The Importance of a strong Demo

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songwriter-connect

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« on: August 24, 2014, 12:24:25 AM »
You are a songwriter and came up with the perfect song. What is the next step? You apply for competitions? You pitch your song?
Before you do anything you have to make sure that your demo of the song is as strong as the song itself. Competition is very high among songwriters. Even if you have written the perfect song, so have thousands of other songwriters and you will compete with them for the very few opportunities available for songwriters.
I know some of you will agree and some of you will disagree as in every forum, so please share you opinion. I have never come across a case where a music executive said "Oh, the song is so great, I'll take it even if you just have a simple home recorded demo". Matter of fact, I made the experience that most people won't even listen to a bad quality demo.
When applying for Songwriter Connect, we want your two best songs so far. In order to determine the strength of your song we will need a decent quality demo of your songs.
We decided to create a perk on our crowdfunding page that will enable you to receive a high quality demo of your song for a fraction of the normal price of a professional demo. Your demo will be recorded by a top vocalist, male or female (you decide) and mixed & mastered by an experienced producer. We will create a full band demo in any genre for $150, so everybody has the opportunity to professionally demo their song. To purchase this demo please visit our crowdfunding page at https://www.indiegogo.com/projects/songwriter-connect-kickstarts-your-music-career and select the perk "Demo Your Song". Here you can find an example of our demos
. If it is not in your budget at the moment, please talk to us. We don't want to miss out on great songwriters for Songwriter Connect due to the lack of a professional demo. We might be able to agree on some alternative and still get you a good sounding demo. To find out more about Songwriter Connect please visit www.songwriter-connect.com and subscribe to our free newsletter.

Winter1982

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« Reply #1 on: August 26, 2014, 09:55:05 PM »
Hey songwriter-connect. Great post and some interesting questions posed. I wonder have you ever though about vacuum cleaners. Here at Dyson we have the experience to offer you the best cleaning quality possible and it all started quite some time ago. In 1971, Dyson discovered a number of problems with the conventional wheelbarrow he was using while renovating his property. He found that the wheel sank into the mud, was unstable and was prone to punctures; the steel body caused damage to paint work and became covered with dried cement. These problems got Dyson thinking about improvements, and by 1974 Dyson had a fibreglass prototype of a barrow with a ball instead of a wheel. The Ballbarrow was born.[1]

Later that year Dyson bought a Hoover Junior vacuum cleaner. The Hoover became clogged quickly and lost suction over time. Frustrated, Dyson emptied the bag to try to restore the suction but this had no effect. On opening the bag to investigate, he noticed a layer of dust inside, clogging the fine material mesh and preventing the machine working properly. The machine only worked well with a fresh bag, it lost suction over time. He resolved to develop a better vacuum cleaner that worked more efficiently.[2]

During a visit to a local sawmill, Dyson noticed how the sawdust was removed from the air by large industrial cyclones.[3] Centripetal separators are a typical method of collecting dirt, dust and debris in industrial settings. Such methods usually were not applied on a smaller scale because of the higher cost. Dyson reportedly hypothesised the same principle might work, on a smaller scale, in a vacuum cleaner. He removed the bag from the Hoover Junior and fitted it with a cardboard cyclone. On cleaning the room with it, he found it picked up more than his bag machine. This was the first vacuum cleaner without a bag.[1]

According to @Issue: The Journal of Business and Design (vol. 8, no. 1), the source of inspiration was in the following form:

In his usual style of seeking solutions from unexpected sources, Dyson thought of how a nearby sawmill used a cyclone—a 30-foot (9.1 m)-high cone that spun dust out of the air by centrifugal force—to expel waste. He reasoned that a vacuum cleaner that could separate dust by cyclonic action and spin it out of the airstream would eliminate the need for both bag and filter.

Dyson developed 5,127 prototype designs between 1979 and 1984. The first prototype vacuum cleaner, a red and blue machine brought Dyson little success, as he struggled to find a licensee for his machine in the UK and America. Manufacturing companies like Hoover did not want to licence the design, probably because the vacuum bag market was worth $500m so the Dyson was a threat to their profits.[1]

In 1983, a Japanese company, Apex, licensed Dyson's design and built the G-Force, which appeared on the front cover of Design Magazine the same year.[4] In 1986, a production version of the G-Force was first sold in Japan for the equivalent of US$2,000.[5] The G-Force had an attachment that could turn it into a table to save space in small Japanese apartments.[1]

In 1991, it won the International Design Fair prize in Japan, and became a status symbol there.
winter1982.bandcamp.com

