitely a long-term game, but if you can figure out the shows that your libraries are currently pitching to, then you can target your music accordingly and you’ll be more likely to get placements with them.
Do you think it’s a better idea to spread your bets around, and if so, why?
In general, I think it’s a better idea to spread your bets around unless you see a major win somewhere. It all depends on what you are writing. For example, if I were only writing Swamp Blues instrumentals, I’d research all of the shows that showcase that sound. Then I’d try to figure out who is pitching to them. I’d also submit to all of the Swamp Blues listings at TAXI. There’s the bet with the better odds. But since I’m writing several genres, I try out a few on each library to see what they like. And now that I’m seeing placements, I am getting a better feel for which libraries do well with certain genres.
Have the relationships you’ve built with fellow TAXI members helped you become more successful, and if so, how?
For sure! First off, I have learned (and continue to learn) an incredible amount of information from these folks. The thing is, every single member is at a different stage of their career and has various experiences in the industry. Things never feel competitive, like you might find in other facets of the industry. Most importantly, TAXI members are eager to help each other out. I have also discovered most of my co-writers through TAXI. In fact, if I hadn’t met these wonderful people I would have missed out on numerous placements; including landing a song on CW’s The Flash recently, which was a co-write with the amazing artist Bamtone (also a TAXI member). I think that the tears you inevitably see for your members at the end of each TAXI Road Rally [conference] sum it up well.
You recently had an instrumental version of your song, “Dance While We Sing” (hear it on this page) used in a McDonald’s commercial. That’s a sweet placement! Tell our readers how that happened.
Yeah that was a bit of a shocker! Two years ago, “Dance While We Sing” was forwarded to a small boutique library. After hearing back from them, I signed it along with two other songs. Until recently I hadn’t thought much about it, I’ve been building up other various catalogues and relationships. Out of the blue, I received an email from them, asking if I could send over stems immediately because there was a potential licensing opportunity with McDonald’s. Well, I obviously didn’t want to screw anything up with that opportunity, so I reached out to my friend (another TAXI member), Andy Gabrys for some technical assurance (this guy knows his you-know-what). And within a few hours I had all of my stems [sub-mixes] delivered. After the weekend, I received word that it was selected and the money is on the way. All of this happened two years after the initial forward!
“Try and find something you love in the music you don’t like. It might end up being your new favorite!”
-Seth Littlefield
So many TAXI members get frustrated when they don’t get “forwarded” when they submit their music. In many cases, it’s because they don’t read the listings very carefully and they pitch the wrong material. How important is it to read the Listings carefully and pitch the right music?
It’s unbelievably important. I’ve made the mistake of skimming through listings numerous times, which would always produce the same outcome. One time, I actually submitted a male vocal song to a “female vocal” listing. Blah. Embarrassing, but it was a nice reminder to slow down and re-re-re-read each listing. My first year of TAXI, I was convinced that even if my track didn’t quite fit the listing, it was still maybe cool enough that the screener would pass it along anyway. Now looking back, that’s like having a server in a restaurant insist you’d rather have fish after ordering a steak. I really began to dissect the listings after deciding to write for them vs. finding something for them. My forward ratio really picked up after making that decision, and coincidently, so did my number of tracks.
In a nutshell, can you give our readers a few bullet points on acting professionally when they’re contacted by a company TAXI has hooked them up with?
Sure, but I think the professionalism should begin even before a company contacts you. In other words, you should be prepared:
- Know the lingo.
- Be aware of what the standard deals are.
- Have more music ready to go.
- Have established relationships with colleagues who can help you out with any questions you might have when a company does contact you.
These are things that you can control, not whether or not a company will be contacting you. And then, after you are contacted, you’ll be prepared. Remember that everyone is insanely busy, so keep your responses brief and to the point. And bluntly, you are not any more special than the hundreds of other artists they work with, so be nice, appreciative and honest. Lastly, take a chance, the worst that can happen is you write another song.
A surprising percentage of our members freeze up and don’t even respond to deal offers from companies that contact them through TAXI. When we ask them we they didn’t respond, the answers are almost always, “I was afraid they’d try to rip me off.” Have you ever felt that the companies you’ve met through TAXI have tried to rip you off, or are the deals they offer pretty standard for the Film/TV music market?
I think a lot of people, justifiably so, have a lot of reservations from various experiences they’ve had with labels. They associate the licensing world with the record label world. But I have found that the majority of deals are indeed very standard and every deal that I’ve signed from a TAXI forward has been a positive experience. I have come across a few scenarios were a company might want some of my writer’s share, which I usually decide to pass on. However, they’ve always been completely upfront about it and made sure I completely understood.
Do you sign both exclusive and non-exclusive deals, or do you favor one over the other?
I’m still trying to figure out where I stand on this. I’ve been leaning toward signing things exclusively and I often treat non-exclusive libraries exclusively. It’s nice to be able to pitch directly to supes without contacting a publisher you’ve signed with exclusively. There are obvious pros and cons, but I’ve noticed that as my catalogue grows bigger, the fear of signing things exclusively diminishes.
Many musicians I meet aren’t all that productive, and don’t seem to get the concept of “The more music you make, and the more frequently you pitch it, the better the end result will be.” How do you stay productive and on task?
A game changer for me was to hold a weekly meeting every Sunday night. I write a list of goals for the week, go over [TAXI’s] listings, co-write projects, etc. I micro-manage every hour of my studio time for the upcoming week. If there are 4 or 5 cues I want to get done by the weekend, I’ll figure out exactly which ones I’m working on and when. I also include time for tagging metadata, research, lunch, etc. I am easily distracted and have come to the conclusion that I need to have a sheet of paper to look at with my entire weekly schedule, reminding me of what I need to be doing each day, guilt tripping me if I slide. Besides the occasional over-driven guitar soloing (while testing levels of course, ahem), I pretty much stay on track now.
Any final thoughts you’d like to share that can help the people reading this?
Keep at it, no matter what. There are so many ups and downs that it’s hard to not either give up or just become completely bitter. However, the likelihood of hearing your music on TV is very real; it just takes work and patience. Use ALL of the tools at TAXI, I can’t stress this enough, they are simply amazing. Reach out to other members, go to the Road Rally, watch TAXI TV, become active on the TAXI Forum, and become immersed! And lastly, be sure to have an honest conversation with yourself about your goals and what you need to learn to get there. Then…get to work!
Thank you for taking the time to do this interview, Seth. All of us at TAXI are extremely proud of you, and we can’t wait to see how successful you’ll be 30 years from now when you’re at “retirement age.” I would imagine that you’ll have many thousands of pieces of music in dozens of catalogs, and will almost certainly be making a very nice six-figure income. Thank you for letting us play a role in your current and future success!