Indie Music Marketer .com

As writers, it’s often difficult to be objective about writing and any aspect related to writing and creating the demos that are used to shop songs. As a former talent booking agent with the William Morris Agency, I can tell you that with all of the vast array of talent and gifted writers, only a few make it to the inner circle. There are various reasons for this, but none that come close to what we will spend the remaining time in this article talking about. Many a hopeful writer and artist walked through the doors of William Morris only to find that the magic they thought they had come upon, vanished in a moments notice. Why is that? Why do some get the writers and artist deals with virtually no writing innovation, while others, with up in your face talent, not getting the due recognition and artist album cuts so richly deserved? Let’s spend a few minutes together talking through a few basic concepts to hopefully get you moving in the right direction. 

As founder of ReelMusician.com, it is and has always been my goal to see rising talent succeed and make it to the top. We strive to always remain approachable, authoritative with music industry resources and information and provide relevant services such as creating master quality song demos for rising song writers, top notch jingle demos for singers trying to break into singing commercials and effective press kit writing for artists trying to establish their careers. We are already in that mode of how to help singers and writers break through, which is the foundation to why we exist and with all of that in mind, I want to share with you some ideas that will help you get your career jump-started. 

Always remember that content is king. You can’t very easily take a story without a decent plot and try to pitch it. Same thing holds true for your writing and career. One of the problems today, is that many would be artists and writers clutter the playing field by utilizing technological advances and use their friends computer, keyboard and mic to record music and think they have a chance. And because music equipment and software has become so affordable, many who would not ordinarily approach the idea of writing or becoming an artist now feel that they have to have their chance at stardom and so the A&R, managers, booking agents and all other ancillary music industry offices are flooded by material that is not even close to being a go. It’s a waste of everyone’s time. The thinking is just because so and so made it, I could make it to. Well that might be true, but for the every one of the so and sos that make it, there are thousands to possibly millions that don’t. Think about that. Go for your dream, but make sure that you have a decent plot to back up your artist story line. 

Once you have established that you have credible talent, and the fact that you are reading this article is probably a good indication that you have some credible talent, you will want to figure out the best approach to selling your songs, artist deal or break into jingle singing, whatever the case might be. I will tell you, as I’ve stated before, that everyone has their own story to tell in how they broke into the music industry, but I will tell you that there are a few golden concepts that you should employ to increase your odds. Always remember that creativity coupled with authenticity will go along ways in your career. There are so many phony people out there inside the industry and out, that when individuals who are decision makers inside the industry find authentic and truly gifted talent, they are pulled to it. Do you have a record cut or a record deal, maybe, maybe not. But the fact that you now have an ally inside the inner circle creates a much broader platform for your career to take off from. The fact that now someone who holds some influence and who has taken a liking to you is strong – really strong. You develop these types of relationships whether at area writer’s meetings, artist showcases, or other various ins that you can find and think of in your area, and you will be well on your way to getting your demos not only listened to, but listened to with interest and on an inside path. Don’t be users. Figure out ways where you can have conversations totally outside the music industry where an individual truly thinks you care – if your career comes up the conversation great, but if not that’s fine to. And if it does come up in the conversation, don’t make a big deal of it. 

Your song demos have got to be the best no questions asked. Your productions better sound better than what’s on the radio. Figure out the key musicians in your area and produce your song demos with no excuses. I’ve said it before and it’s worth repeating, that it’s better to have a slimmed down song demo version with an incredible guitar or piano player and vocals that just melt, than a fully produced song demo that’s pretty good. You hear that. Don’t produce pretty good demos – They’re not good enough. When you get the opportunity from a heavy weight in the industry to listen to your song demo, artist demo or jingle reel, it’s far better to have an incredible demo done with a few musical elements that just wow the listener. Chances are you won’t get another chance, and so your listener better remember that your demos not only sound good, but will make him or her look good when they go to pitch your material. Don’t hesitate to contact us at ReelMusician.com if you have any questions about demos, what you’ll need and your current writing and artist demos. 

In closing, and I never feel like I have enough space to cover all of the relevant ideas in a given article, please take these few simple concepts seriously and implement them in your career goals. Don’t get all stirred up about the latest and greatest this or that or your having to be in the “in” musical crowd to get a record deal or to get your songs cut. Just develop authentic relationships and make sure that your song demos, jingle reels and artist demos are simply the best! Please feel free to contact us for any questions you might have! 

By now you’ve probably read a myriad of articles with individuals who claim to have all of the answers and secrets to getting your songs heard and cut – for a price of course. I will not claim to have all of the answers and neither will I promise you fame and fortune, but I will give you some solid advice as to how to get your songs heard. As a former talent booking agent with the William Morris Agency, I can attest to the number of individuals out there who really don’t have a clue as to how to not only write and produce their song demos, but how to market their songs and themselves as viable acts. Let’s look at some key ideas that I’m sure will help you and hopefully further your writing career. 

