No unsolicited material accepted!!
- Thread starter BMWerks
- Start date
tanlith said:
IMO sending your CD package unsolicited is the same as playing the lottery. Of course, if you don't play, (I.E. sellecting tracks to include on the submision CD, writing your best cover letter, including bios, photos, adding postage and SASE) you have no chance of winning.
That's what the hell a CD lottery is!
What other way do you see it?
BMWerks said:When a RC tells you it's OK to submit unsolicited material, is the material solicited?
Thanks for taking the time to respond to my perplexing question.
It's both at the same time! Hu! Imagine.
I think of all the opportunities I've wasted
not submitting because I didn't have a contact name though, the company policy was clear that they accepted unsolicited material. 
Robertt8
New member
Yes, when a RC says go ahead and submit your material, that usually means that they've either already heard it and or have an open submissions policy at that given time. So, if their website or something says "NO UNSOLICITED MATERIAL", you are now free to send it in...make sure they remember you and tell them to be looking out for it. Otherwise, you WILL be tossed in the trash without being heard.
I'm sure you guys all know why record labels have developed the "NO UNSOLICITED MATERIAL" policy, but if you haven't here are the couple main reasons...
1. These bigger labels literally get hundreds of CDs and tapes a week. They are inundated with stuff, and from what i hear, 99% of it is pure shit.
2. (and this is probably more important than #1) They do not want to be liable for you (as the artist) claiming that some band off their roster stole one of your wonderful songs...even though they may never have even listened to your demo.
I've dug up a list i've found online that are pretty good at saying why most demos are rejected...in addition to these lists, i've added a couple below that i've found on various other sites as to why Demo's are rejected...
* Undesirable demographic
no we do not represent bag-pipers, yodeling cowboys or Mongolian throat-chanters. While I personally like all kinds of music, those recordings will never bring in enough money in sales to make it worth the time. We are looking for popular (and not just pop, btw) music that will sell records. That is what the major labels are looking for, as if they had a clue what they were looking for.
* THE CITY YOU LIVE IN IS IMPORTANT!
you can be the best band in your town, but if you live in a town with the population of 12,000, chances are you will be skipped over in a heartbeat. If it's important to you, pull up stakes, and move to a city that has a rep for your style or type of music (ie. NYC, Chicago, LA, Nashville...)
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Why Demo Tapes are Rejected
Written by: Chris Knab
*
"Getting a deal" has long been the goal of many would-be artists and bands. For mostly naive reasons, most new talent feel that by securing a recording contract with a significant major or independent label, success will be guaranteed. (But that’s another story) To get this ‘belief system’ up and running, many musicians figure all they have to do is send off their music to a label, and a recording contract will come their way shortly.
The following list of ‘10 Reasons Why Demo Tapes Are Rejected’ was gathered together from years of listening to comments made by Record Label A&R reps at music industry conferences and workshops, as well as from personal interviews with reps, and from many interviews given to the press. In addition, I can verify that these observations are true from having personally listened to thousands of demo tapes over the years.
The purpose of providing you with this information is to at least improve the odds that your music get listened to when you submit your demo tapes. This article will look at the most common mistakes musicians make when either shopping for a record deals, or trying to get the attention of A&R Reps.
10 Reasons Demo Tapes are Rejected.
1. No Contact Information on Jcard and/or Tape Label.
Yes, it’s true...many artists forget to include their name, address, and/or phone number on their tapes. As hard as it is to believe, I have encountered this error countless times over the years. At my record label (415 Records), as a radio DJ, and as a music business consultant I have received dozens of tapes without any contact information on them. A&R Reps are constantly having to remind people of this basic habit. I have always felt that this mistake had more to do with a "premature ego" than simple forgetfulness. ("My music is so great, it speaks for itself...discover me!".) But to be fair, the excitement of actually believing there is a realistic chance that a recording contract may result from sending the music, may have something to do with this momentary lapse of professionalism.
To make matters quite clear, whenever you send a tape, be sure to TYPE your name, address, and phone number on the JCard and the tape label. These days it wouldn’t hurt to also type in your email address, and even a website URL if you have one. The reason for the TYPED comment, is that many times the handwriting of many would-be stars is unreadable. The way I look at it, the odds of making a living making music are hard enough without adding unneeded problems to the pile of obstacles that come along.
2. Lack of Originality.
I think one of the hardest realities for a new or developing artist to accept, is that their music is not "original". A certain pride comes from writing, recording, and performing your own music. Many musicians are also loners. They are, as a potential artist should be, all wrapped up in their music, and what sounds good to them is one thing, and what
friends and family say is irrelevant for the most part because most closely related family and friends want to encourage, not discourage. Even a live audience cannot always be trusted to give honest feedback. Many developing acts perform in front of audiences who are just at the show to have a good time, and if your music is played error free, and is competently performed, you will most likely get a good response.
A&R Reps are another breed. They have a whole different spin on music. Anyone seriously considering "getting signed" should spend some time reflecting on the following observation. A&R Reps get paid to discover unique talent. Talent that they and their superiors at the record label feel has a distinct sound all it’s own. It was best expressed by my former label partner Howie Klein this way. He said at a NAMA Music Conference in the early 90’s, when he was then General Manager of Sire Records (He is now the President of Reprise Records), that many of the demo tapes he heard were simply rehashes of what the Warner family of labels already had signed!
This observation really articulates an important fact. Many developing artists think that if a certain sound is currently popular, than they can take advantage of the "bandwagon" effect and easily get signed. I will admit to you, and popular music’s history will bare this out, that many artists do indeed get signed because of the industry’s ability to spot trends and take advantage of them. But there is also a trap in this thinking. Truly original music is very difficult to find. Once in blue moon an artist comes along who’s music is so distinctive and original that they become trendsetters, and perhaps a whole new "school" or genre of music can be traced to them. If record labels waited around for only these kinds of artists, the music industry would simple be a cottage industry, and not the $20 billion dollar worldwide industry it is today.
