Notes on the Music Industry
Section 4 | Recording & Publishing

What Is A Demo?
Your demo recording is an example of your music. It is your salesperson. It must get in and punch the hardened promoter, booking agent, publisher, record company executive etc. It can be the gateway to overwhelming success if it is prepared to do its job in the right place, at the right time. What all this says is that the better the quality the demo, the more chance you have of getting an entire song listened to. With a drum machine and one of the new multi-track cassette recording machines available you can get results that are pretty close to studio sounds of not too many years ago. You certainly save a lot of money and you get to own the equipment rather than pay rental.

For those that believe that they will get the best results from using a recording studio (and can afford to), there are many studios in the Metropolitan area who offer good deals on demo recording (see Industry Contacts for this section). They key to recording a good demo is rehearsal and planning. If you know exactly what you want to do BEFORE you go into the studio (home or professional) you will save hours of time and many dollars.

What Next?
Gather your three best songs and get them recoded. From Western Australia you will have to deal with record companies and the like by telephone or mail, but, whatever way, you should get your promotional pack together with your demo recording, and be comfortable that this pack truly represents your act.

For the record companies and publishers, it is best that you telephone first, find out the name of their A&R (artists and repertoire) representative, and then talk to them about your act and the songs - remembering that they are very busy people who are approached constantly by others. Find out whether this particular company is interested in your music, and if so, mail off your promotional package immediately - making sure to mark it to the attention of the person you have spoken to. Be sure to include a covering letter mentioning when you spoke. Keep it all "light, bright and tight", without too much hype.

If you have not heard anything from the record/publishing company for a while, and give it a few weeks, then telephone again and enquire as to the progress of your demo. If you receive a nice letter from the company informing you that they have no use for your material "at this time", then move on to the next effort. However, by all means, call and ask what they thought of your material and any suggestions they ma have - they might even suggest another company more suited to your style. It never hurts to ask.

If your demo was received well, you will get a call asking you to enter into a further discussions towards, maybe, a recording contract.

Recording
For most artists, a recording contract, and the records that follow are the most important element in their career. The opportunity to make their musical statement and to build a successful career. Getting your records played is the key to the whole operation. It provides you with the exposure that makes people want to buy the records and come and see you perform live.

Many artists these days are producing their own recordings on a huge variety of equipment, only some of it in-studio. These are useful promotional tools, and sometimes good earners. But usually the distribution of these self-generated products is limited. If you want to sell a lot you will inevitably have to deal with a recording company of some description. The independents are probably easier to approach and deal with, but most often are not in a position to finance your record and will probably offer some form of distribution (which they do through the major companies). Some independents also have their own distribution network.

Whatever the size of the company the process usually begins with you sending your recording to the A&R (Artist and Repertoire) person. It's their job to identify and develop new talent. They are under constant pressure to produce 'hits' and are the butt of many industry jokes. Basically they are busy and to get a fair listening is hard. WAM's recent Music Industry Survey revealed that of WA artists who had sent recordings away, only 45% got an acknowledgement.

Artists in WA have a particularly hard time (until we develop our own national marketing structure), and unless you can afford to make the trip east, you'll have to post and pray. AUSMUSIC's 'Fresh Tracks' programme can help (WAM has details).

Let's say you're one of the lucky ones. They've responded positively to the demon, they've checked you out live and you're offered a contract. They basically come in three types.

1. The Direct Signing Most usual with young unknown artists. The company signs you to produce a certain amount of product over a certain period. There will usually be an escape clause if sales on the initials record/s are poor. Records and the promotional tools (videos etc) are very expensive these days so don't expect to be offered extravagant royalty rates - something in the range of 8-10% is usual.

You may be offered an advance but be warned, record companies don't give money away. Anything they give you (including the recording costs) will be recouped by them before you earn 1 cent in royalties. So, don't overspend, don't write songs in the studio, don't have too many friends and visitors and save the celebration party until you're finished. Record contracts are huge and complex documents and, in the case of the direct signing with a major, they'll want you for the whole world. Managers and lawyers are vital here.

Signing with a small company for Australia only can be an advantage in that you can sell the same record independently overseas, but it usually means that you or the manager has to co-ordinate releases and collect royalties - it can be messy.

2. The Recording Release Deal Usually available only to established artists. You finance the recording of the product and deliver it with artwork and a label copy. The record company distributes and promotes it and, as they have not outlaid money for the recording, you will get a better royalty rate and make royalties from first sales.

3. The Pressing and Distribution Deal The same situation as the lease deal except that you also do all the promotion. The record company simply manufactures and puts it in the shops. Not a method favoured by many artists.

Whatever you do, check out all the alternatives (such as the co-operative structure offered by Kitchen Records), the results of a poorly scrutinised and hastily signed contract can be disastrous.

Publishing
Publishing in potentially your greatest source of income and revolves around the copyright you own in the material you write. You own the right to allow a piece of music to be copied, onto sheet music, recording, vinyl, CD, film etc.

A publishing company will offer you a contract (and often money up front as an advance) for the right to lease the copyright of your songs. They actively try to place them with other artists to record and collect the mechanical royalties generated by the record sales. They also collect the royalties if you are selling your own records, from all over the world. For this service they charge a fee. In the 'good old days' publishing deals were often a 50/50 split between artist and publisher, with the company retaining the material for a term entitled 'life of the copyright' which means 50 years after your death!

