TAXI TV

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.

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.

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 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 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!