A&R Reps really don’t ask for much. In fact the one thing they all seem to say is something to the affect that " I just want to hear ONE THING that is different or unique in a band or artist’s music." Well, that gives one reason to hope, doesn’t it? So, ask yourself, what is the one thing about my music that is truly unique and stands out from everything else? The music business is concerned with one thing, and one thing only.
Will the music of the artist signed to the label sell? If you have any kind of truly unique music that has a ‘niche’ in the marketplace, there is some chance then that you can fight the good fight, and get the attention of the industry. But, as we shall see, in the 1990’s, just having unique and distinctive music isn’t even enough. The labels are looking more and more to artists who have taken significant steps to prove to them that they have some marketable music.
3. The Music Is good, But The Artist Doesn’t Play Live And/Or Has No Self Produced CD’s.
Want to hear the sound of an instant dialtone? Submit a great tape of unique and distinctive music to an A&R rep, and when they surprise you with a phone call requesting to see you play live...say you don’t have a live act. That will enable you to use that automatic dialtone to phone around to your musician friends, and start putting together a live band, assuming of course that you haven’t had a heart attack from the shock of being hung up on. Playing live is simply the heart of the issue. It is from playing live that you will be able to assemble a mailing list of fans to build you careers from.
Any doubts? Just ask Ani DeFranco, Fugasi, Loreena McKinnett, and dozens of other artists.
We live in an era when the "do it yourself" ethic of the alternative music scene of the mid 70’s has become the best way to prepare for record label attention. As recording technology has improved, the ease of making your own record (CD or Tape) has also grown. Interview after interview with contemporary A&R reps reflect the sentiment that when a solo artist or band has taken the trouble to get their professional act together and recorded a CD, and then found innovative ways to play live in their city or town selling their product at every show, the more likely that the "buzz’ created by these activities will expand to include some possible local airplay at noncommercial radio, and garner the attention of the local and regional music press.
In other words, anyone seriously hoping to get signed to a label, should be an entrepreneur of sorts. Not only are the labels more apt to become aware of you, but by engaging in these activities you will actually begin to learn the business of the business, which comes in handy when you do get signed. I can assure you that any astute label owner will appreciate a passionate, and energetic musician who has taken control of their own destiny, and delivered to the label a fanbase of customers that they can then build from. Now, you’re talkin’ the label’s language!
4. Poorly Recorded Material.
Even though, as I already said, recording technology has made it easier for musicians to release a more professional sounding demo, many tapes received by A&R reps do not demonstrate an understanding of the quality inherent in current popular music recordings. I should also say that the comments I make here need to be considered in a certain light. Many reps do not care that much about "studio quality" recordings. For these reps hearing some "magic" in the grooves (so to speak) is what matters. Nevertheless, many rock and rap acts continue to submit tapes recorded live on a personal hand-held cassette deck, or some other inferior deck. With the exception of acoustic acts, where a quality recording can result from a simple recording of the artist with a guitar or piano, most other music should try to get at least a 4 track recording done. Look at it this way. Everything starts with the music. It seems to me that as a matter of pride the best quality recording should always be the goal. Why risk rejection over a few hundred dollars investment?
5. Tape Is Not Rewound And Cued-up.
It is simply a matter of courtesy and professionalism to take the time to rewind and cue-up your tape. Some things in life you would presume people would just take for granted, but the longer you live the more you realize that nothing can be taken for granted. This issue; which obviously has nothing to do with the quality of your music, or your talent as a singer, songwriter, or musician can however play a part in having your tape rejected. A&R reps like every other professional, are very busy people. As many as 50 to 100 demo tapes a week can come to the attention of a rep. When they make time to listen to your tape, they expect the music to be ready to listen to. Think about it. Have you ever put a music tape in your car tape deck, pressed play and either the tape was past the place you wanted to hear, or you weren’t sure where it was on the tape? Well, that is as close as you’ll get to feeling the frustration that A&R Reps feel when they pop your tape into their decks, and all they hear is tape hiss.
Many reps have expressed their frustration over this issue, and almost all of them will tell you that you have blown your chance to impress them with your music. With so many tapes to listen to, they will just move on to the next tape in their pile. So, don’t forget to remember to "frontload" your tape, and cue it up to the first song on your tape. There is nothing sweeter to the ear of a rep than to hear a song start within a second or two of having pressed the play button.
6. Sending Videotapes In Place Of Audio Cassettes.
The home video camera has revolutionized the childhood memories business, as well as allowed people to preserve many family and friends events. As for music, the home video camera comes in very handy when an act wants to see what they look like on stage. In fact. using a camera for that purpose is an excellent device for musicians to see what they look like on stage, from the audience point of view. Remember, cameras never lie.
However, when it comes to submitting music to an A&R rep, leave your videos at home.
Any submissions should be either on tape, or on CD. If you want to mention that you have a quality video of a live show, and allow them to decide if they want to watch it, that is fine, but many artists and bands have sent videos instead of audio cassettes. That should never happen.
7. Sending Unsolicited Tapes.
An unsolicited tape is a tape sent to a record label, without the label having requested it.
Generally speaking, most major labels, and some indies as well, refuse to accept such tapes. Over the years the labels encountered too many lawsuits from people who had sent in tapes that the labels had rejected, and then claimed in a lawsuit that their songs had been stolen by the labels and given to successful artists to sing. To this day however, hundreds of tapes arrive at the labels, and in most cases they are promptly returned with a standard cover letter explaining their unsolicited tape policy.
But, as you can probably guess by now, I come from a place that is concerned with controlling all aspects of one’s career. And to just "shotgun" out a bunch of tapes to some addresses from a label directory demonstrates an irresponsibility on the artist’s behalf.
