WingsOfAnAngel
Banned
ill o.g.
Battle Points: 3
*THIS ARTICLE WAS NOT WRITTEN BY ME*
Tips for Submitting a Good Demo
By Tronmaster.
Part 1:
Formats / Soundbites / The Press Kit
Are you ready to put your music on the line? It's demo time.
There's no magic formula here. It'd be nice to think that raw talent alone will get you a seat on the
Lear jet, where you and Clive dip your shrimp and laugh about international sales. Your talent may
get you there someday, but first you have to wrap it up in a smart, sharp package and get the right
people to listen. Distributing a demo that presents your music in the best light is your first step.
As the cost of CD burners and blank CD's continues to fall, musicians are releasing their own demos
at every turn.
Self-manufacturing allows you the flexibility to customize each demo release for your target.
Plus, you're not locked into a song list should you come up with a great new tune after having
1000 copies manufactured.
If, on the other hand, you're selling and distributing demos faster than you can burn them, you may want
to mass produce complete CD's, or at least have a short run of 500 demos manufactured.
CD duplication services are reasonably priced these days, with production available at under
1.50 per CD.
Smaller runs are possible but tend to bump up the per CD price, I.E. our last run was only for 100 copies
and worked out at 2.47 per CD (full colour bookllet and CD stamping)
I still consider this better than sitting in front of a burner for endless hours whilst cutting out covers from
your printer ;-0
Whether you're knocking out demos one by one at home or considering a larger production run, make
sure your demo serves your aspirations. The following points, compiled by feedback from industry execs,
will improve your chances of being heard.
FORMATS
You need to submit your demo on compact disc. CD's provide the best audio quality, look the
most professional, and allow the listener to skip around your tracks at his/her leisure. Listeners have
the most playback options with CD's since they're likely to have a stereo in the office, CD-ROM
platters on their desktops and laptops, a CD player in their car, a home stereo, and maybe even
a portable player.
Industry people with open ears are listening to music all the time. Make it easy for them.
Forget DAT tapes, forget cassettes, forget MiniDiscs. Video tapes or DVD's can be included in
your press kit if you have footage, but neither is an adequate substitute for a CD.
(Then again you could always have a white label pressed, but then we would be getting into start-up
label territory. I'll save that for another article)
Increasingly, people sniffing out new talent are turning to the Web. They' ll download MP3's, listen to
samples at band websites, or check what's been uploaded to any number of music sites.
(Including us, that's what we're here for).
While MP3's are great for exposure on Web sites, don't email music files unless they've been
requested. Introduce yourself to someone via 20-minute download and you can bet they'll reach
for the delete key faster than you can say "Terence Trent D'Arby."
Tip: If you want to make demos available for download, post them on a site (such as the ours)
and include the URL in your emails, pitch letters, and mailings.
THINK IN SOUNDBITES
Assume that you have less than ONE minute to capture and hold the listener 's attention. If you have
long song intros or a tune goes for three verses before getting to a hook, the listener may never make
it to your proudest musical moments.
There are a few smart ways to be seen through this small window of opportunity.
-Point to the demo's strongest selection. If there are three tunes on the demo, highlight your best shot
with larger type, stars, the words "FIRST SINGLE" or anything else that calls attention. Make it the
first track, too.
-Create "sampler" tracks. Each of your songs has its strongest point, whether it's a catchy chorus,
an instrumental break, or one verse of rap. Why gamble that the best parts might not be heard?
Consider creating "sampler" tracks of excerpts only. You can follow them with the complete songs,
but this is a
good way to get your best material up front. It teases the listener into delving further, too.
Your track
list might look like this:
1. Funktified Chickpeas (chorus hook) :15
2. You Smell Real Good (outro) :35
3. Cabbage Patch Fever (flute solo) :12
4. Funktified Chickpeas 3:15
5. You Smell Real Good 2:58
6. Cabbage Patch Fever 3:30
Tip: Never circulate music that isn't copyrighted and marked as such.
Tip: Include only 3 to 5 songs on your demo. Full-length demos are not out of bounds,
but it's best to leave 'em wanting more.
THE PRESS KIT
At the very least your press kit needs to contain these elements:
Demo
The crucial piece, of course.
Bio
Don't be longwinded. You're lucky if they read it at all. Show some personality and express
what differentiates you. List your musical background and musical accomplishments to date.
If it's a crew demo, name the crewmembers right up top.
Contact Information
Splatter your act's name and contact information everywhere. Put it on the demo cover,
the demo's spine, and on the CD itself. Put it on the bio, on images and on the outside
of the package. These people's offices are littered with demos and your CD will no doubt
be separated from other promo materials, maybe even from the jewel box. If someone falls
in love with your music at home and your contact info is back at the office, you are knackered.
Other pieces you may want to include in your press kit:
- Photos (especially for label submissions)
- Introductory letter - Schedule of upcoming gigs
- Press clippings
- Lyric sheets (for songs on demo only) - not worth it in my opinion.
- Video of live performance
A big fat press kit is not necessarily an effective one. Again, know your target and include the elements
that may be of interest to them.