As we say at ReelMusician.com, a song worth hearing is a song worth hearing. Is your song that you are pitching worth hearing? I can’t answer that, but you can. It’s the obvious and we won’t say any more other than that – Make sure your song is worth hearing. Is your song that you want to get heard and ultimately cut, have marketing viability? Does your song have too narrow a niche where you are shorting yourself on possible acts and artists that can cut it? Don’t adjust a great song just for pure marketing, but the odds are greatly increased with a more broad range of appeal. Are all of your songs starting to sound the same? Do you need a writing partner to broaden your song writing horizons? I am asking all of these questions to get you thinking and then I am going to head into the marketing department for a minute to see where you are at. You see, I can’t possibly answer any of the above questions, because I haven’t heard your material, but if you’re honest you can and will. Answering these questions is your first assignment. 

Before I go on, you should know that as founder of ReelMusician.com, that we get an incredible amount of artist material. One of the biggest negatives, and believe me were out there to help you, but what many young artists do is submit a demo reel or press kit that is less than what I would ever recommend submitting. You can’t submit fairly good or even pretty good material; it just has to sound like you’ve arrived. In today’s music economy, where there is a computer, keyboard and mic in virtually any songwriters home, you have got to know and recognize that not only is it more difficult to get a song cut because of pure volume of writers, but affordable recording has made it so that the number of and quality of song demos has increased dramatically. Now while I say that, you should also note that most writers aren’t in the ballpark of creating master quality demos, but because of the mere numbers factor alone, there are more quality demos and writers than before. 

Should you have any questions, please do not hesitate to call us at ReelMusician.com. As a side note, we know that many of you are quite accomplished, while there are still most likely even more of you who could utilize our master quality song demos services and press kit writing services as well to further your career. Just visit us at ReelMusician.com for any help you might need and don’t hesitate to email or call us. 

In terms of your marketing abilities or lack there of, let’s look at some real possibilities and venture out into the real world of pitching your material and how you will go about doing that. First off, how are you sending your material and to whom and what exactly are you sending? I will tell you that if your image and look to your material is not polished, then you will not be taken seriously. You can’t be doing the hard to read, hand written letter to “whom this may concern” gig – You have to look and act professional! You may want to invest in some inexpensive software to create professional and custom looking CD labels, letters, etc if you haven’t already. What is in your package that you are sending off? Realize that everyone’s time is limited, so only send what is relevant to this particular pitch. Sending all kinds of material usually gets you nowhere. How are you finding names to send your material off to? Are you unsolicited, sending this to a warm lead, or is this an individual waiting for your demo? Of course the later is best, but who can get an invitation these days? I tell you what though, that is what you ought to be aiming for. Have you contacted the road managers of the acts that you are sending your material to? Road managers, lighting individuals and other ancillary staff can really help get your songs listened to. A&R is a difficult road to go down. A&R directors are swamped number one and number two, they usually have a college intern sifting through the first round of material to minimize their wasted time. 

So where do you pitch your material? As I’ve just mentioned, it is easier to go through ancillary staff to the artists such as road managers, lighting and sound crew members and of course the artist managers than it is to go through A&R. What you need to know is that it is difficult to get a cut nowadays to begin with. Who usually gets the cuts? – The artist, artist’s friends and/or the producers. Go ahead and look at album covers and see if this isn’t true. Your job is not an easy one. Going through valid tip sheets and not just companies on the web looking to make money for their “artist tip sheets” is not a bad way to go, but you will have to find relevant and up to date tip sheets. These are not that easy to get a hold of. You will want to write with writers who have these connections or other musicians who do. You will want to spend a good deal of time researching and connecting the dots to folks who can help you without them feeling like they’re being used – so be careful and be authentic in your relationships with others in the music field. 

I wish we had more time in this article, but don’t hesitate to drop us an email or call us should you have any questions about your songs or artist career. 

You hear about it all the time. You are throwing your first ever CD release party, at which you’re planning on selling the first available copies of your debut album. You’ve worked for years for this night – your dream is finally coming true. Everything is all set: the venue is booked, the invites have been sent, the dj is ready to go, and the drinks and décor are all exactly how you imagined. 

But there’s one problem. Your replicator hasn’t delivered on time, and you’ve just been told that your CD’s won’t arrive until the day after the party. 

Believe it or not, this happens more often than you might think! Here are the top ten surefire ways to avoid this and other similar nightmares: 

1) Provide the replicator with clean artwork. All replicators’ turn times depend on receiving flawless files. If you have any questions, don’t be afraid to call on customer support for help; 

2) Plan ahead of time. Plan for your delivery date to be at least a week before your absolute deadline; this gives you and the replicator enough time to make sure everything goes smoothly; 

3) Dealing directly with the manufacturer can reduce the lag time (and often also the price!), versus dealing with a broker; 

4) Choose a replicator who is accessible. Are they always there when you need them? Can you trust your project in their hands? Do they care about your project? 

