Cliff Goldmacher is a songwriter/engineer/producer/author and owner of recording studios in Nashville and New York City. Download Cliff’s free e-book, “The Songwriter’s Guide To Recording Professional Demos”
So You’ve Got A New Song
Let’s begin at the beginning. You’ve written a song and, hopefully, you’re thrilled with it. So thrilled, in fact, that you want to record it right away and use every instrument in both the Western and Eastern musical traditions on the demo. I don’t blame you one bit. There’s nothing more fun than dressing up your songs to go to town. But it might make sense to stop and ask yourself what your goals are for your demo.
Why Demo Your Song
If the answer is that you’re a recording artist in your own right and you’re putting together a collection of demos that represent you and your sound, then, by all means, create a full-blown demo and best of luck. But if the answer is that you’re hoping to represent your song in a way that highlights what is unique in your melody and lyric and you’re hoping to pitch it to publishers or recording artists in order to get a cut, you might want to put on the brakes before doing a full-blown demo.
Dave Frey is the manager of Cheap Trick. They released their most recent album, The Latest through TuneCore earlier this year.
I am a manager. One of my clients is a band called Cheap Trick. They have been together for 35 years and basically play shows and make recordings.
Though the public is clearly buying singles and not CDs, they record songs in clusters. They can prepare/rehearse them, get good instrument sounds, and realize other savings through efficiency. Once a good drum sound is finally dialed in, why not record a group of songs?
Anyway the band self released a collection of songs on 8-track, LP, CD, and digitally, called “The Latest” last summer. And since then the biggest thing I’ve learned is the power, (and price), of the band’s fan information.
For instance, Ticketmaster “owns” information on hundreds of thousands of Cheap Trick fans who have purchased their concert tickets. This is for sale. Amazon “owns” information relating to every Cheap Trick Amazon sale from day one. Their information is for sale. All Music “owns” a Cheap Trick “Artist Page” that propagates inaccurate out-of-date information. And many third party sites parrot their information, and that’s for sale. Soundscan “owns” information concerning CD and digital sales. Their information is for sale.
Geordie Gillespie, music executive and entrepreneur, has spent the last 25 years developing new artists at indie and major labels and is a principal at unleashedmusic.com
I wanted to take a step back from the discussion of the actual mechanics of radio, and speak to the much broader, and maybe more important subject of the metrics of the current music business.
There are so many metrics to consider – some old and even more that are new, and those who deal in media have to decide which to either embrace or dismiss.
What has become increasingly important in today's rapidly morphing music "business" is how we measure the impact of all media. As promotion and marketing agents, we are responsible for considering first and foremost the intent of the artist. What is the audience that the artist wants to reach? What does the fan base look like? Is it a small group comprised of a certain subculture, or is it a massive group of people that transcends all demographics?