Sending out demos?

SteveDon

Whats your approach to this?

Up until now ive been very lazy about this, only sent out a handful of demos in my time.

I guess what i want to know is stuff like, how many tracks do you send along? is it best to send to labels individually or send out a promo style group mail to all the labels you think might be interested? etc

Helix

email them first to ask if you can send them a demo

DONT send mass mails, send one mail per label

send no more than 3 tracks, with your strongest one first

youll have the most success following those 3 steps

PaulBrewer

SteveDon wrote: »

Whats your approach to this?

Up until now ive been very lazy about this, only sent out a handful of demos in my time.

I guess what i want to know is stuff like, how many tracks do you send along? is it best to send to labels individually or send out a promo style group mail to all the labels you think might be interested? etc

Is there any point in doing this at all? Are uninvited Demos welcome anywhere?

jtsuited

oh this is the big controversial topic!!

I've both failed spectacularly and succeeded acceptably in the business of sending out demos. It's a horrible process for an artist imo, and it's cost me so much time and energy that I've genuinely considered hiring a secretary at many times over the past six months.
Here's what I've learnt:

Basically, nearly all labels have their demo policy stated on their website or myspace. Find all the labels you like and who's repertoire is similar to your sound (I CANNOT EMPHASISE THAT LAST POINT ENOUGH).

Then send them your tracks. Unless they state that they want a bio, do not send one with your track.

Don't use megaupload or any of those to host the files you are linking to. Rapidshare and yousendit maybe but none of those sites where all the popups clutter the screen.

Of course, if you've got 3 tracks you're really happy with, use the CD in the post method. My best break (as in the biggest door I've got my foot in) came from this old fashioned method.

Many of the better and bigger labels will only accept cd's.

Do not listen to anyone on internet forums who says labels don't listen to demos. They listen to many everyday. They just don't have time to get back to the majority of those they don't want to sign (which is the vast majority they receive).

Do not become disheartened if nobody gets back to you for the first while. Most labels (good ones anyway) are not interested in how 'good' a demo is. They're looking more at 'is this the sound we are gonna put out for the next while? Does this fit in coherently with our back catalogue, and hence will our following be interested in it?'. So they're the kind of issues you need to keep at the forefront of your mind when sending demos.

Not 'I sent my demo to 100 of my favourite labels, and none of them got back to me, I must be crap, and may as well sell all my gear and go work in financial services!' (oh god the amount of times I've thought that to myself, to only get an email the next day from a favourite producer/label of mine telling me how great they think I am).

jtsuited

PaulBrewer wrote: »

Is there any point in doing this at all? Are uninvited Demos welcome anywhere?

Most of the time, yes. Dance music is unique in this way. Producers send tracks to labels. Labels release them.

A revolutionary concept huh?

SteveDon

Helix wrote: »

email them first to ask if you can send them a demo

DONT send mass mails, send one mail per label

send no more than 3 tracks, with your strongest one first

youll have the most success following those 3 steps

You think its a good idea to mail them first? really?

I thought with the small amount of time that a label had to listen to demos they would have an even smaller amount of time to send back a mail like that.

SteveDon

jtsuited wrote: »

oh this is the big controversial topic!!

I've both failed spectacularly and succeeded acceptably in the business of sending out demos. It's a horrible process for an artist imo, and it's cost me so much time and energy that I've genuinely considered hiring a secretary at many times over the past six months.
Here's what I've learnt:

Basically, nearly all labels have their demo policy stated on their website or myspace. Find all the labels you like and who's repertoire is similar to your sound (I CANNOT EMPHASISE THAT LAST POINT ENOUGH).

Then send them your tracks. Unless they state that they want a bio, do not send one with your track.

Don't use megaupload or any of those to host the files you are linking to. Rapidshare and yousendit maybe but none of those sites where all the popups clutter the screen.