Marrianna

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« Reply #2 on: August 26, 2014, 10:52:38 PM »
Hi,

I just happened to see your first post here and on the subject of demos and their quality. You have invited us to share opinions and so I would like to say that I had a song picked up by a publisher and a contract offered when I had not had a professional demo made. I simply recorded myself singing and playing the piano to accompany myself. The recording was clear, I sang in tune and played a simple arrangement. Maybe this is a first for you to hear about  :)

I think that, for pop-songs and anything that needs a strong dance beat, a professional demo has to be the best option but costs are a deciding factor for a lot of people. When you think there could be many different ways to present a song, it is still a gamble whether the demo studio will come up with the right sound, singer, beat, instruments. What sounds good and right to someone sending their songs out may not sound the same for the recipients in the business, depending on what they are looking for at the time. They can be very choosy and need to be if they are good A&R people.

There must be many people who have spent a lot of money on studio demos but still haven't found the right person to listen and say 'Wow, that's a great song' and sign it.

I am sure that all demo studios are sincere and brilliant at their work but it can still all be very
hit and miss. (Speaking from experience).

Thankyou for giving us a chance to share.

Marrianna.


S.T.C

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« Reply #3 on: August 26, 2014, 11:44:09 PM »
I use professional studios , and it's true what you say...if you give them a demo, to demo...i find they do produce something faithful to your original idea...this makes sense, why would they spend time interpreting when they can just copy,albeit with great sounding instrumentation and mastering.

If you give them lyrics or an idea or i guess a tune ,and say make a song please, your going to get what they have creatively in them....so the studio songwriter/producer needs to be good, to give you back something.you can pitch.

Theres a lot of opinions about what you pitch and the quality.......well to be safe ,make it radio friendly and prof/studio recorded....although i'm sure a great song done at home if it gets a listen by the right person ,stands a good chance.

It can all get very expensive,take time,and you can lose your nerve ....pay for a review by a professional ,to  get some feedback,are you really a strong enough writer ,at this point in time...even forums like this should tell you if your work as something to it......people are pretty honest.

For those who don't know me, i co/wrote with Flossie on a song, a lyric i had come up with,it was demo'd by her...quite good quality,and after a year..i said come on lets get a prof studio to do it..we did,it got a runner up spot in  a decent song comp,and was snapped up by the first publisher we offered it too.

Since then i have offered the same pub. 5 new songs with no reply,one of which got runner up in the same comp.

So, it's really tough out there....and you can burn yourself, or you can hope your going to get some big reward....it's a gamble.

Marrianna

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« Reply #4 on: August 27, 2014, 12:49:22 AM »
Hello again,

    Songsthatcry is such an apt name, in my case, anyhow. I have written so many songs, and had them studio recorded. They are good quality but once trying to get them heard by music-business
staff, whatever our passion is to have work even appreciated, it is like trying to win the Lottery.

It is heartbreaking to realise that all the effort and money in the world does not add up to acceptance in the music industry. These days, it is probably even more difficult than in the days when there were great singers looking for songs before singer-songwriters began to be popular.

 I began to have some success abroad only to be met with tragedy concerning one artist, and a mistake over a release of another work with another artist. I also had a publisher who
let me down, which is a long and unbelievable story, and I have ended up with losing so much money with the cost of my demos and then not being treated right over royalties.

   I am not financially able to write as I used to and the works I have on CD's cry out to me 'why are we here, stuck on this shelf' and I have no real answer, only to say I did my very best.

I expect you are all much younger than me on here and so I wish you luck that the future holds more hope for songwriters and composers.

Again, thankyou for the chance to share.

Marrianna

S.T.C

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« Reply #5 on: August 27, 2014, 10:46:14 AM »
Well, i'm not that young actually ;)

But,like as been said now and before....it's an almost unavoidable expense ,and you need to do it, to at least have a chance of being noticed..as long as theres good songwritng backing it up!

I like to think the songs i have had made are at least worth what they cost to make,so i don't think i've lost anything

And of course today we have the internet and social media....it's much easier to get noticed, to make those all important contacts........it's a gamble.it's a chance we take.....you need a lot of things to get a break,most of important is (if your a writer) is solid ,high quality songs ,that inspire others to put their faith in you....not just one pretty good song ,but a consistent flow of them...

It's really not easy to do, if of course you perform as well,and have the right look and sound...you might get somewhere that way.