No tape or CD should be sent to anyone in the music business without either a request, or a recommendation from someone to do so. If you met an A&R Rep at a club, or at a music conference and they gave you their card, then it is important to send them your music. If a personal connection opens a door for you at a label and alerts the rep to your coming tape that is also fine. The idea is to only send your music when some kind of a connection has been made. Be sure however that when you do send your tape, that along with it in your demo kit is a cover letter that reminds the rep of your connection, or their request. They get so many tapes, and meet so many artists and bands, that you need to take the time to remind them of who you are, and why you are sending your music to them.
8. Sending The Wrong Music To The Wrong Label.
This comes about mainly when "shotgunning" takes place, but sometimes even the most well intentioned artist, or friend of an artist, will get their music to a label that has no interest in that particular style of music. I remember getting tapes from friends in the business, who I thought a great deal of, only to find their name mentioned in the cover letter I was reading, while wondering why they had suggested I listen to the tape. 415 Records was an alternative rock label in San Francisco, and I still have countless demo tapes of music not related to that genre, stashed in a box in my basement. Jazz groups, Blues bands, and even Country and Western bands tapes would come my way.
I have conversations with many label reps over the years and asked them if this ever happened to them. I always got a good few minutes of precious anecdotes from the reps laughing about the problem.
As artists, every tape you send out has your hopes and dreams attached to it. Take a little time to research the labels you intend to court. Do they really release music similar to yours in style? Would they realistically ever even think about putting that rap record out at that alternative label? In addition, every tape you wrongly send out, costs you money.
The tape, the envelope, the postage...it all adds up after awhile. Carefully research not only the genre of music of the label you are interested in, but while you’re at it, take some time to check on their reputation too. Do you really want to be on that label?
9 Musicians Can’t Play Their Instruments Competently.
Many young musicians tend to rush things when it comes to being proficient on their instruments. It takes more than a few weeks, or a few months to even ‘get acquainted’ with a guitar, bass, drum kit, or keyboard. Even genre like ‘punk’ or ‘grunge’ require a certain level of competency, and a good A&R rep can spot a lack of instrument competency within seconds. As for more sophisticated pop music, or blues and jazz, it becomes increasingly more important for young musicians to be very proficient on their chosen instrument, before even thinking about shopping a tape of their music. The best barometer for judging instrument competency for any pop, jazz, blues, or instrumental music is to ask yourself this question. Does my playing equal the skills demonstrated by the music I hear on the radio? If not, what makes you think that a record label would want to sign an artist that can’t live up to that standard?
10. The Music Sucks.
One of my favorite quotes from 1996 was this one. "Nobody wants to hear one piece of crap anymore than they want to hear a whole lot of crap". Well, we had to mention this didn’t we? I could have addressed this issue under the ‘originality’ section, but "sucking" is a far cry from not being original. Granted, some ‘original’ musical concepts can suck too, but the issue I am talking about has more to do with not being proficient enough as a songwriter. ‘Sucking" has everything to do with being rejected. The industry reps have estimated that over 90% of the music they receive ‘sucks’. I agree with this opinion. Think about it, with the ease of recording, and the low cost of recording these days, everybody can and seemingly does want to be a star. Just because you have a few songs, and have even rehearsed them a few times, doesn’t mean you are ready for prime time. It takes a special talent to be able to write a good song, So take the time to be at least ‘good’. Remember too that the word ‘good’ is very overused these days. ‘Good’ isn’t really enough! What gets things going for any artist, is that they write GREAT SONGS!! Great songs are your musical heritage. All the songs that meant anything to you over the years were GREAT SONGS. Are your songs up to that standard? Think about it.
Some Final Thoughts.
I would like to suggest a few other things related to getting signed that might come in handy before committing to shopping for a record deal. In the event that something should happen with your tape that is positive; meaning, you receive ‘interest’ from some label, the following observation might be useful for you to consider.
Do you have an Entertainment Law Attorney?
Any reputable A&R rep worth anything will tell you that it is a very rare occasion when an artist or band is signed directly because of a demo tape being sent to them. It may lead to showing some interest in the act, and a desire for more music, or a request to send them a schedule of your upcoming live shows. But rarely is an artist signed because of the demo tape alone. In any case, when some serious interest is shown by the label, they will want to know who represents you. If your answer is that you have no legal counsel, it goes against you in their eyes. To them it can mean that you either are a very naive act, and one prone to easy manipulation, or simply that you are not prepared for the possibility of being signed. One of the first people a developing act should have on their team is an entertainment law attorney. Notice, I didn’t say just any old attorney. Entertainment law is a very complex specialty, and all acts serious about making it in the music business, should make it a priority to engage the services of a well respected, and well connected entertainment law attorney. Look at it this way...you are a rep who has taken strong interest in a hot act, and you want to step up and get something going with the act. Then you ask the question "Who is your attorney?"....remember that dialtone sound?
There are always exceptions to rules, and the topic I have just discussed is one of those topics where exception have, and will continue to be made. My point in all these issues is that there are only so many opportunities to make it in this business. By knowing the most common mistakes, we can hopefully prevent any of these points from being the reason your music was rejected.
And Another Thing ...
The one point I always return to is this. Is there really something...ONE THING even about your music, your singing, your playing, your performance that is truly unique. Find what that is and exaggerate it! Make it noticeable. Be proud of it. A&R reps are employees of record labels. They are paid to find the best talent that is out there. And, in case you didn’t know, their careers go only as far as the talent they discover. Their careers can prosper or fail with yours. Give them only the best...your best.