Notes on the Music Industry
Section 4 | Recording & Publishing

What Is A Demo?
Your demo recording is an example of your music. It is your salesperson. It must get in and punch the hardened promoter, booking agent, publisher, record company executive etc. It can be the gateway to overwhelming success if it is prepared to do its job in the right place, at the right time. What all this says is that the better the quality the demo, the more chance you have of getting an entire song listened to. With a drum machine and one of the new multi-track cassette recording machines available you can get results that are pretty close to studio sounds of not too many years ago. You certainly save a lot of money and you get to own the equipment rather than pay rental.

For those that believe that they will get the best results from using a recording studio (and can afford to), there are many studios in the Metropolitan area who offer good deals on demo recording (see Industry Contacts for this section). They key to recording a good demo is rehearsal and planning. If you know exactly what you want to do BEFORE you go into the studio (home or professional) you will save hours of time and many dollars.

What Next?
Gather your three best songs and get them recoded. From Western Australia you will have to deal with record companies and the like by telephone or mail, but, whatever way, you should get your promotional pack together with your demo recording, and be comfortable that this pack truly represents your act.

For the record companies and publishers, it is best that you telephone first, find out the name of their A&R (artists and repertoire) representative, and then talk to them about your act and the songs - remembering that they are very busy people who are approached constantly by others. Find out whether this particular company is interested in your music, and if so, mail off your promotional package immediately - making sure to mark it to the attention of the person you have spoken to. Be sure to include a covering letter mentioning when you spoke. Keep it all "light, bright and tight", without too much hype.

If you have not heard anything from the record/publishing company for a while, and give it a few weeks, then telephone again and enquire as to the progress of your demo. If you receive a nice letter from the company informing you that they have no use for your material "at this time", then move on to the next effort. However, by all means, call and ask what they thought of your material and any suggestions they ma have - they might even suggest another company more suited to your style. It never hurts to ask.

If your demo was received well, you will get a call asking you to enter into a further discussions towards, maybe, a recording contract.

Recording
For most artists, a recording contract, and the records that follow are the most important element in their career. The opportunity to make their musical statement and to build a successful career. Getting your records played is the key to the whole operation. It provides you with the exposure that makes people want to buy the records and come and see you perform live.

Many artists these days are producing their own recordings on a huge variety of equipment, only some of it in-studio. These are useful promotional tools, and sometimes good earners. But usually the distribution of these self-generated products is limited. If you want to sell a lot you will inevitably have to deal with a recording company of some description. The independents are probably easier to approach and deal with, but most often are not in a position to finance your record and will probably offer some form of distribution (which they do through the major companies). Some independents also have their own distribution network.

Whatever the size of the company the process usually begins with you sending your recording to the A&R (Artist and Repertoire) person. It's their job to identify and develop new talent. They are under constant pressure to produce 'hits' and are the butt of many industry jokes. Basically they are busy and to get a fair listening is hard. WAM's recent Music Industry Survey revealed that of WA artists who had sent recordings away, only 45% got an acknowledgement.

Artists in WA have a particularly hard time (until we develop our own national marketing structure), and unless you can afford to make the trip east, you'll have to post and pray. AUSMUSIC's 'Fresh Tracks' programme can help (WAM has details).

Let's say you're one of the lucky ones. They've responded positively to the demon, they've checked you out live and you're offered a contract. They basically come in three types.

1. The Direct Signing Most usual with young unknown artists. The company signs you to produce a certain amount of product over a certain period. There will usually be an escape clause if sales on the initials record/s are poor. Records and the promotional tools (videos etc) are very expensive these days so don't expect to be offered extravagant royalty rates - something in the range of 8-10% is usual.

You may be offered an advance but be warned, record companies don't give money away. Anything they give you (including the recording costs) will be recouped by them before you earn 1 cent in royalties. So, don't overspend, don't write songs in the studio, don't have too many friends and visitors and save the celebration party until you're finished. Record contracts are huge and complex documents and, in the case of the direct signing with a major, they'll want you for the whole world. Managers and lawyers are vital here.

Signing with a small company for Australia only can be an advantage in that you can sell the same record independently overseas, but it usually means that you or the manager has to co-ordinate releases and collect royalties - it can be messy.

2. The Recording Release Deal Usually available only to established artists. You finance the recording of the product and deliver it with artwork and a label copy. The record company distributes and promotes it and, as they have not outlaid money for the recording, you will get a better royalty rate and make royalties from first sales.

3. The Pressing and Distribution Deal The same situation as the lease deal except that you also do all the promotion. The record company simply manufactures and puts it in the shops. Not a method favoured by many artists.

Whatever you do, check out all the alternatives (such as the co-operative structure offered by Kitchen Records), the results of a poorly scrutinised and hastily signed contract can be disastrous.

Publishing
Publishing in potentially your greatest source of income and revolves around the copyright you own in the material you write. You own the right to allow a piece of music to be copied, onto sheet music, recording, vinyl, CD, film etc.

A publishing company will offer you a contract (and often money up front as an advance) for the right to lease the copyright of your songs. They actively try to place them with other artists to record and collect the mechanical royalties generated by the record sales. They also collect the royalties if you are selling your own records, from all over the world. For this service they charge a fee. In the 'good old days' publishing deals were often a 50/50 split between artist and publisher, with the company retaining the material for a term entitled 'life of the copyright' which means 50 years after your death!