How Many Tracks Do You Need to Earn a Full-Time Sync Income? with Film/TV Composer, Keith LuBrant

We’re sorry you couldn’t join us for an amazing weekend of music industry networking and education in Los Angeles. But all is not lost…

We’ve put together a pretty wonderful virtual Road Rally “Sequels” schedule for you!! Two full days of interviews with film/TV music experts, songwriting experts, music law experts… well heck, just take a look for yourself below!

How much does all this cost? Absolutely nothing — it’s completely FREE, and yours for the taking. And you can watch it any time you want, from the comfort of your own home!

If you want to interact with the panelists, then don’t miss the live interviews. If you can’t watch them live, then enjoy them at your leisure. You’ll get so many career-elevating tips and strategies, you’ll hardly believe you got it all for FREE.

Yep, no catch, and no hidden costs. Just powerful tips from some of the best experts we could get in front of a camera for you.

Now you don’t have to feel so bummed out that you missed the incredible in-person Road Rally. Besides, you can always join us in Los Angeles next year!

🔥 See Requests for Your Music ➡️ https://www.taxi.com/industry

⏱️⏱️VIDEO CHAPTERS⏱️⏱️
0:11 – TAXI CEO, Michael Laskow, introduces special guest Film/TV Composer & TAXI Member, Keith LuBrant!
1:23 – How many tracks does Keith need to make a full-time income with sync music?
6:11 – Many royalty-free libraries have a low bar and with some of them, the curation of the music is almost non-existent.
8:17 – Keith has a full-time job and a family, and he makes a significant second income with sync.
8:54 – How many tracks does he have in production music libraries to accomplish so many placements?
13:29 – Does he feel that his creativity is stifled creating instrumental cues?
16:07 – Keith created the theme music you hear at the beginning of TAXI TV!
17:05 – How many music libraries does he currently have music in?
17:50 – How many music libraries does he actively work with in any given year?
18:00 – Does he remember the year he started writing sync music?
20:15 – Keith gives us a timeline of his productivity – how many tracks does he produce in a year on average?
22:17 – What percentage of his output is instrumental tracks vs. songs?
23:07 – What are his most productive genres?
24:28 – How long does it take him to crank out an orchestral piece vs. a rock piece?
25:41 – Keith is the inventor of Composer Catalog – a software for musicians to keep track of the pieces they make and where they land.
28:06 – Over time, did he notice which libraries tended to get the most placements for him, and the genres that worked the best for him as well? Did he build a strategy based on the ones that were the most successful for him?
32:51 – Does Keith see that the number of placements he gets with each of the various libraries go up and down? Don’t fall in love with one library, spread your music around!
39:10 – Even with all of his success, he remains a TAXI member. Why does he stay even if he really doesn’t need TAXI anymore?
41:20 – TAXI does compilations of music a few times a year that are sent to 20-50 music libraries in the most popular genres being asked for and opportunities are sent to the members to be a part of that.
42:55 – If you’re offered a deal from a library, is it a good idea to research that library to see what types of shows and genres are most frequently requested?
44:00 – Has he noticed that keyboard pieces get placed more than guitar pieces?
47:48 – Some members do not realize they have monetized their music with distributors. This is an ongoing issue with many libraries that causes a lot of problems. Composer Catalog can help you keep track of that information and help avoid career-killing mistakes.
55:19 – Would he say that he creates most tracks in styles he likes or styles that are easiest?
57:57 – Has he noticed any trends in his placements regarding how many instruments are used in a cue?
58:42 – Does he record guitars direct or through an amp?

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