Of course, if you've got 3 tracks you're really happy with, use the CD in the post method. My best break (as in the biggest door I've got my foot in) came from this old fashioned method.

Many of the better and bigger labels will only accept cd's.

Do not listen to anyone on internet forums who says labels don't listen to demos. They listen to many everyday. They just don't have time to get back to the majority of those they don't want to sign (which is the vast majority they receive).

Do not become disheartened if nobody gets back to you for the first while. Most labels (good ones anyway) are not interested in how 'good' a demo is. They're looking more at 'is this the sound we are gonna put out for the next while? Does this fit in coherently with our back catalogue, and hence will our following be interested in it?'. So they're the kind of issues you need to keep at the forefront of your mind when sending demos.

Not 'I sent my demo to 100 of my favourite labels, and none of them got back to me, I must be crap, and may as well sell all my gear and go work in financial services!' (oh god the amount of times I've thought that to myself, to only get an email the next day from a favourite producer/label of mine telling me how great they think I am).

Nice advice here cheers.

I have noticed that too that a lot of the bigger labels only accept cds, think i might go that route, add a little bit of artwork to make it more personal.

Soundcloud is also proving to be pretty good with private tracks.

seannash

god i hate sending stuff out.
to be honest i dont do it all that much but i guess its a necessary evil.
the last 2 tracks i sent to just 1 label who did want them.
pity i got the wrong label though:o

but yeah i guess i should be a bit more proactive about it but as im really unsure about my stuff i tend to say to myself im not ready to try a better label yet and just dont bother.

there is some good advice though in the thread,plus the amount of crap being released out there should be encouraging you to send it out

splitrmx

Start your own label, then send yourself demos in any format you want!

PaulBrewer

splitrmx wrote: »

Start your own label, then send yourself demos in any format you want!

No .... just sign yourself unheard!

PaulBrewer

Helix wrote: »

email them first to ask if you can send them a demo

DONT send mass mails, send one mail per label

send no more than 3 tracks, with your strongest one first

youll have the most success following those 3 steps

Based on what evidence Helix?

Helix

PaulBrewer wrote: »

Based on what evidence Helix?

literally everyone i know whos released stuff in the last 6 years without being a known name

jtsuited

yeah mass emails are a bad idea. they can spot them a mile off.

PaulBrewer

Helix wrote: »

literally everyone i know whos released stuff in the last 6 years without being a known name

Is that many ?

Neurojazz

Erm... get a name, get a number and pick up the phone = best thing you can possibly do to build a relationship. You really catch people on the hop .... 'Hello, is Brain there?... etc...

PaulBrewer

Neurojazz wrote: »

Erm... get a name, get a number and pick up the phone = best thing you can possibly do to build a relationship. You really catch people on the hop .... 'Hello, is Brain there?... etc...

People Love People ....!

Helix

PaulBrewer wrote: »

Is that many ?

yeah, quite a few

the initial email to whoever is over a&r opens a line of communication with them so theyre almost guaranteed to give you a response when the demo arrives with them

ive found its the same sending promos of releases out to djs you havent had contact with before. ive made some super contacts doing that

PaulBrewer

Helix wrote: »

yeah, quite a few

the initial email to whoever is over a&r opens a line of communication with them so theyre almost guaranteed to give you a response when the demo arrives with them

ive found its the same sending promos of releases out to djs you havent had contact with before. ive made some super contacts doing that

Yes, I guess that does make sense as opposed to just another faceless CD. The fact you've taken the trouble to personalise the relationship with a call.

Helix

absolutely, it can make all the difference

seannash

well lets say you do take the faceless route.what do you guys actually put in the email.
obvioulsy the download link but what do you say?

Neurojazz

Well, before putting the link in - something like this...

Hiya,

Really like your label and I feel that my music fits your roster - do you have a contact name, address or email I can send some links to samples of my material?

Many Thanks,
Joe Bloggs.

SteveDon

Neurojazz wrote: »

Well, before putting the link in - something like this...

