From TAXI Rejections to Published Music: Why I Stopped Composing Alone

I’ll always be grateful to TAXI for introducing me to the world of library music. Before signing up for their service, I had no idea what production music even was. TAXI opened my eyes to an entire industry I didn’t know existed.

But that didn’t make their rejections any easier.

After several TAXI rejections in a row, I sat in my studio looking at the feedback. Then I asked myself the question every aspiring composer dreads: “Am I really good enough to do this?”

TAXI feedback is specific enough that you can’t dismiss it, but not often detailed enough to tell you exactly how to fix something. Here are some examples: “Needs more production.” “Needs more refinement.” “Slightly off the mark.”

Each of these felt like evidence that maybe I was fooling myself about this whole media composer thing.

The Decision Point

After all these rejections piled up I decided to make a choice. I could keep submitting and hope something would stick, or I could admit I needed help.

This is where a lot of aspiring composers get stuck. We tell ourselves we should be able to figure it out on our own. That’s what “real” composers do, right? They just sit down and write great music.

Here’s the ironic part: I’ve been mentoring creative professionals as a UX designer for over 10 years. I’ve watched my own students transform their careers with the right guidance. I knew firsthand that mentorship accelerates growth in ways that soloing never can.

Somehow I thought composing and producing music should be different. That I should be able to figure it out on my own.

But every successful composer I talked to had mentors, collaborators, and people who helped them level up at critical moments. Why would I be any different?

So in early 2022, I joined Dave Kropf’s mastermind program at 52 Cues. It wasn’t cheap, but I was tired of spinning my wheels. I needed to learn from someone who actually understood the production music business.

The Breakfast That Changed Everything

In November 2022, I attended the TAXI Road Rally in Los Angeles. I’d been working with Dave remotely for most of the year, but this was my first chance to meet him in person.

We had breakfast together one morning during the conference, and something clicked. In person, I could see not just what Dave knew, but how he thought about the business. He talked about his approach to briefs, his understanding of what libraries actually wanted, and how he liked to work with people.

By the time we were done I knew he was someone I wanted to learn from even more deeply so I could really absorb his knowledge and perspective.

Adding The Missing Piece

But knowing the business side wasn’t enough. My TAXI rejections weren’t just about understanding briefs - they were about production quality. My compositions were decent, but the technical execution wasn’t at a professional level yet.

In early 2023, I started working with producer Avery Berman after taking one of his online courses. While Dave was teaching me the business and creative strategy side, Avery focused on helping me level up my Logic Pro skills and overall production chops.

Since different people have different strengths, I knew I didn’t need to find one perfect mentor to teach me everything. Dave understood the production music industry. Avery understood how to make tracks that sounded professionally polished. I needed both.

The Collaboration That Accelerated Everything

By 2024, something interesting happened. Avery and I had been working together for over a year, and we started collaborating on tracks as a 50/50 partnership. We haven’t looked back since.

Together we’ve written published tracks in several different styles - sports hip-hop, rock, emotional underscore for reality TV, dramedy, and even a trailer track. All of these opportunities have come through Dave Kropf and the 52 Cues community.

One of those tracks, “Goal Line Gladiators”, has aired consistently on CBS Sports, Fox, and The Food Network. It’s become a significant earner for us.

I now have over a dozen tracks signed across three production music libraries. Every single one of those tracks exists because I stopped trying to do it alone.

What I Learned About Success

Looking back at those TAXI rejections, I realize they weren’t telling me I wasn’t talented enough. They were telling me I wasn’t ready yet. I needed help to get ready.

Here’s what actually changed between those rejections and my first signed tracks:

I got strategic about mentorship. I identified my specific gaps. I needed business knowledge and I needed production skills. I found mentors who excelled in each area instead of looking for one person to teach me everything.

I invested before I saw results. Joining Dave’s mastermind in early 2022 was a leap of faith. I didn’t have any published tracks yet. But I knew I needed help and was willing to pay for it.

I showed up in person. That breakfast at the Road Rally created a relationship that Zoom calls alone never could have. There’s something about face-to-face connection that deepens trust and understanding.

I found a collaborator who complemented my skills. Avery and I work well together because we each bring different strengths. We make each other better. Solo composers can succeed, but collaboration can accelerate your growth exponentially and for me it’s more fun.

I stayed connected to one community. So far all of my opportunities have come through 52 Cues. Instead of trying to network everywhere, I went deep with one community and one mentor who believed in my work.

If You’re Stuck After Rejections

If you’re getting rejected by TAXI, libraries, or anyone else and you’re wondering if you have what it takes, stop trying to figure it out alone.

Those rejections aren’t telling you to quit. They’re telling you what you need to work on. But you probably can’t see exactly what needs to change. If you could, you would have already changed it.

Find someone who’s succeeding at the level you want to reach. Invest in learning from them. Show up in person if you can. Be specific about what you need help with.

And consider whether a collaborator might fill in your weak spots faster than trying to become good at everything yourself.

I’m not special. I’m a semi-retired career changer who started learning production music composition just a few years ago. If I can go from multiple TAXI rejections to over a dozen published tracks earning real money, you can too.