TAXI TV

Latest Episodes:

Music Pros vs. Hobbyists_ What Really Separates Them_[062226] Jun 23, 2026

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What really separates music industry professionals from hobbyists? Is it talent? Connections? Expensive gear? Or is it something much deeper? In this episode of TAXI TV, Michael Laskow sits down with legendary producers, engineers, songwriters, and music industry veterans Rob Chiarelli and Michael Lloyd for an honest conversation about what they've learned from decades at the highest levels of the music business. Between them, Rob and Michael have worked on roughly 200 Gold and Platinum records, earned multiple Grammy Awards, produced hit records, supervised film and television projects, and helped countless artists develop successful careers. In this candid discussion, they share: What separates professionals from hobbyists Why talent alone isn't enough The mindset that successful musicians have in common Career mistakes that keep talented artists stuck How professionals approach creativity and opportunity The realities of building a sustainable music career Lessons learned from decades in the recording industry Whether you're a songwriter, artist, producer, composer, or musician trying to take the next step, this conversation is packed with practical wisdom and hard-earned insights from people who've spent their lives making music at the highest level. If you've ever wondered what it really takes to move from being passionate about music to building a professional career, this episode is for you. 📺 Watch Part 1 and join the conversation.

Sync Licensing Mistakes Music Libraries Notice Immediately![061526] Jun 16, 2026

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Why do some talented composers consistently land sync placements while others keep getting overlooked? In this episode of TAXI TV, music library owner, composer, and longtime TAXI member Chuck Henry shares the common mistakes he sees from the library side of the sync business—mistakes that can quietly cost composers valuable placements. After decades in the industry, Chuck has reviewed thousands of submissions and worked with composers at every level. Surprisingly, many of the errors that hurt placement opportunities aren't made by beginners—they're made by experienced writers who simply don't realize what's holding them back. In this episode, you'll learn: Common sync licensing mistakes that hurt placement potential What music libraries wish composers understood Why great music alone isn't always enough Submission and production issues that raise red flags How to improve your chances of getting signed and placed What successful composers do differently Chuck also shares his inspiring journey from teaching piano lessons and performing in retail stores to becoming a successful composer and the CEO of a music library. Whether you're writing production music, composing for TV and film, or building a sync catalog, this conversation could save you years of trial and error. Join us live and learn how to avoid the mistakes that can quietly kill sync opportunities before they ever reach a music supervisor, editor, or library.

How to Make Instrumental Cues More Licensable for TV & Film_.[060826]mp4 Jun 09, 2026

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What makes one instrumental cue instantly more licensable than another? In this episode of TAXI TV, successful TAXI member, composer, and author Dean Krippaehne shares practical, real-world tips that can dramatically improve your chances of landing sync placements in TV, film, commercials, and production music libraries. Drawing from his book Cue Tips, Dean breaks down the small but critical details that music supervisors, editors, producers, and libraries listen for every day, and why those details often determine whether a cue gets licensed or passed over. This episode covers: How to make instrumental cues more sync-friendly Common mistakes that hurt licensing potential What production music libraries actually want Arrangement and structure tips for TV & film music Practical cue-writing advice you can apply immediately How experienced sync composers think differently Whether you're brand new to sync licensing or already building a catalog, this conversation is packed with actionable insight for composers, producers, and instrumental writers looking to create more usable, marketable music. If you write production music, trailer music, underscore, cinematic cues, or instrumental tracks for sync, this episode is a must-watch. Reference Book 📚: Cue Tips: 50 songwriting, composing, and music production hacks to speed up your sync journey by Dean Krippaehne: https://amzn.to/4nD3uYP

Commercials vs Film & TV_ The REAL Secret to Higher-Paying Sync Placements![060126] Jun 02, 2026

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Why do some music placements in commercials pay significantly more than TV and film, and how do you actually get them? On this episode of TAXI TV, we sit down with successful sync writer and producer John Pearson to break down exactly what changes when you shift from writing for film & TV to writing for advertising. John’s music has landed worldwide advertising placements with major brands like Chase Card, Hyundai, Samsung, Nissan, FedEx, Target, and Cricket Wireless, but his path wasn’t instant. We’ll explore: - Why commercials often outperform TV/film placements in payouts - What libraries and music supervisors are actually looking for in ad music - How John transitioned from Nashville touring musician to full-time sync writer - The real “secret sauce” behind landing premium advertising placements - How persistence and strategy change everything in the sync world From placements in shows like Outer Banks, S.W.A.T., The Rookie, and more, then breaking into major global ad campaigns, John’s journey is packed with actionable insight for any composer, producer, or songwriter looking to break into sync licensing. If you're serious about getting higher-level placements and understanding how the industry really works, this episode is essential viewing.

Inside a TV Editor’s Mind_ How Music Gets Chosen for TV![051826] May 19, 2026

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Want to know how TV editors actually choose music for shows? In this TAXI TV episode, veteran TV editor and executive producer Biagio Messina breaks down the real-world TV editing process — from building scenes and shaping emotion to selecting, cutting, and using music in television. Learn: ✔ How TV editors find and use sync music ✔ What makes production music “usable” for editors ✔ Why some tracks instantly work in TV shows ✔ How edit points, pacing, and transitions affect placements ✔ The role of temp music in TV editing ✔ What composers don’t understand about editor workflow ✔ How to create music that gets chosen more often If you create music for sync licensing, TV placements, film, trailers, commercials, or music libraries, understanding how editors think can completely change the way you produce and structure your tracks. Perfect for composers, producers, artists, and musicians working in production music, sync licensing, film scoring, and TV music.

Ask Michael Anything_ Sync Licensing Tips, AI Music, & TV Placement Secrets![051126] May 12, 2026

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Want to get more music placements in TV, film, trailers, and sync licensing? In this TAXI TV “Ask Michael Anything” episode, we answer real questions about music licensing, sync placements, production, AI music, contracts, developmental arcs, edit points, home studio production, and how to succeed in the music library world. Learn: ✔ Why some tracks never get placements ✔ The biggest mistakes in the first 10 seconds of a song ✔ How to write better production music & instrumental cues ✔ The truth about AI music and sync licensing ✔ How successful composers dominate music library catalogs ✔ How to improve faster using TAXI critiques Perfect for artists, producers, composers, and musicians working in sync licensing, production music, TV music, film scoring, trailer music, and music libraries.

Inside a Pro Track_ Developmental Arcs & Edit Points (Live Breakdown)![050426] May 05, 2026

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Want to write music that actually gets placed in TV and film? In this TAXI TV episode, we break down a real production music track to show how developmental arcs, edit points, and structure make your music sync-ready. Learn how to: ✔ Build tracks for sync licensing ✔ Add clean edit points for editors ✔ Create dynamic arrangement and transitions Featuring TAXI member Steve Barden, author of Writing Production Music for TV, with real-time waveform analysis and pro-level insights. Get the book on Amazon here: https://amzn.to/4cxxSzY Perfect for composers and artists working in production music, TV, film, trailers, and commercials.

What Nashville Is REALLY Looking For in Country Songs (Right Now)_[041326] Apr 14, 2026

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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.

Why Editors Reject Your Music (vs What They Actually Love)![040626] Apr 07, 2026

Show notes

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!

Why YOUR Music Doesn’t Get Placed (Sync Agent Explains)![033026] Mar 31, 2026

Show notes

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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