Hiya,

Really like your label and I feel that my music fits your roster - do you have a contact name, address or email I can send some links to samples of my material?

Many Thanks,
Joe Bloggs.

Is it really nessecary to do that tho? Most of the labels ive been interested in have a demo policy laid out for you already. They also usually state that they in fact listen to all demos but only get back to you with feedback if it interests them.

Neurojazz

SteveDon wrote: »

Is it really nessecary to do that tho? Most of the labels ive been interested in have a demo policy laid out for you already. They also usually state that they in fact listen to all demos but only get back to you with feedback if it interests them.

It was related to his questions aspect. To be honest, ring them, it's much more personal than an email.

seannash

Neurojazz wrote: »

It was related to his questions aspect. To be honest, ring them, it's much more personal than an email.

most labels are just a site.i dont think they give out there phone info to people.
as you know neuro alot of the labels on beatport have maybe 2 or 3 people running them from there home.most wouldnt have offices.
i see what you mean by making a connection but labels get alot of submissions and to be honest they probably only want a relationship with people who make tracks they can sell.

if they replied to everyone who sent them a personal message they would feel like they have to get back to everyone who theyve befriended even if the music is horrible.

sometimes being faceless is good in certain situations

Neurojazz

seannash wrote: »

most labels are just a site.i dont think they give out there phone info to people.
as you know neuro alot of the labels on beatport have maybe 2 or 3 people running them from there home.most wouldnt have offices.
i see what you mean by making a connection but labels get alot of submissions and to be honest they probably only want a relationship with people who make tracks they can sell.

if they replied to everyone who sent them a personal message they would feel like they have to get back to everyone who theyve befriended even if the music is horrible.

sometimes being faceless is good in certain situations

Yep, really would be case by case for what action to take then...

I went into london once and called into sonys office, and was able to get into the a&r department just because a few weeks before i'd exchanged phonecalls asking trivial questions. I had got the A&R name from another person, rang the main desk and asked to be put through to Mark Bounds (the A&R for S3 at the time) and asked him what he'd be interested in after saying 'such and such gave me your details' etc... - kept it short and sweet but added that i might pop in when in the area - which i then did and we sat down and listened to some demos.

Faceless of course suits the bedroom labels, but always keep your creative options open and play games and have some balls.

seannash

Neurojazz wrote: »

Yep, really would be case by case for what action to take then...

I went into london once and called into sonys office, and was able to get into the a&r department just because a few weeks before i'd exchanged phonecalls asking trivial questions. I had got the A&R name from another person, rang the main desk and asked to be put through to Mark Bounds (the A&R for S3 at the time) and asked him what he'd be interested in after saying 'such and such gave me your details' etc... - kept it short and sweet but added that i might pop in when in the area - which i then did and we sat down and listened to some demos.

Faceless of course suits the bedroom labels, but always keep your creative options open and play games and have some balls.

yeah most of us wouldnt be in the league of approaching sony just yet ha ha.
i hear ya though and yeah it would be great to be able to make those connections but for most it will have to be the faceless emails.
the next step up from that is an aim or ichat name so you can chat to them online

Neurojazz

seannash wrote: »

yeah most of us wouldnt be in the league of approaching sony just yet ha ha.
i hear ya though and yeah it would be great to be able to make those connections but for most it will have to be the faceless emails.
the next step up from that is an aim or ichat name so you can chat to them online

Don't ever let the big boys scare you - show them your wares, if they don't pick you up, then it's their loss.

SteveDon

well i took your guys advice and sent off a load of demos today, fingers crossed time now

BaZmO*

Surely there's no real right and wrong way to do this. It's just sales after all. If the label like your stuff they'll take it on board and if not they won't. I'd imagine the usual sales tips would apply in that you need to know your market and try to be as professional as you can.

But as Neuro has pointed out, there's nothing wrong with a good old fashioned blag. Sure most successful artists have such stories about starting out.