One other thing..."Follow Through!" It’s really this simple. If you do not intend to contact the person you sent your music to, then don’t even bother to send your music in the first place. This business is a ‘personal relationship’ business, and the last word is this. Establish the reputation of being a professional musician in everything you do. When you send out your music, begin the ‘follow-up’ process about 5-7 working days after the mailing. Be patient and persistent and willing to fight the good fight.
***
Reflecting on everything I have said in this article, I am struck by the fact that all the issues I have raised can really be summarized into one simple fact, the ignorance of which will hurt your chances of success more than anything else. There are more letters in the word ‘business’ than there are in the word ‘music’.
When you started out learning to play your instrument you believed the professionals who told you to buy the best instrument you could afford. You believed them. When you invested in equipment, your intention was to get the best that your budget allowed: again professionals in the business told you about the importance of good reliable equipment, and once again, you believed them. Then, when you were ready to present your original music to the world, you asked every question you could about what it takes to compete in the world of popular music....oh wait....did you forget to do that? Ask yourself this question. Why is it that when it came to conducting your career professionally, that you didn’t ask questions about the business of music, and take the advise of music business professionals who deal with musicians and their music every day? All of the questions I have presented in this article have answers that any musician who is serious about making money from their music should study and know about. The days of ‘being discovered’ without proper preparation are over. The successful musician of the new millennium, is one who takes charge of every aspect of their career, and by their efforts attracts attention from the powers that be, who are always on the lookout for upcoming, great talent, and may be able to help you if you have taken the trouble to help yourself with the business of music. The fantasy of becoming a star is easy, but the road to stardom involves hard work, and a determination to succeed that knows no bounds. It has been said that ‘luck’ is when preparation meets opportunity. How prepared are you?
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I'm sure you guys all know why record labels have developed the "NO UNSOLICITED MATERIAL" policy, but if you haven't here are the couple main reasons...
1. These bigger labels literally get hundreds of CDs and tapes a week. They are inundated with stuff, and from what i hear, 99% of it is pure shit.
2. (and this is probably more important than #1) They do not want to be liable for you (as the artist) claiming that some band off their roster stole one of your wonderful songs...even though they may never have even listened to your demo.
I've dug up a list i've found online that are pretty good at saying why most demos are rejected...in addition to these lists, i've added a couple below that i've found on various other sites as to why Demo's are rejected...
* Undesirable demographic
no we do not represent bag-pipers, yodeling cowboys or Mongolian throat-chanters. While I personally like all kinds of music, those recordings will never bring in enough money in sales to make it worth the time. We are looking for popular (and not just pop, btw) music that will sell records. That is what the major labels are looking for, as if they had a clue what they were looking for.
* THE CITY YOU LIVE IN IS IMPORTANT!
you can be the best band in your town, but if you live in a town with the population of 12,000, chances are you will be skipped over in a heartbeat. If it's important to you, pull up stakes, and move to a city that has a rep for your style or type of music (ie. NYC, Chicago, LA, Nashville...)
==============================================
Why Demo Tapes are Rejected
Written by: Chris Knab
*
"Getting a deal" has long been the goal of many would-be artists and bands. For mostly naive reasons, most new talent feel that by securing a recording contract with a significant major or independent label, success will be guaranteed. (But that’s another story) To get this ‘belief system’ up and running, many musicians figure all they have to do is send off their music to a label, and a recording contract will come their way shortly.
The following list of ‘10 Reasons Why Demo Tapes Are Rejected’ was gathered together from years of listening to comments made by Record Label A&R reps at music industry conferences and workshops, as well as from personal interviews with reps, and from many interviews given to the press. In addition, I can verify that these observations are true from having personally listened to thousands of demo tapes over the years.
The purpose of providing you with this information is to at least improve the odds that your music get listened to when you submit your demo tapes. This article will look at the most common mistakes musicians make when either shopping for a record deals, or trying to get the attention of A&R Reps.
10 Reasons Demo Tapes are Rejected.
1. No Contact Information on Jcard and/or Tape Label.
Yes, it’s true...many artists forget to include their name, address, and/or phone number on their tapes. As hard as it is to believe, I have encountered this error countless times over the years. At my record label (415 Records), as a radio DJ, and as a music business consultant I have received dozens of tapes without any contact information on them. A&R Reps are constantly having to remind people of this basic habit. I have always felt that this mistake had more to do with a "premature ego" than simple forgetfulness. ("My music is so great, it speaks for itself...discover me!".) But to be fair, the excitement of actually believing there is a realistic chance that a recording contract may result from sending the music, may have something to do with this momentary lapse of professionalism.
To make matters quite clear, whenever you send a tape, be sure to TYPE your name, address, and phone number on the JCard and the tape label. These days it wouldn’t hurt to also type in your email address, and even a website URL if you have one. The reason for the TYPED comment, is that many times the handwriting of many would-be stars is unreadable. The way I look at it, the odds of making a living making music are hard enough without adding unneeded problems to the pile of obstacles that come along.
2. Lack of Originality.
I think one of the hardest realities for a new or developing artist to accept, is that their music is not "original". A certain pride comes from writing, recording, and performing your own music. Many musicians are also loners. They are, as a potential artist should be, all wrapped up in their music, and what sounds good to them is one thing, and what
friends and family say is irrelevant for the most part because most closely related family and friends want to encourage, not discourage. Even a live audience cannot always be trusted to give honest feedback. Many developing acts perform in front of audiences who are just at the show to have a good time, and if your music is played error free, and is competently performed, you will most likely get a good response.
A&R Reps are another breed. They have a whole different spin on music. Anyone seriously considering "getting signed" should spend some time reflecting on the following observation. A&R Reps get paid to discover unique talent. Talent that they and their superiors at the record label feel has a distinct sound all it’s own. It was best expressed by my former label partner Howie Klein this way. He said at a NAMA Music Conference in the early 90’s, when he was then General Manager of Sire Records (He is now the President of Reprise Records), that many of the demo tapes he heard were simply rehashes of what the Warner family of labels already had signed!
