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MUSIC BUSINESS ARTICLES
Making your own demo Making a record. by Billy Tweedie Introduction Of late, it is becoming more and more commonplace for bands to get their own product cut onto record or CD, either for general release or to make your outfit or band look more impressive than you would on your standard TDK 90 demo cassette, especially if you're planning on using it to try and get attention from a larger record label. Ultimately, you're looking to get your very best material out to a much wider audience than you are currently reaching. At the demo stage, this can also be a very useful and important market research tool, where bands are able to get genuine street reactions to their material. Nothing proves your determination and commitment to succeed better than packaging and selling your own music. If you're planning on setting up a record label or want to have a stab at doing it for yourself instead of waiting to get signed by that elusive major record label, I have just three words to say: GO FOR IT!!! You are now in control of the next phase of your journey to (super-)stardom. Well, you know what I mean! But it's not going to be that easy. And it's certainly not going to be cheap. It goes without saying that you need to ensure your material is of a sufficiently high standard. But you also need to have the right mental tools for the job: persistence, initiative, creativity, responsibility, and so on - but you knew that anyway, didn't you? Didn't you? You need to be sure that you're actually READY to release your product. Demos are still a useful tool which you can use to get the necessary crucial feedback needed to develop your songs/style/material. Don't forget that you can still get record label interest from a decent demo. But if you've tried and tested the demo route and found that there's still no one hammering on your door, or your sick of getting the 'thanks but no thanks' letters and you truly believe that your material can hold its own in the current musical climate - then what are you waiting for? However, it DOES pay to spend time doing a bit of research BEFORE you embark on committing your material to CD or DJ friendly Vinyl!: What are you pressing up ? a CD album, a CD single, vinyl EP, 7 or 12 inch single??????? And that's just for starters! Can you, and how will you, afford to do it? Are you sure that the record buying public are ready for your unique flava? Would YOU buy it if it wasn't you? (Be truthful!) Is your flava in keeping with the current musical trends? Would your style fit in with the current crop of music releases? If so, how could you be sure that your particular release would stand out? Can your release stand on its own against some of the more established artists releasing new product on the same day as yours? If your material is a bit more on the 'experimentally different' side of the fence, have you found ways to reach as much of your target audience as possible? Do you REALLY have a thorough understanding of your potential audience? Will your product be available only at your gigs or will it be available instore? How will your product get into these record shops and retail outlets? In which record shops would you want your product to be available - High Street chains like K-Mart, HMV and Virgin, or select specialist stores? Is it the right TIME to be releasing your material ?- you wouldn't really want your CD to get lost in the Christmas rush alongside Slade's 'I Wish It Could Be Christmas Every Day', Released again for the 99th time now would you?!lol!!! If you find the disc hasn't quite sold in the numbers that you'd anticipated, it would be worth your while looking into WHAT WENT WRONG. For example, the promotion could have been so poor that nobody knew about the release, or the market might not have been quite ready for your 'Next Big Thing' or, quite bluntly, your material could just suck!!! Sorry - but the truth hurts! You may find there to be no commercial viability in your project at a particular moment in time, but that's not necessarily the cue to call it quits. Try for a change of strategy instead. Remember not to be too over-enthusiastic with your quantities - the last thing you'll want is 900 copies of your release in boxes in your bedroom. Be realistic with your expectations. you could always do a 'small run' and, if these sell out, you can go for another pressing. Major record companies are often seen to be lazy. With dance music in particular, there has been a tendency for the smaller cutting edge independent labels to act, in essence, as the street A&R for the majors. For example, you put out a release on your small label and it starts buzzing and all of a sudden everyone wants a piece of it. After you've done all the hard work researching, promoting and pushing the releases to all the right people, the Major just steps in, gives it extra marketing glitz, possibly plugging it to radio stations, buying ads in the music magazines and watches it soar up the charts. There is also the argument that many of the guitar based independent labels are now owned, or affiliated in some way, to major labels, with the parent company only stepping in after the artists sales figures pass the 'couple of thousand' mark. It could be you. You can use your product also to help create a buzz about you or your band and strengthening your all important reputation. Think of how you can increase your current audience. There's no better way than to have a highly demanded single or album available for sale. Think of the avenues opening up to you: radio, television, magazines. Your product may start to sell like hot cakes but, it's important to remember, that you may still be a long way from earning X-amount of money. So, you're still interested in the DIY style!? What's the first step? First, You need to make your Finished Master Recording. Recording If you are in a band looking for that all-important big break, the only thing you can be certain of is going into a recording studio at some point. 