| Here is a checklist that will maximize
| |
| | 6. Make sure there's a copyright notice
|
| your chances of getting heard and respect
| |
| | (© 2003 I.B. Cool, All Rights Reserved)
|
| the listener's time.
| |
| | on the bottom of the lyric sheet and on
|
| 1. Never send more than three songs
| |
| | the tape or CD label. Technically, this
|
| unless specifically requested otherwise.
| |
| | isn't necessary but it alerts everyone
|
| Demo listeners like watching the "in"
| |
| | that your song is protected, whether it's
|
| pile diminish and the "out" pile grow as
| |
| | registered or not.
|
| quickly as possible. If the listener has
| |
| | 7. Cover letters should be short and to
|
| a limited time to listen, which is
| |
| | the point. Let the music speak for itself
|
| usually the case, the tendency is to
| |
| | and avoid hype. A professional
|
| listen to a tape/CD they know they can
| |
| | presentation will do more to impress
|
| complete. So if you send a demo with ten
| |
| | someone than "I know these are hit songs
|
| songs on it and someone else's demo has
| |
| | because they're better than anything I've
|
| one song, you can bet that the "out" pile
| |
| | ever heard on the radio," or "I just know
|
| will grow quickly with one-song demos.
| |
| | that we can both make a lot of money if
|
| There's also the psychology that implies,
| |
| | you'll publish these songs." Avoid the
|
| "I've sent you the song you need!" This
| |
| | temptation to tell your life story, and
|
| is particularly true in pitching songs to
| |
| | don't explain how you have a terminal
|
| producers for a specific artist. Along
| |
| | disease, you're the sole support of your
|
| those same lines, most people resent
| |
| | 10 children and if these songs don't get
|
| getting tapes/CDs with 20 songs and a
| |
| | recorded they'll all be homeless or
|
| letter that says, "I know you'll like at
| |
| | worse. In fact, don't plead, apologize or
|
| least one of these, so just pick out what
| |
| | show any hint of desperation. It only
|
| you want." They want you to do that and
| |
| | gives the message that you have no
|
| send them three songs or less. Songs you
| |
| | confidence in the ability of the songs to
|
| totally believe in. If you're not far
| |
| | stand on their own. Here's what should be
|
| enough along to be able to decide, you're
| |
| | in your cover letter:a. it should be
|
| not ready. When sending CDs with more
| |
| | addressed to a specific person in the
|
| than three songs, highlight three you
| |
| | company.b. It should state your purpose
|
| want the listener to focus on first, and
| |
| | in sending the demo.
|
| include the numbers of the cuts in your
| |
| | Are you looking for a publisher, a
|
| cover letter and lyric sheets (so they
| |
| | producer, a record deal for you as an
|
| have a reference while the CD is on their
| |
| | artist? Do you want the listener to pay
|
| player and they can't see the label). If
| |
| | special attention to your production,
|
| they like those, they'll listen to the
| |
| | your singing, your band, or just the
|
| others. And please, remove the
| |
| | song? Is it targeted for a specific
|
| shrink-wrap!
| |
| | artist? c. List any significant
|
| 2. Place your best and most commercial
| |
| | professional credits that apply to the
|
| song first. If you have a strong up-tempo
| |
| | purpose of your submission. If you want
|
| song it's a good bet to start with that.
| |
| | your song published, list other published
|
| If they don't like the first one, it may
| |
| | or recorded songs, contests won, etc. If
|
| be the only shot you get. If you're
| |
| | you're a performer submitting an artist
|
| sending a cassette, put all the songs on
| |
| | demo, resist the temptation to grab at
|
| the same side and put the label only on
| |
| | weak credits: "I played at the same club
|
| the "play" side.
| |
| | that (famous star) played." Tell them
|
| 3. Never send your original master tape
| |
| | what drives you, what inspires you. Keep
|
| or CD. You may never see it again and
| |
| | it short. List real sales figure. Don't
|
| it's not fair to saddle its recipient
| |
| | lie. d. Include any casting ideas you
|
| with responsibility for it.