This observation really articulates an important fact. Many developing artists think that if a certain sound is currently popular, than they can take advantage of the "bandwagon" effect and easily get signed. I will admit to you, and popular music’s history will bare this out, that many artists do indeed get signed because of the industry’s ability to spot trends and take advantage of them. But there is also a trap in this thinking. Truly original music is very difficult to find. Once in blue moon an artist comes along who’s music is so distinctive and original that they become trendsetters, and perhaps a whole new "school" or genre of music can be traced to them. If record labels waited around for only these kinds of artists, the music industry would simple be a cottage industry, and not the $20 billion dollar worldwide industry it is today.
A&R Reps really don’t ask for much. In fact the one thing they all seem to say is something to the affect that " I just want to hear ONE THING that is different or unique in a band or artist’s music." Well, that gives one reason to hope, doesn’t it? So, ask yourself, what is the one thing about my music that is truly unique and stands out from everything else? The music business is concerned with one thing, and one thing only.
Will the music of the artist signed to the label sell? If you have any kind of truly unique music that has a ‘niche’ in the marketplace, there is some chance then that you can fight the good fight, and get the attention of the industry. But, as we shall see, in the 1990’s, just having unique and distinctive music isn’t even enough. The labels are looking more and more to artists who have taken significant steps to prove to them that they have some marketable music.
3. The Music Is good, But The Artist Doesn’t Play Live And/Or Has No Self Produced CD’s.
Want to hear the sound of an instant dialtone? Submit a great tape of unique and distinctive music to an A&R rep, and when they surprise you with a phone call requesting to see you play live...say you don’t have a live act. That will enable you to use that automatic dialtone to phone around to your musician friends, and start putting together a live band, assuming of course that you haven’t had a heart attack from the shock of being hung up on. Playing live is simply the heart of the issue. It is from playing live that you will be able to assemble a mailing list of fans to build you careers from.
Any doubts? Just ask Ani DeFranco, Fugasi, Loreena McKinnett, and dozens of other artists.
We live in an era when the "do it yourself" ethic of the alternative music scene of the mid 70’s has become the best way to prepare for record label attention. As recording technology has improved, the ease of making your own record (CD or Tape) has also grown. Interview after interview with contemporary A&R reps reflect the sentiment that when a solo artist or band has taken the trouble to get their professional act together and recorded a CD, and then found innovative ways to play live in their city or town selling their product at every show, the more likely that the "buzz’ created by these activities will expand to include some possible local airplay at noncommercial radio, and garner the attention of the local and regional music press.
In other words, anyone seriously hoping to get signed to a label, should be an entrepreneur of sorts. Not only are the labels more apt to become aware of you, but by engaging in these activities you will actually begin to learn the business of the business, which comes in handy when you do get signed. I can assure you that any astute label owner will appreciate a passionate, and energetic musician who has taken control of their own destiny, and delivered to the label a fanbase of customers that they can then build from. Now, you’re talkin’ the label’s language!
4. Poorly Recorded Material.
Even though, as I already said, recording technology has made it easier for musicians to release a more professional sounding demo, many tapes received by A&R reps do not demonstrate an understanding of the quality inherent in current popular music recordings. I should also say that the comments I make here need to be considered in a certain light. Many reps do not care that much about "studio quality" recordings. For these reps hearing some "magic" in the grooves (so to speak) is what matters. Nevertheless, many rock and rap acts continue to submit tapes recorded live on a personal hand-held cassette deck, or some other inferior deck. With the exception of acoustic acts, where a quality recording can result from a simple recording of the artist with a guitar or piano, most other music should try to get at least a 4 track recording done. Look at it this way. Everything starts with the music. It seems to me that as a matter of pride the best quality recording should always be the goal. Why risk rejection over a few hundred dollars investment?
5. Tape Is Not Rewound And Cued-up.
It is simply a matter of courtesy and professionalism to take the time to rewind and cue-up your tape. Some things in life you would presume people would just take for granted, but the longer you live the more you realize that nothing can be taken for granted. This issue; which obviously has nothing to do with the quality of your music, or your talent as a singer, songwriter, or musician can however play a part in having your tape rejected. A&R reps like every other professional, are very busy people. As many as 50 to 100 demo tapes a week can come to the attention of a rep. When they make time to listen to your tape, they expect the music to be ready to listen to. Think about it. Have you ever put a music tape in your car tape deck, pressed play and either the tape was past the place you wanted to hear, or you weren’t sure where it was on the tape? Well, that is as close as you’ll get to feeling the frustration that A&R Reps feel when they pop your tape into their decks, and all they hear is tape hiss.
Many reps have expressed their frustration over this issue, and almost all of them will tell you that you have blown your chance to impress them with your music. With so many tapes to listen to, they will just move on to the next tape in their pile. So, don’t forget to remember to "frontload" your tape, and cue it up to the first song on your tape. There is nothing sweeter to the ear of a rep than to hear a song start within a second or two of having pressed the play button.
6. Sending Videotapes In Place Of Audio Cassettes.
The home video camera has revolutionized the childhood memories business, as well as allowed people to preserve many family and friends events. As for music, the home video camera comes in very handy when an act wants to see what they look like on stage. In fact. using a camera for that purpose is an excellent device for musicians to see what they look like on stage, from the audience point of view. Remember, cameras never lie.
However, when it comes to submitting music to an A&R rep, leave your videos at home.
Any submissions should be either on tape, or on CD. If you want to mention that you have a quality video of a live show, and allow them to decide if they want to watch it, that is fine, but many artists and bands have sent videos instead of audio cassettes. That should never happen.
7. Sending Unsolicited Tapes.
An unsolicited tape is a tape sent to a record label, without the label having requested it.