'What makes a good recording studio?' is a question often asked, but the answer will often vary from one individual to the next. What you may hear is that 'such & such studio has got this desk and that unit and 24 this and digital that and blahdeblah who's done whatsit worked there'. In truth, none of the aforementioned will be of any use without looking at the important factor: those people involved........... A good sound engineer with examples of their recent work is an excellent start - ask some of the bands who have worked from that studio, and ask how good that person is to work with. A constructive, consistent, supportive and adaptable working atmosphere is infinitely more crucial to good results than the equipment list. If you don't appreciate what the engineer has to say, or you simply don't think you'll feel comfortable recording in that studio, then DON'T. After all, you're the one's paying! Shop around. Remember that a good studio cannot be judged on price alone. Where? You may find it useful talking to other bands and musicians about where they have recorded and getting their reaction to the experience. Were they happy with the demo? Was the engineer competent? You need to be sure of the available technical support before you commit to a particular studio, especially if your material consists of sequenced and/or sampled material. It would be good to make the studio aware of your style of music, perhaps by bringing your most recent demo or perhaps, another record with the sound that you're after. You could find that a studio offering 24track recording will suit your needs better than a 16track because you might want spare tracks available to have alternative vocal takes or solos. It is worth taking the time to consider sounding out which studio will be right for you. There is nothing wrong in shopping around to find a studio to suit your needs. After all, it's your money. And your music.You may also want to think about owning your multi-track master tapes. They could come in very handy if the vocalist decides to leave the band just as you're about to get your discs pressed and refuses to let you use his/her voice on the recordings.....This has happened before! They're also handy in terms of getting possible remixes done to your work. Talk to your chosen recording studio about this before you start to record. Pre-production Going into the studio for the first time can be both an exciting and yet daunting prospect. Having to commit yourselves to tape without making any mistakes isn't going to be easy. That's where the following cliché comes in: Practice makes perfect. The tighter the arrangement before you get into the studio, the less tense it will be by the time you get to mix-down. Don't waste valuable time that you're paying for by suddenly deciding to change the middle 8, and throwing in a brand new chorus! You also need to be sure that all your gear and equipment is in fine working order and that you're prepared to act if things go wrong. Do you have a spare set of strings, a drum key or, maybe, a backup disc of the original sequence? Don't underestimate how much time you will need to record and mix down your material properly. Make sure that all band members know what each other wants to sound like -it's good to talk. There is an extra approach that many bands tend to overlook - the role of the producer and/or arranger. If you really want to take your music to the next level, it would be worth investing in an arranger, who would do just that: write parts for different instruments and arrange them to provide backing or accompaniment to your song. A producer takes control of the recording session to create a particular sound and feel using your material. They may advise on how choruses, instrumental breaks, effects and other aspects of your music should be assembled to create the finished recording. It would be worth looking at artistes who's material you particularly aspire to and finding out the names of the producers and arrangers. There are also a number of good local producers which you may be able to access through Music contact magazines. Some producers will only work on material that they personally like. Although this could prove to be costly, imagine what the results would sound like?! In progress.If you're looking for demo-tape quality, the quickest that most studios will be able to accommodate is up to three (or maybe even four) tracks over the course of two days. Talk things over with the engineer if you want to lay the tracks 'live' as opposed to multitracking separate instruments. In fact, talk to the engineer before you start to ensure that s/he knows exactly what you're looking to get out of the studio sessions. If you're not happy with a certain riff here or a wrong note there, then speak or forever hold your peace. In years to come, you may live to regret never having said anything about such an obvious 'boo-boo', no matter how 'nearly right' it sounded at the time. If you had spent time shopping around, the chances are high that you will be happy with any comments the sound engineer will make. Remember, their expertise lies in knowing how comparative levels and EQ contribute to the overall sound. Don't be afraid to comment if you feel the need. A good engineer will give you plenty of opportunity to do this before committing the mix to master. You may feel it best to book a block of studio time as opposed to fragmented sessions as this helps nurture the creative flow. If you just book in a few hours here and then another few hours there, you spend so much time listening to previous sessions and warming back up, then by the time you start to 'get back into it' it's time to go. If you're in the studio for a number of days at a time then, yes, it can be tedious at times, but at least there is more chances of you all getting into 'the zone' where everything suddenly starts to fall back into place and you find that you've covered X-amount of essential ground work on your tracks. Master mix It is widely felt that the final mixes are best done at a later time than the recording. Bear in mind that after listening to your material twenty