Part 2:
Artwork / Targets / Follow Up
ARTWORK
For demo purposes, the quality of a CD's cover art is less important than the information it provides.
The artist name, contact information, and track listing should all be prominent. Repeat the artist name
and contact info on the cover, the spine, the back cover, and on the CD itself.
Though your recipient shouldn't judge a recording by the cover, quality artwork can say a lot about
your music in advance of listening. Something dramatic or even funny may set your demo apart from
the pile
and prompt a spin.
Good cover and sleeve art can be created in the simplest graphics packages (PageMaker, Paint)
or in professional design software (Quark, Photoshop). Kits like CD Stomper and Neato, which make
it simple to produce art for your cover, sleeve, booklet and disc, are available on the cheap and output
easily on most printers.
Don't confuse people by getting fancy with album titles -- you don't want them to mistake the name
of your album for the name of your band. The less they have to remember, the better.
Tip: Beware the cheese factor. Bad logos and ill-conceived cover art scream amateur. If you don't
have the skills, bring in a friend skip the art altogether.
I'd also suggest avoiding having your cover look like a generic photoshop image due to over
manipulation.
KNOW YOUR TARGET
Are you sending to a underground label or a pop label? A booking agent or a music publisher?
Be sure that the information you provide and the presentation of materials are appropriate to the target.
For example, a booking agent will want to know how often you play out, where, and what kind of
audience you typically draw, whereas a music publisher will be more interested in the diversity of your songwriting.
Know who you are sending your press kit to and tailor it accordingly. A personal and properly
addressed cover letter can go a long way. Highlight upcoming gigs in their area. When sending to,
say, a label that specializes in one genre, point them to appropriate tracks on your demo. If you're
burning your own discs, consider whether the sequence (song order) should be rearranged.
Tip: These people are conducting business. A professional presentation lets them know they're
dealing with someone on their own level.
FOLLOW UP
Once your demo is delivered, consider yourself officially mutated from musician to salesperson.
For some this will be the hardest part; your music is now product (bleh!) and you are the
sales team.
It's imperative that you contact the demo recipients about two weeks after sending. Remind them
who you are and what you sent, and request feedback. Keep a log of what you sent, to whom,
when you followed up, and when you will follow up again.
You have to strike a balance between reminding them who you are and not making a nuisance of
yourself. These people have stacks upon stacks of albums to check out, so be patient. Polite
and professional follow-up calls, emails and/or mailings will help move your demo nearer to
the top of the pile.
If you do get a response, send a professional thank-you note. Even if you're turned down,
be remembered. It might get you a second chance next time around.
(taken from: http://www.britishhiphop.com/resources/Articles/submittingdemos.html).
Tips for Submitting a Good Demo
By Tronmaster.
Part 1:
Formats / Soundbites / The Press Kit
Are you ready to put your music on the line? It's demo time.
There's no magic formula here. It'd be nice to think that raw talent alone will get you a seat on the
Lear jet, where you and Clive dip your shrimp and laugh about international sales. Your talent may
get you there someday, but first you have to wrap it up in a smart, sharp package and get the right
people to listen. Distributing a demo that presents your music in the best light is your first step.
As the cost of CD burners and blank CD's continues to fall, musicians are releasing their own demos
at every turn.
Self-manufacturing allows you the flexibility to customize each demo release for your target.
Plus, you're not locked into a song list should you come up with a great new tune after having
1000 copies manufactured.
If, on the other hand, you're selling and distributing demos faster than you can burn them, you may want
to mass produce complete CD's, or at least have a short run of 500 demos manufactured.
CD duplication services are reasonably priced these days, with production available at under
1.50 per CD.
Smaller runs are possible but tend to bump up the per CD price, I.E. our last run was only for 100 copies
and worked out at 2.47 per CD (full colour bookllet and CD stamping)
I still consider this better than sitting in front of a burner for endless hours whilst cutting out covers from
your printer ;-0
Whether you're knocking out demos one by one at home or considering a larger production run, make
sure your demo serves your aspirations. The following points, compiled by feedback from industry execs,
will improve your chances of being heard.
FORMATS
You need to submit your demo on compact disc. CD's provide the best audio quality, look the
most professional, and allow the listener to skip around your tracks at his/her leisure. Listeners have
the most playback options with CD's since they're likely to have a stereo in the office, CD-ROM
platters on their desktops and laptops, a CD player in their car, a home stereo, and maybe even
a portable player.
Industry people with open ears are listening to music all the time. Make it easy for them.
Forget DAT tapes, forget cassettes, forget MiniDiscs. Video tapes or DVD's can be included in
your press kit if you have footage, but neither is an adequate substitute for a CD.
(Then again you could always have a white label pressed, but then we would be getting into start-up
label territory. I'll save that for another article)
Increasingly, people sniffing out new talent are turning to the Web. They' ll download MP3's, listen to
samples at band websites, or check what's been uploaded to any number of music sites.
(Including us, that's what we're here for).
While MP3's are great for exposure on Web sites, don't email music files unless they've been
requested. Introduce yourself to someone via 20-minute download and you can bet they'll reach
for the delete key faster than you can say "Terence Trent D'Arby."