Generally speaking, most major labels, and some indies as well, refuse to accept such tapes. Over the years the labels encountered too many lawsuits from people who had sent in tapes that the labels had rejected, and then claimed in a lawsuit that their songs had been stolen by the labels and given to successful artists to sing. To this day however, hundreds of tapes arrive at the labels, and in most cases they are promptly returned with a standard cover letter explaining their unsolicited tape policy.
But, as you can probably guess by now, I come from a place that is concerned with controlling all aspects of one’s career. And to just "shotgun" out a bunch of tapes to some addresses from a label directory demonstrates an irresponsibility on the artist’s behalf.
No tape or CD should be sent to anyone in the music business without either a request, or a recommendation from someone to do so. If you met an A&R Rep at a club, or at a music conference and they gave you their card, then it is important to send them your music. If a personal connection opens a door for you at a label and alerts the rep to your coming tape that is also fine. The idea is to only send your music when some kind of a connection has been made. Be sure however that when you do send your tape, that along with it in your demo kit is a cover letter that reminds the rep of your connection, or their request. They get so many tapes, and meet so many artists and bands, that you need to take the time to remind them of who you are, and why you are sending your music to them.
8. Sending The Wrong Music To The Wrong Label.
This comes about mainly when "shotgunning" takes place, but sometimes even the most well intentioned artist, or friend of an artist, will get their music to a label that has no interest in that particular style of music. I remember getting tapes from friends in the business, who I thought a great deal of, only to find their name mentioned in the cover letter I was reading, while wondering why they had suggested I listen to the tape. 415 Records was an alternative rock label in San Francisco, and I still have countless demo tapes of music not related to that genre, stashed in a box in my basement. Jazz groups, Blues bands, and even Country and Western bands tapes would come my way.
I have conversations with many label reps over the years and asked them if this ever happened to them. I always got a good few minutes of precious anecdotes from the reps laughing about the problem.
As artists, every tape you send out has your hopes and dreams attached to it. Take a little time to research the labels you intend to court. Do they really release music similar to yours in style? Would they realistically ever even think about putting that rap record out at that alternative label? In addition, every tape you wrongly send out, costs you money.
The tape, the envelope, the postage...it all adds up after awhile. Carefully research not only the genre of music of the label you are interested in, but while you’re at it, take some time to check on their reputation too. Do you really want to be on that label?
9 Musicians Can’t Play Their Instruments Competently.
Many young musicians tend to rush things when it comes to being proficient on their instruments. It takes more than a few weeks, or a few months to even ‘get acquainted’ with a guitar, bass, drum kit, or keyboard. Even genre like ‘punk’ or ‘grunge’ require a certain level of competency, and a good A&R rep can spot a lack of instrument competency within seconds. As for more sophisticated pop music, or blues and jazz, it becomes increasingly more important for young musicians to be very proficient on their chosen instrument, before even thinking about shopping a tape of their music. The best barometer for judging instrument competency for any pop, jazz, blues, or instrumental music is to ask yourself this question. Does my playing equal the skills demonstrated by the music I hear on the radio? If not, what makes you think that a record label would want to sign an artist that can’t live up to that standard?
10. The Music Sucks.
One of my favorite quotes from 1996 was this one. "Nobody wants to hear one piece of crap anymore than they want to hear a whole lot of crap". Well, we had to mention this didn’t we? I could have addressed this issue under the ‘originality’ section, but "sucking" is a far cry from not being original. Granted, some ‘original’ musical concepts can suck too, but the issue I am talking about has more to do with not being proficient enough as a songwriter. ‘Sucking" has everything to do with being rejected. The industry reps have estimated that over 90% of the music they receive ‘sucks’. I agree with this opinion. Think about it, with the ease of recording, and the low cost of recording these days, everybody can and seemingly does want to be a star. Just because you have a few songs, and have even rehearsed them a few times, doesn’t mean you are ready for prime time. It takes a special talent to be able to write a good song, So take the time to be at least ‘good’. Remember too that the word ‘good’ is very overused these days. ‘Good’ isn’t really enough! What gets things going for any artist, is that they write GREAT SONGS!! Great songs are your musical heritage. All the songs that meant anything to you over the years were GREAT SONGS. Are your songs up to that standard? Think about it.
Some Final Thoughts.
I would like to suggest a few other things related to getting signed that might come in handy before committing to shopping for a record deal. In the event that something should happen with your tape that is positive; meaning, you receive ‘interest’ from some label, the following observation might be useful for you to consider.
Do you have an Entertainment Law Attorney?
Any reputable A&R rep worth anything will tell you that it is a very rare occasion when an artist or band is signed directly because of a demo tape being sent to them. It may lead to showing some interest in the act, and a desire for more music, or a request to send them a schedule of your upcoming live shows. But rarely is an artist signed because of the demo tape alone. In any case, when some serious interest is shown by the label, they will want to know who represents you. If your answer is that you have no legal counsel, it goes against you in their eyes. To them it can mean that you either are a very naive act, and one prone to easy manipulation, or simply that you are not prepared for the possibility of being signed. One of the first people a developing act should have on their team is an entertainment law attorney. Notice, I didn’t say just any old attorney. Entertainment law is a very complex specialty, and all acts serious about making it in the music business, should make it a priority to engage the services of a well respected, and well connected entertainment law attorney. Look at it this way...you are a rep who has taken strong interest in a hot act, and you want to step up and get something going with the act. Then you ask the question "Who is your attorney?"....remember that dialtone sound?
There are always exceptions to rules, and the topic I have just discussed is one of those topics where exception have, and will continue to be made. My point in all these issues is that there are only so many opportunities to make it in this business. By knowing the most common mistakes, we can hopefully prevent any of these points from being the reason your music was rejected.
And Another Thing ...