times, your ears may start to get accustomed to the monitor mix and you may end up not wanting to change from the sound already familiar to your ears. Where possible, sleep on it or, at the very least, get away from the studio for a number of hours so that you can start the mix with 'fresh ears'. Most studios would have no objection to keeping the recording and mixing sessions separate - but make sure that you've arranged this beforehand! If you prefer this 'fresh ears' approach, you may find it useful to take away a rough monitor mix of the recorded sessions to enable you to plan a few adventurous ideas, but if you don't know what's troubling you about your sound then there may be no point in wasting studio time and money hoping it will improve by endless fiddling. Once you are happy with the sound of the track, the engineer will commit this master mix onto a master copy, usually in a digital format such as DAT or MiniDisc (my personal fave!), or you may prefer the engineer to master on to Analogue Tape (although, this method is used less and less today). If the material is all your own work, then you're ready to go the next stage. COPYRIGHTS ARE VERY IMPORTANT! You should be aware that there are two copyrights on a record: songwriter copyright and recording copyright. You may have come up with a verbal agreement to split all royalties equally between yourselves. Or, the actual songwriter(s) might ask to receive a larger share. If you wish to record a new version of somebody else's song, you will need a licence before recording that copyrighted work. You will need to approach the record company and writers or publishers of the original work for their written permission and then, if granted, you can negotiate an acceptable royalty rate, known as a mechanical royalty. You now have your finished Master Recording.Remember to keep your final mixed master in a safe place. Many studios will let you buy your multi-track recording master, that means that the final recording is in your hands (or in the safe at your local bank in you prefer!). OBTAINING THAT PRODUCT It is worth noting here that there are many reputable companies who are able to offer all of the following services in-house, which would save much to-ing and fro-ing on your part. However, it is worth talking to a few different organisations before you settle with one. Find out who else has used their services. If you want your material to sound as thick as say, a Basement Jaxx tune or as zingy as a Grace Jones classic, but don't know where to go - you could try looking at your own record collection!! Somewhere either on the artwork, the label or even the shiny bit around the label, there will be something like 'mastered at... or 'a porky prime cut'. Then look them up through Yellow Pages, 1800-555-1212, Directory Enquiries, Music Week Directory, White Book etc., and various industry contact lists. Artwork Label or CD surface artwork needs to be prepared before the records/discs are manufactured. Cover and sleeve design needs to be ready as early as possible. Artwork preparation and sleeve printing can take up to a couple of weeks so make sure that you allow plenty of time for this stage. There could be delays otherwise! Most importantly, check to make sure that all your desired artwork meets the technical specifications that the printers are asking for. If you're planning a white label dance release on record, then you can anticipate your overall costs being lower. But on the other hand, your release will just look the same as many other releases in your local specialist store, so it might not even get a look in right from the off. You can't always rely on letting the music speak for itself. With so many other titles on offer, you need to make your packaging look as attractive as possible so that, at the very least, the punters will want to listen to your release alongside the latest hot European imports that sometimes seem to cost $25 more a disc in many stores! Even putting a sticker on would be better than just having a plain sleeve......... The Cut You need to be aware that pressing plants now work closely with the MCPS, an organisation which acts on behalf of its writer, composer and publishing members. All reputable pressers will ask of evidence of a license application before they even start the manufacturing process!! This licence application or Repertoire Registration Form (RRF) requires information such as track titles, song author(s), arranger(s), duration, publishing details, pressing plant, etc. and will ultimately go some way to helping the process of collecting royalties from your material. This form should arrive at MCPS at least seven days before manufacture. If you are making a CD, you may be asked to ensure that you supply a Red Book Standard CDR Master that's "PQ-encoded", provided by a mastering engineer specialising in digital replication. (What?!???? Billy what are you talking about??) Well, what they are basically asking for is a master CD from which your release will be produced from. Imagine you're about to release an album having worked with different producers all recording in different recording studios. The tracks themselves will indeed sound different when compared with each other. Some songs may sound very bass-heavy whilst others may be a little on the 'bright' side. You need to reach a compromise (for want of a better word) where there is not too much sonic difference from one song to the next to another. All the tracks will need to be sound relatively similar. This is the final chance to get that required EQ and sound level matching. A CD also needs a 'table of content' containing digital information which basically says when a track starts, when that track finishes and when the next track (if any) begins. The whole disc is mapped out in this fashion. These form the PQ codes and enable any CD player to understand that the CD contains X-amount of tracks on it. This information is put onto a glass master CD containing nickel (which stores the information in a digital format). A reverse or negative stamper is made from this, and it is