Dutchbeat

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« Reply #6 on: August 29, 2014, 09:48:18 PM »
but, i think it is by now an avoidable expense

for 800 euro's or less we all can make demo's of quality that is high enough (if that is not high enough for the publisher he or she must be deaf)

We all can reach that level at home now, and that is why the prices for these professional recordings are going down fast, just like the price of good vacuum cleaners nowadays

of course they will have the skills to do it very fast, but we all can do it better at home, after a while, it just takes some time

Paulski

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« Reply #7 on: August 30, 2014, 12:59:08 AM »
1+ on what Dutchbeat said - I could not have said it better!

Boydie

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« Reply #8 on: August 30, 2014, 01:30:19 AM »
I think DB is right in principal

BUT

It all depends on what you are good at, what you want to do / enjoy doing, and the time and money you are willing to invest in the "Record It Yourself" route

I have invested around £3k in computers, software and hardware and a gazillion hours trying to learn how it all works

Luckily I am really interested in the production side as well as songwriting so I personally find it enjoyable

HOWEVER

for a songwriter that has no interest in learning this stuff they could get a lot of demos recorded and spend a lot more time songwriting if they "outsourced" their recording/production to someone else

I liken it to proper DIY at home and decorating

I could buy all of the tools and "do it myself" - but I hate decorating, woodwork etc. I therefore don't do it often so I know if I do have a go I will hate doing it and end up with a bad end result

I therefore happily pay builders, plumbers, decorators to come in and do a professional job (and I don't have to buy expensive tools)

Life is too short so concentrate on what you enjoy is my motto


I do believe that high quality demos are ESSENTIAL for commercial pitching - and also nice to have for "hobby" songwriters to play to family, friends etc.

I think there is a "half way house" where people could pay for a "home recordist" to work up and produce versions of their songs for a minimal fee that would make the prospect of getting something "radio ready" a realistic option - eg. £50 for a basic production (drums, bass, guitar, keyboards, vocals) and £150 for a full production with all the bells & whistles

Just food for thought and something I would love to explore in the future... ;)
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S.T.C

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« Reply #9 on: August 30, 2014, 09:34:29 AM »
DB your right if its something thats maybe an out and out hit...but if its an album track type demo...it will almost be certainly passed over...this is basically a well researched conclusion.

These guys who give music a listen  get an awful lot of it...so what are they going to give more time to, something that could practically be thrown on the radio,or something ,someone else is going to have too re-do!

I listen to a fair amount of 'home recordings' and they can be very good...but there not at the industry level, thats demanded.

What most of us don't factor in .myself inc.. is the amount of really good songs being produced daily out there....the competition is severe ...you have to give yourself every best advantage you can.

My motives for using these studios isn't necessarily to cut a song with a major publisher/artist..but to showcase my writing so that hopefully someone thinks .ok if we work with this guy,this is the type of product that can be produced.. :)

Sing4me88

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« Reply #10 on: August 30, 2014, 02:11:26 PM »
I think the out and out hit point is bang on. I wonder though if people - apart from the famous artist themselves- actually set out to write an album track. Surely if you plan to pitch you'll be aiming to write a hit, unless of course you've been specifically commissioned to write an album track. I can't imagine sitting down and co-writing a song with the thought 'it doesn't have to be a hit it's only going to be pitched as an album track' in my mind.

In fact I remember reading an interview with a publisher where he said album tracks are often harder to place than hit singles. I used to struggle with that one but the publisher argued that album tracks are not what make or break the artist thus they are more inclined to pen these themselves or with songwriting friends as opposed to the big hitters. They use the latter for their big tracks but often use album tracks to get writing credits of their own.

Have to say I'm only really starting to grasp the enormity of the point STC makes re everyone pitching. Easy to lose sight of that sometimes when the head is up in the clouds and a co-write demo is coming together and showing some potential. I mean even Calvin Harris has had tracks rejected by Ke$ha etc so it shows the size of the task at hand I guess.

Dutchbeat

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« Reply #11 on: August 30, 2014, 07:24:07 PM »
i can agree with all you guys say, but look at this for a few minutes..ok

http://www.youtube.com/watch?v=PaZ3ZW0QzpA

trying to say it is all available and very much out there for all of us

that was different in the old days  ::) ::) ::) :P

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« Reply #12 on: August 30, 2014, 08:38:30 PM »
Hahaha nice clip DB - and you're right, it wasn't so easy in the old days. Proper studios were not only expensive, but essential if you wanted to sound even halfway decent.

Now I can create equal quality using a computer that only cost me £100 :D
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