The one point I always return to is this. Is there really something...ONE THING even about your music, your singing, your playing, your performance that is truly unique. Find what that is and exaggerate it! Make it noticeable. Be proud of it. A&R reps are employees of record labels. They are paid to find the best talent that is out there. And, in case you didn’t know, their careers go only as far as the talent they discover. Their careers can prosper or fail with yours. Give them only the best...your best.
One other thing..."Follow Through!" It’s really this simple. If you do not intend to contact the person you sent your music to, then don’t even bother to send your music in the first place. This business is a ‘personal relationship’ business, and the last word is this. Establish the reputation of being a professional musician in everything you do. When you send out your music, begin the ‘follow-up’ process about 5-7 working days after the mailing. Be patient and persistent and willing to fight the good fight.
***
Reflecting on everything I have said in this article, I am struck by the fact that all the issues I have raised can really be summarized into one simple fact, the ignorance of which will hurt your chances of success more than anything else. There are more letters in the word ‘business’ than there are in the word ‘music’.
When you started out learning to play your instrument you believed the professionals who told you to buy the best instrument you could afford. You believed them. When you invested in equipment, your intention was to get the best that your budget allowed: again professionals in the business told you about the importance of good reliable equipment, and once again, you believed them. Then, when you were ready to present your original music to the world, you asked every question you could about what it takes to compete in the world of popular music....oh wait....did you forget to do that? Ask yourself this question. Why is it that when it came to conducting your career professionally, that you didn’t ask questions about the business of music, and take the advise of music business professionals who deal with musicians and their music every day? All of the questions I have presented in this article have answers that any musician who is serious about making money from their music should study and know about. The days of ‘being discovered’ without proper preparation are over. The successful musician of the new millennium, is one who takes charge of every aspect of their career, and by their efforts attracts attention from the powers that be, who are always on the lookout for upcoming, great talent, and may be able to help you if you have taken the trouble to help yourself with the business of music. The fantasy of becoming a star is easy, but the road to stardom involves hard work, and a determination to succeed that knows no bounds. It has been said that ‘luck’ is when preparation meets opportunity. How prepared are you?
==============================================
Well Robert,
Looks like you summed it all up for everybody. You've said all the right things. I personally thank you for taking the time and effort to be so comprehensive. You covered all the basses. Who could possibly add anything more? Sounds like you're representing the concerns of all the major and middle Indie record labels and companies and how they see the industry. And for this, I wish you all the success.
However, Did you know that an unknown artist's attorney can't possibly compete with the multi-million dollar label's attorney? As I see it, the laws pertaining to why any artist would want to retain an attorney for their music in the first place, are written by and for the established rich. In all due respect, the music "biz" are corporate in structure especially the majors and big to middle Indies. Again, as I see it, they continue to get fat on the catalogs of old signed acts and are no different than the banks. If you don't have equity, you can't get a loan. I for one don't wonder why there's very little or no musical originality on the RC's radar. They (the big record label) have to stoop too low, to find it among the grassroots and they're so fat, it's impossible to bend down that low.
You nailed it when you said that It's a people's business. All business is people business (paraphrasing) but the very mechanics of the industry prohibit all and any of the "personal touch" necessary for a truly original act to be recognized. This might sound like sour grapes but, like the banks, when you have nothing to lend against, there's too much risk involved to explore any possibilities that the "product" will produce revenue.
Business is well, business. We're experiencing the "Enron" corporate, capitalist phenomenon of the music industry only worse as it is notoriously corrupt and unethical. Plain and simple. It's about competition not talent.
Really great, inspired, aesthetically pleasing, original music doesn't want to "dance" with the pompous attitudes of a large percentage of those who are the supposed authorities (A&R) of the record industry. As "serious" musicians, they can't afford to take the time and hastle with phone calls, shortness of demeanor and reluctance of would-be signers. They're all too busy making good music, friends, and a following. I even hear of managers and publishers throwing in the towel because they're not getting their messages and phone calls answered like they used to. Since you know so much about the business, perhaps you could tell us about how many A&R got fired and layed off from their rolls representing their record companies last year. I'm sure you won't find any recorded statistics on this.
In an unregulated industry such as this, accountability gets vaporized. Yet the demands placed upon the artist continues to be great. So great that the artist is compelled and forced to present the "finished product" without any of the resources that had once been available to them in even recent years by the labels. You're exactly right on this issue You HAVE to become an entrepreneur. You do have to do every thing yourself. So, after you've gone through all the vital steps, crossed all your T's and dotted all your I's, the question is, why would you need to even sign to a label?
I for one am not buying in to the incredible hipocracy. No mater how desparate the record companies might become. And I'm sure with all the old catalog they have and have bought up, they'll be solvent for many years to come.
Looks like you summed it all up for everybody. You've said all the right things. I personally thank you for taking the time and effort to be so comprehensive. You covered all the basses. Who could possibly add anything more? Sounds like you're representing the concerns of all the major and middle Indie record labels and companies and how they see the industry. And for this, I wish you all the success.
However, Did you know that an unknown artist's attorney can't possibly compete with the multi-million dollar label's attorney? As I see it, the laws pertaining to why any artist would want to retain an attorney for their music in the first place, are written by and for the established rich. In all due respect, the music "biz" are corporate in structure especially the majors and big to middle Indies. Again, as I see it, they continue to get fat on the catalogs of old signed acts and are no different than the banks. If you don't have equity, you can't get a loan. I for one don't wonder why there's very little or no musical originality on the RC's radar. They (the big record label) have to stoop too low, to find it among the grassroots and they're so fat, it's impossible to bend down that low.
You nailed it when you said that It's a people's business. All business is people business (paraphrasing) but the very mechanics of the industry prohibit all and any of the "personal touch" necessary for a truly original act to be recognized. This might sound like sour grapes but, like the banks, when you have nothing to lend against, there's too much risk involved to explore any possibilities that the "product" will produce revenue.