from this stamper that all your discs will be stamped. If you're only producing a small run, then you could consider buying or hiring a CD writer (the cheapest ones connect into your computer, though you'd still need the software (such as SoundForge) to transfer the audio from your Sound card input onto the CD in a user-friendly format. The software creates the PQ codes for you using your selection track beginnings and ends.). Vinyl: The Dance DJ's friend: If you are making vinyl, the process of preparing the pressing master is called 'The Cut'. This is where the final EQ and balance is made to your final mixed Master Recording, and therefore is a crucial stage of production that you need to be present at. A good cut can enhance your tune, giving it that extra 'depth' and 'sparkle', but a bad cut could literally ruin your masterpiece! You will be presented with a one-off disc (an acetate) which can be played on a regular turntable to ensure that everything sounds OK. Make sure that you like the sound of the acetate pressing before you proceed with the job. A lacquer will then be manufactured. This is a soft one-sided disc from which a metal mould is made and it is this mould which will eventually stamp the grooves into the hot vinyl which, when cooled, will form your record. NOTE: You will need two lacquers for a traditional two-sided release (one for each side). The lacquer cutting and processing can be the most expensive parts of manufacturing your release. If required, you can then order a quantity of test pressings which are just as their name implies; Again, these can be played on any turntable and this is the last chance that you get to make sure that you are happy with the results before you go full steam ahead and press up your vinyl in bulk quantities. Be careful to check that the discs are flat and not warped, and that the stylus arm is not swaying too much from side to side. Once satisfied, you will then be well on your way to receiving either your hot white labels or snazzily artworked finished copies. Albeit after a further couple of weeks manufacturing time. Distribution Once you have the records what are you going to do with them? You could take a car-trunk full of records round the specialist outlets yourself, but they will probably only offer you 'sale or return' whereby you will need to call back a month or two later to collect payment for any product that's been sold, and possibly take back any remaining copies. The shop managers should know their customers well enough to guess how many might sell, but can you afford another trip before receiving any money at all? Do you have the time to travel across the country lugging boxes of records from shop to shop only to bring many of them home again? A physically easier option would be to let someone else get your product into the shops. A distributor! Assuming they like your material, the distributor will either place your records into retail outlets or at least include them in their lists or catalogue from which the shop managers make out their orders. Every style of music has it's own specialist distribution services and networks. To find out who would be the best for you to approach, then pop into your local record shop and ask who distributes the records by someone similar in musical style to you. It will be worthwhile to finalise distribution plans before even a single copy has been pressed. Send off your material on cassette/CDR to as many distributors that you want to look after your material. In some cases, you can arrange distribution with more than one company, thus ensuring your product has a greater spread as opposed to having all your eggs in one basket and leaving all your records with one distributor who only deals with reggae in the mountains of West Virginia! Promotion You should have already worked out your sales break even point - the point after which you will have recouped all your expenses (including any additional costs such as artwork and delivery charges) and you can start to make some money. You will need to know how much you plan to sell the discs for and how many copies you can afford to give away free to radio stations, national and/or local specially selected DJs and journalists to ensure maximum exposure. You may need to make allowances for this. Where possible, try to ensure that key media contacts have your product at least a couple of weeks before the official release date so that a demand can, in essence, be created for your release. The success of your product depends upon the level of promotion and awareness of your product so be sure to pay attention to specialist magazines who favor your music style and don't forget to get a copy to the journalist who gave you the blinding review and the promoter of that nice venue that you'd really like to play at. You may find it useful to read specialist magazines catering to your musical tastes to help you compile a database of press contacts/reviewers, retail outlets, distributors, DJ's, etc., which could form the basis of your promotional mailing list. When sending out to the media, it would be more than worth your while to write a press release to accompany your CD, so that the reviewer or DJ has a bit more information and knowledge about you and your band. Remember, this mail out is also going to cost you. Have you got enough funds ($$$) available? Depending on your budget, there are other marketing and promotional options available. Pluggers are companies who actually plug your release to regional and/or national radio stations on your behalf, freeing up much of your time to do other things. It is best to shop around and find out which, you feel, will give the most exposure - be it through interviews or specialist airplay. A good place to start would be to speak to your local radio stations' Head of Music Programming and see which pluggers regularly send them suitable or similar product. You could also employ a press officer who will push to get you radio, press and television interviews, but check to see who their previous clients have included. written by Billy Tweedie ©2001