| |
| | might have if you're pitching to other
|
| 4. Always cue your tape to the beginning
| |
| | artists. e. Ask for feedback if you want
|
| of the first song. You don't want the
| |
| | it. Odds are you won't get it but give it
|
| person to start listening in a bad mood
| |
| | a shot. f. List the songs enclosed and
|
| because you just wasted his time making
| |
| | writers' names in the order they appear
|
| him rewind your tape. When you make your
| |
| | on the tape/CD. (Lyric sheets should also
|
| copies, leave four seconds between songs.
| |
| | be enclosed in the same order the songs
|
| Most cassette decks have an automatic
| |
| | appear on the demo.) g. Thank them for
|
| search feature, which finds the silence
| |
| | their time and attention. h. Include your
|
| between songs stops the fast-forward and
| |
| | address, phone number, Web site URL and
|
| automatically starts playing the next
| |
| | e-mail address (if you have one).
|
| song. Obviously, this isn't a problem
| |
| | 8. Send a self-addressed stamped envelope
|
| with CDs. If your CD contains more than
| |
| | (SASE) if you want your tape or CD back.
|
| the first four you want heard, clearly
| |
| | There are two schools of thought about
|
| mark on the on the CD and printed insert,
| |
| | this. On the pro SASE side, if you don't
|
| which ones you want them to hear.
| |
| | want to lose all those tapes/CDs, you
|
| 5. Send a lyric sheet neatly typed or
| |
| | can't expect to get them back without it.
|
| printed. Letterhead is impressive. It
| |
| | There's another school of thought,
|
| says "This is my business and I take it
| |
| | though, that if you say you want it back,
|
| seriously." Some don't like to look at
| |
| | and you're assuming they won't like it.
|
| lyrics while they listen, but most do.
| |
| | There's no guarantee that you'll get them
|
| It's a time saver to be able to see it
| |
| | back even if you do send a SASE, in which
|
| all at once and to see the structure of
| |
| | case you're gambling even more money, and
|
| the song graphically laid out on the
| |
| | worse could happen than your tape or CD
|
| page. Lead sheets (with melody and lyric
| |
| | sitting around a producer's office.
|
| together) are not sent out with demos.
| |
| | 9. Your name, address and phone number
|
| They're good to have at the point where a
| |
| | should be on every lyric sheet. It seems
|
| producer wants to record your song and
| |
| | like such a common sense request. In fact
|
| you wanted to be sure he/she has the
| |
| | it would be embarrassing to even suggest
|
| correct melody, but since the current
| |
| | that you might forget to do it if I
|
| copyright law permits tapes/CDs to be
| |
| | didn't see it happen constantly. The
|
| sent for copyright registration, their
| |
| | problem on this end is that, between
|
| importance has diminished. Lead sheets
| |
| | listening sessions at the office, the
|
| are bulky to mail, it's too difficult to
| |
| | car, and home, it's so easy to separate
|
| follow the lyric and visualize the song's
| |
| | the tape from the box or lyric sheet.
|
| form, and many industry pros don't read
| |
| | Once they've gone to the trouble to find
|
| music anyway. It also pegs you as a
| |
| | your hit song, not finding you are a fate
|
| songwriter over 50 who have no experience
| |
| | they don't deserve.
|
| in submitting demos since this practice
| |
| | 10. be sure you have adequate postage.
|
| went out of style about 25 years ago.
| |
| | Also, don't send your tape in an ordinary
|
| Separate the sections of the songs with a
| |
| | stationery envelope. It's risky because
|
| space when you type out your lyric sheet.
| |
| | rough postal handling could force the
|
| Label each one (verse, chorus, bridge
| |
| | edge of the tape box through the
|
| etc.) at the upper left side of the
| |
| | envelope. Use a special envelope with an
|
| section. Do not type your lyrics in prose
| |
| | insulated lining. Some people also prefer
|
| fashion. Lay them out with the rhymes at
| |
| | the soft "bubble" tape box because it
|
| the ends of the lines so the structure
| |
| | doesn't have sharp edges and it's lighter
|
| and rhyme schemes of the song can be seen
| |
| | to mail.
|
| immediately.
| |
| |
|
