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So let's start at the beginning, shall we? Demo stands for "demonstration."
It is a demonstration of your music or your songs. It is not a
master quality, final representation—but rather an indication
of what you can do as writers and musicians. To the A&R community,
your demo tape says, "Here, check this out."
A&R reps have heard all kinds of sparsely recorded demo tapes—from
piano/voice to a capella. It's all the same to them (especially
to those who have no ears). So...
Rule No. 1: Do not spend a fortune recording your demo.
There are thousands of low-cost demo studios that would die for
your business—some charging as little as $100 for an entire song.
Considering that a demo tape, ideally, should contain your three
best songs, that's a mere $300 for a complete tape to service
to the industry.
But we're putting the cart before the horse here. Let's step back
a minute and deal with the phrase "three best songs."
What are our three best songs? How do we pick them? Who do we
ask? Don't you really mean our three most popular songs? The songs
our fans like the most?
No. I said "best," and I mean best—as in better than
the others. As in best structure and format. As in strongest chorus.
As in best-written, sung, and performed. Are you beginning to
understand what "best" means? Good, because that's rule
no. 2.
Rule No. 2: Always choose your three best songs.
Now that you've got it, try this on for size: All three songs
should be in the same musical genre. Many bands and writers are
exceptionally talented and able to write in many different styles.
However, to the record companies, this shows a lack of focus.
When you're a star, this is called diversity, but when you're
unsigned, this same talent is a lack of focus. (Don't ask!) This
brings us to rule no. 3 . . .
Rule No. 3: Stick to a single, specific musical genre.
In other words, don't try to show a label what you might be able
to write five years down the road—show them that you can write
great songs in a specific musical style now. That, alone, makes
you worthy of getting signed. Keep in mind that when they listen
to your tape, they're also thinking about what market you appeal
to, and if they hear conflicting styles, then that translates
into conflicting markets for them—which, of course, translates
into no deal for you!
Once again, we turn to the Beatles for an example: If the Fab Four
had put together a demo tape back in 1963 with "I Want to Hold
Your Hand," "She Loves You," and "Thank You
Girl," it would have defined their pop/vocal style.
Choosing Your Best Songs
Finding out which three of your songs are best is going to be
a difficult task. Who do you ask? Where do you go? To begin with,
never let your fans decide. Firstly, they know little about songs,
and secondly, they're likely to think everything you play is great.
That's why they're fans, remember!
Try to find someone with more of a musical background—someone
connected to someone in the industry, maybe. A personal manager,
a publisher, a member of a group on a label, an attorney . . .
If all else fails, try a local club owner or college radio DJ
or record store manager that you might know. Regardless of where
you live, there's someone you can ask. Then, after you give out
five tapes, wait for an answer, and see how many choose the same
songs as their favorites. That will give you an idea. As it turns
out, many times the fan favorites are the band's best. But you'll
never know unless you ask around.
Pre-Production And Recording
Now that you know which three songs to record, you may proceed
with that process. The first step in the recording process (after
song selection) is pre-production. This is where you and the band
work out the kinks in each of the song and practice rehearsing
it with and without vocals—as if you were in the studio. If you
plan on recording drums and bass first, rehearse it that way,
too.
At pre-production, you will trim the fat from the songs and decide
if they will fade out or end cold when recorded. This is one of
the most important parts of the process.
If you plan on paying for a recording studio, do not waste time
and money working out the parts there. Do it in a cheaper rehearsal
studio for far less money. I've seen too many bands set up shop
in studios and pay upwards of $150 per hour to rehearse when they
could get the same results for $15 an hour at a rehearsal studio.
Duh!
It's always a good idea to start shopping for a studio when you
begin pre—production. That way, you have a deadline and something
to look forward to. If you know you have to begin the actual recording
in exactly two weeks, that gives you a set schedule to follow.
If you're recording in your home or garage studio, it's still
a good idea to schedule things so you have something to work toward—a
goal of sorts.
Your first attempt should always be to try and get the studio
for free—as a favor from a friend, let's say. Second best is to
make a "spec" deal. "Spec" stands for speculation.
This means that the studio owner believes in the band and the
music and will allow you to record for free. (Usually, you still
must pay for tape costs.) Then, if you make a deal, you pay him
back for what your studio time costs. If you fail to make a deal,
he speculated and lost.
Here's your official "spec" checklist:
• Always get the deal in writing.
• Find out who keeps the master tapes until the deal is made.
• Lock into consecutive recording dates. Many spec deals
drag on and on.
• Try to find someone to produce your dates.
• Speak with the engineer, and insist he come to rehearsal.
• Make sure the studio owner cannot release the masters to
anyone.
• Be specific about your plan. Are you only recording? Or
mixing? Or both?
• Are the recording facilities acceptable for mixing?
• What's included in the deal? Extra amps? Mikes? Outboard
gear?
• Confirm your actual days and hours of recording.
• Let your engineer know your plan ahead of time so he can
prepare the studio before you arrive to record.
• Find out if your spec deal means you have to pay the engineer.
• It's a good idea to occasionally treat the engineer to
lunch or dinner.
• If you're mixing at the same studios, be sure to leave
with a DAT copy and cassette copies of your songs.
• Don't make any deal without seeing and hearing the actual
studio you will be using.
• If things are going great, make certain you let the owner
know about it.
• Don't waste time. Be serious, but have fun doing it.
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