Business is well, business. We're experiencing the "Enron" corporate, capitalist phenomenon of the music industry only worse as it is notoriously corrupt and unethical. Plain and simple. It's about competition not talent.
Really great, inspired, aesthetically pleasing, original music doesn't want to "dance" with the pompous attitudes of a large percentage of those who are the supposed authorities (A&R) of the record industry. As "serious" musicians, they can't afford to take the time and hastle with phone calls, shortness of demeanor and reluctance of would-be signers. They're all too busy making good music, friends, and a following. I even hear of managers and publishers throwing in the towel because they're not getting their messages and phone calls answered like they used to. Since you know so much about the business, perhaps you could tell us about how many A&R got fired and layed off from their rolls representing their record companies last year. I'm sure you won't find any recorded statistics on this.
In an unregulated industry such as this, accountability gets vaporized. Yet the demands placed upon the artist continues to be great. So great that the artist is compelled and forced to present the "finished product" without any of the resources that had once been available to them in even recent years by the labels. You're exactly right on this issue You HAVE to become an entrepreneur. You do have to do every thing yourself. So, after you've gone through all the vital steps, crossed all your T's and dotted all your I's, the question is, why would you need to even sign to a label?
I for one am not buying in to the incredible hipocracy. No mater how desparate the record companies might become. And I'm sure with all the old catalog they have and have bought up, they'll be solvent for many years to come.
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juststartingout
New member
BMWerks said:
Well, let's start with the fact that it costs about $200,000 to get into prime time air play on most radio stations. And if you are not on the radio, you are not selling a million records.
Next, look at the distribution and marketting that the major labels have. How many of us can get on Saturday night live or sell in wall mart. How many of us can afford to press 50,000 CDs in a hope that we can sell them. How many of us can afford radio and TV time to market our shows so we can get 20,00 people to show up.
You were very correct in one thing, business is business. I for one, cannot afford the marketting and distribution costs. I will gladley take the 10-15% on the CD sales and the $15,000 per show that Epic is offering!!!
Figures too high.
"How many of us can get on Saturday night live or sell in wall mart?"
You're not getting it. See, you've already created your oun economic engine. The one the label "would have" put behind you. Everything is in place. All the dynamics of the institution are at the ready. The only step left is aquiring capitol. That's the easy part and soon they'll be demanding that from the artist.
I'm not sure that this is what many of us would trade our artistic integrity or time for. [Maybe the younger cats with the big dreams.] Besides, your 10 to 15% sounds enormously and unrealistically generous. I don't know about Epic's offering.
And, good luck swimming in shark infested waters.
"How many of us can get on Saturday night live or sell in wall mart?"
You're not getting it. See, you've already created your oun economic engine. The one the label "would have" put behind you. Everything is in place. All the dynamics of the institution are at the ready. The only step left is aquiring capitol. That's the easy part and soon they'll be demanding that from the artist.
I'm not sure that this is what many of us would trade our artistic integrity or time for. [Maybe the younger cats with the big dreams.] Besides, your 10 to 15% sounds enormously and unrealistically generous. I don't know about Epic's offering.
And, good luck swimming in shark infested waters.
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juststartingout
New member
Hey BM, I am getting it. The people with the money are the record companies. They also have the distribution and marketting behind them. I am talking facts here, not theory. The group that I represent are being courted by Epic right now. Those are actual figures that have been discussed and the artistic control does stay with the group. In addition, we get our own producer, sound man, lighting man, etc... These are the top professionals in the business, not friends of friends that do it on the weekend.
A career musician by definition means that you have to make money at it. You are not going to make money by selling a couple thousand CDs a year. A few hundred thousand will barely meet the bills for a group of 4. And to even get that, you need distribution and national recognition. You are not going to get that unless you get prime time radio play.
Understand this, I for one, do not want to keep a full time job and sell a few CDs for some extra money. I want a six or seven figure income from music. In order to do that, I need to swim with the sharks.
Our next big target date is July 15th. That is when a sampler CD comes out with us on the cover and we have the title track. The CD goes out to radio stations, studios and some great whites that are lurking in the water. When that occurs, hopefully it will draw more sharks in and a bidding war will occur for our services. That gives our laywer a strong position to bargain from.
We are successful because we sat down and made a plan with goals and targets. We did not sit around hopeing that an A&R guy would show up at a show. We went after them.
A career musician by definition means that you have to make money at it. You are not going to make money by selling a couple thousand CDs a year. A few hundred thousand will barely meet the bills for a group of 4. And to even get that, you need distribution and national recognition. You are not going to get that unless you get prime time radio play.
Understand this, I for one, do not want to keep a full time job and sell a few CDs for some extra money. I want a six or seven figure income from music. In order to do that, I need to swim with the sharks.
Our next big target date is July 15th. That is when a sampler CD comes out with us on the cover and we have the title track. The CD goes out to radio stations, studios and some great whites that are lurking in the water. When that occurs, hopefully it will draw more sharks in and a bidding war will occur for our services. That gives our laywer a strong position to bargain from.
We are successful because we sat down and made a plan with goals and targets. We did not sit around hopeing that an A&R guy would show up at a show. We went after them.
johneeeveee
New member
Major labels are nothing more than banks. read this:
http://www.indiecentre.com/info/article.cfm?CategoryID=0&ArticleID=25
Start your own label... it's the only way to do what you want with your art without compromise. Besides, the chance of a successful career with a major label are miniscule.
Best of luck - jv
http://www.indiecentre.com/info/article.cfm?CategoryID=0&ArticleID=25
Start your own label... it's the only way to do what you want with your art without compromise. Besides, the chance of a successful career with a major label are miniscule.
Best of luck - jv