5) Test and re-test your master for errors. There’s nothing more time-consuming and frustrating than sending a replicator a faulty master. Always supply a back-up disc; 

6) Make sure you own the rights to the content. Replicators are legally obligated to ensure that you are the rightful owner of what’s being replicated; 

7) Know exactly what it is that you are paying for before you choose your supplier. Understand the costs and the jargon behind your quotation; 

8) Choose a replicator that has a team in place to deal with problems and frustrations as they occur; 

9) Choose a replication partner who has interest in growing with you as you grow; 

10) Is there a hidden agenda? Is the sales rep more interested in his or her quota than working as your partner? 

Choosing the right replicator can make all the difference. Choose smart and let the journey to your success be a whole lot easier! 

Throughout the history of modern music, there hasn’t been a musical artist/band who doesn’t think that their songs are all #1 hits just waiting to be discovered. Many of these artists have been correct and have stood by grinning as their tunes screeched up the charts. This inspires a new crop of musicians every year to feverishly pen their potential hits in hopes of making it big. 

Musicians write. They rehearse. They play clubs and hope that one day they’ll encounter that special A&R guy (or gal) that will, see them, dig them, sign them, and make them stars. But surprisingly enough, many of these bands never complete what is probably the most important tool for any musician signed or unsigned…they never record a CD. 

It cannot be stressed enough that the CD is at the heart of any musical project. It is the physical embodiment of the song, the combination of writing and performing. It’s any musician’s skeleton key for: club gigs, reviews, and radio play. CDs enable you to draw the attention of fans and industry at the same time. Whether containing one song or twenty, the possibilities of the unsigned artist’s CD are endless. Post them on the web. Get them to the press. Give them to your friends. Sell them at your shows. Send them to the record labels. Your CD lets the world know who you are and what you sound like and gives anyone who digs your music the opportunity to listen to it again and again. 

So, how can you make sure that you’re CD does your music justice while appealing to fans and industry alike? While there is not one set way to record a CD, there are certain key elements that every professional CD should possess. 

The following are a few tips that may help you to make sure that your CD will help your band instead of hindering it: 

1.) It’s Not The Size, It’s What You Do With It---It doesn’t matter how long your CD is, only that it accurately portrays your sound and vibe. If you don’t have a lot of time or money to spend in the studio then record for quality instead of quantity. It’s better to have one really kick ass tune recorded then a full length CD that sounds like it was recorded on a boom box in your basement. But that doesn’t mean that your CD needs to be expensive or time consuming. The advanced technology of digital recordings has afforded musicians/bands the opportunity to record in smaller home studios and still come away with professional sounding recordings. It’s now all about finding an engineer with a fantastic ear and the mastery of his/her own gear regardless of how inexpensive it may be. 

2.) Record And Mix For The Song---Remember a song is a collaboration. Even if you’re the sole musician and engineer of your CD, recording a song is still an ensemble project. Instruments, voices and effects must all work together as a team to produce the best possible finished project. If a guitar line is too busy, a kick drive is too loud, or a voice is perpetually off key, the overall quality of the finished product is compromised. There is a delicate balance of creativity and technology, of art and electronics that comes together to produce the wonder that is your CD. Treat that balance with respect. Put your ego aside and record with the songs as your absolute priority. 

3.) Less Talk And More Action---Certainly there is a great deal of preparation that is required before recording. Mapping out the arrangements of your tunes can be an arduous process usually much more complicated than the live performance of the song. One guitar part becomes three, or five or ten, a basic drum part now includes percussion and electronic beats, two backing tracks can become twenty. Sometimes you feel as if your brain will certainly explode from the mapping out of all of the musical and vocal parts required to give your song a professionally recorded sound. But don’t get so lost in the charting and practicing of various parts and forget that time is of the essence here. It’s all well and good to tell those who inquire that you’re “in the studio” or “currently recording” but if a CD does not materialize in a reasonable amount of time both fans and industry will grow disinterested and move on to someone who has a finished product. 

4.) If It Sounds Good, Make It Look Good---After the time and energy you’ve spent to make your CD sound amazing, don’t scribble on it with a blunt sharpie, throw it in a used envelope and expect a record label to be impressed with it. If your CD looks unprofessional, it will be dismissed as such and will probably spend its days unlistened to, lining the bottom of some A&R intern’s birdcage. Simple packaging is certainly acceptable but make sure your CD’s first impression a good one…your graphics are high quality, your text is neat, your paper stock is professional and all materials are unused. Even the most poorly recorded CD will get a listen, if it comes in a pretty package. 

Now that you have a professional CD recorded, your possibilities are endless. Send it to anyone and everyone! Get your name out there! Make new fans! Grab some press! Get a record deal! Stand back and grin as your single goes screaming up the charts. Anything is possible if you have a good CD and can share your music with the world.