Tip: If you want to make demos available for download, post them on a site (such as the ours)
and include the URL in your emails, pitch letters, and mailings.
THINK IN SOUNDBITES
Assume that you have less than ONE minute to capture and hold the listener 's attention. If you have
long song intros or a tune goes for three verses before getting to a hook, the listener may never make
it to your proudest musical moments.
There are a few smart ways to be seen through this small window of opportunity.
-Point to the demo's strongest selection. If there are three tunes on the demo, highlight your best shot
with larger type, stars, the words "FIRST SINGLE" or anything else that calls attention. Make it the
first track, too.
-Create "sampler" tracks. Each of your songs has its strongest point, whether it's a catchy chorus,
an instrumental break, or one verse of rap. Why gamble that the best parts might not be heard?
Consider creating "sampler" tracks of excerpts only. You can follow them with the complete songs,
but this is a
good way to get your best material up front. It teases the listener into delving further, too.
Your track
list might look like this:
1. Funktified Chickpeas (chorus hook) :15
2. You Smell Real Good (outro) :35
3. Cabbage Patch Fever (flute solo) :12
4. Funktified Chickpeas 3:15
5. You Smell Real Good 2:58
6. Cabbage Patch Fever 3:30
Tip: Never circulate music that isn't copyrighted and marked as such.
Tip: Include only 3 to 5 songs on your demo. Full-length demos are not out of bounds,
but it's best to leave 'em wanting more.
THE PRESS KIT
At the very least your press kit needs to contain these elements:
Demo
The crucial piece, of course.
Bio
Don't be longwinded. You're lucky if they read it at all. Show some personality and express
what differentiates you. List your musical background and musical accomplishments to date.
If it's a crew demo, name the crewmembers right up top.
Contact Information
Splatter your act's name and contact information everywhere. Put it on the demo cover,
the demo's spine, and on the CD itself. Put it on the bio, on images and on the outside
of the package. These people's offices are littered with demos and your CD will no doubt
be separated from other promo materials, maybe even from the jewel box. If someone falls
in love with your music at home and your contact info is back at the office, you are knackered.
Other pieces you may want to include in your press kit:
- Photos (especially for label submissions)
- Introductory letter - Schedule of upcoming gigs
- Press clippings
- Lyric sheets (for songs on demo only) - not worth it in my opinion.
- Video of live performance
A big fat press kit is not necessarily an effective one. Again, know your target and include the elements
that may be of interest to them.
Part 2:
Artwork / Targets / Follow Up
ARTWORK
For demo purposes, the quality of a CD's cover art is less important than the information it provides.
The artist name, contact information, and track listing should all be prominent. Repeat the artist name
and contact info on the cover, the spine, the back cover, and on the CD itself.
Though your recipient shouldn't judge a recording by the cover, quality artwork can say a lot about
your music in advance of listening. Something dramatic or even funny may set your demo apart from
the pile
and prompt a spin.
Good cover and sleeve art can be created in the simplest graphics packages (PageMaker, Paint)
or in professional design software (Quark, Photoshop). Kits like CD Stomper and Neato, which make
it simple to produce art for your cover, sleeve, booklet and disc, are available on the cheap and output
easily on most printers.
Don't confuse people by getting fancy with album titles -- you don't want them to mistake the name
of your album for the name of your band. The less they have to remember, the better.
Tip: Beware the cheese factor. Bad logos and ill-conceived cover art scream amateur. If you don't
have the skills, bring in a friend skip the art altogether.
I'd also suggest avoiding having your cover look like a generic photoshop image due to over
manipulation.
KNOW YOUR TARGET
Are you sending to a underground label or a pop label? A booking agent or a music publisher?
Be sure that the information you provide and the presentation of materials are appropriate to the target.
For example, a booking agent will want to know how often you play out, where, and what kind of
audience you typically draw, whereas a music publisher will be more interested in the diversity of your songwriting.
Know who you are sending your press kit to and tailor it accordingly. A personal and properly
addressed cover letter can go a long way. Highlight upcoming gigs in their area. When sending to,
say, a label that specializes in one genre, point them to appropriate tracks on your demo. If you're
burning your own discs, consider whether the sequence (song order) should be rearranged.
Tip: These people are conducting business. A professional presentation lets them know they're
dealing with someone on their own level.
FOLLOW UP
Once your demo is delivered, consider yourself officially mutated from musician to salesperson.
For some this will be the hardest part; your music is now product (bleh!) and you are the
sales team.
It's imperative that you contact the demo recipients about two weeks after sending. Remind them
who you are and what you sent, and request feedback. Keep a log of what you sent, to whom,
when you followed up, and when you will follow up again.
You have to strike a balance between reminding them who you are and not making a nuisance of
yourself. These people have stacks upon stacks of albums to check out, so be patient. Polite
and professional follow-up calls, emails and/or mailings will help move your demo nearer to
the top of the pile.
If you do get a response, send a professional thank-you note. Even if you're turned down,
be remembered. It might get you a second chance next time around.
(taken from: http://www.britishhiphop.com/resources/Articles/submittingdemos.html).
