Archive for May, 2010

The Pros & Cons of Signing a Publishing Deal

Wednesday, May 5th, 2010

For most songwriters in the early stages of their careers, the idea of being hired as a staff songwriter for a publishing company is close to the Holy Grail. It represents that most coveted prize of industry recognition and validation of your talent along with a gateway to cuts, movie placements and any one of a number of other exciting possibilities. However, keep in mind that wanting or entering into a relationship with a publisher in order to simply validate your talent is probably not the best approach. As with any business relationship, it’s essential that you, as the songwriter, understand what you’re giving up as well as what you stand to gain by signing over partial (or complete) ownership of your copyrights to a music publisher.

What is a Publishing Deal?

Let’s start at the top, in general terms, a typical publishing deal involves the assignment of some part of the ownership of your songs to a publishing company in exchange for a monthly payment known as a draw. The publisher can also provide co-writing opportunities based on their industry relationships and pitching opportunities by members of the publishing company’s staff called song pluggers.  I’m aware that there are many variations on this arrangement such as no draw in exchange for giving up less ownership of your copyrights to the publisher but for the sake of this article, I’m going to paint in broad strokes.

The Pros

Listing the advantages of a publishing deal is easy as most songwriters have heard (or dreamed) of these.

1.     A Draw - For a songwriter getting started in the business, it’s extremely difficult to write full time without having money to live on.  The monthly draw provided by a publisher can help ease that burden.  While some draws are enough to allow the writer to write full time, most are enough to, at least, make it so the writer only has to have a part-time job leaving more time for songwriting.

2.     Demo Budget - Making high quality recordings of your songs is not cheap and having a publisher to put up the money for these recordings can help out quite a bit.

3.     Song Pluggers - These are employees of the publishing company who are specifically charged with finding opportunities for your songs.  They pitch your songs relying on their relationships with record labels, producers and artists as well as a variety of other music business decision-makers.

4.     Networking/Connections - The credibility that comes from signing with established music publisher is a powerful thing.  It can open doors to meetings, co-writes and countless other relationships in the industry.  Also, publishers have industry-wide relationships that can provide great opportunities for a songwriter who hasn’t had the opportunity to network much on their own.

5.     Validation -The validation that comes from a publishing deal is what most beginning songwriters long for. In the early stages of most songwriters’ careers, they’ve most likely written songs in obscurity and with the exception of friends and family they’ve never received praise and recognition from anyone in the industry.  It can even act as a motivator to improve a writer’s work ethic and even inspiration.

The Cons

This is where I’d recommend paying close attention.  I know the idea of being able to write songs and have your publisher take care of all the details is an appealing thought…but the reality is a bit less simple. Don’t kill the messenger here, but as a friend of mine once said, “They don’t call it the music ‘friend’ or the music ‘nice.’”  This is a business and it helps to remember that a publisher is giving you something in order to get something.

1.     Your draw & demo budget are essentially loans - The money that makes up your draw and your demo budget is money that the publisher will take back from your share as soon as your songs start generating income.  More importantly, unlike a loan paid back to a bank, even after you’ve made back the money to pay the publisher for the money they’ve invested in you, they will continue to own the publishing on your song and make income from it.  In most cases, this is an arrangement that lasts for the rest of your life and then some.  Also, in most cases that recording that the publisher split with you or loaned you money to make is their property entirely. This translates into no master fee payment for you, the songwriter, if that recording ends up in a film or on TV.

2.     You and your songs aren’t always the priority - Even though the idea of a song plugger getting your songs heard is comforting, the reality is that in most publishing companies, there are many more signed writers than there are pluggers.  In other words, your songs, while the most important songs to you, are among the hundreds (actually thousands if you count the back catalogs of most publishing companies) that the overworked song pluggers have to consider for every pitch opportunity.

3.     Validation is NOT enough - As a songwriter, I understand how good it feels when someone in the industry tells you they love your songs.  In and of itself, this is not enough of a reason to give away your publishing.  To me, the analogy would be of a guy going up to a girl in a bar and saying “You’re beautiful and you should sleep with me.”  In other words, as a writer, you should work every day until you’re confident your songs are good.  Use resources like song critiques, songwriting organizations and your songwriting peers to get good, constructive feedback on your material.  Don’t just sign with a publisher because they tell you you’re good.

Your Options

My intention is not to discourage but rather to empower you.  By not looking at a publishing deal as the only answer to your songwriting prayers, you’ll put yourself in a position to do for yourself which, ultimately, will be the most consistent and rewarding way of having a sustainable career as a songwriter. In other words, you don’t have to have a publishing deal in order to act like you have a publishing deal every single day.  Here’s what I mean…

1.     Be your own publisher - You don’t need an established publisher to publish your songs. It’s a relatively simple proposition to start your own publishing company through one of the performing rights organizations (ASCAP, BMI and SESAC). A simple phone call to one of these three organizations can get you started.

2.     Put yourself on a regular writing schedule - If you want to be a professional songwriter, act like one.  Set aside regular times to write and treat it like a job. Folks in the working world don’t skip work because they “don’t feel like it” and neither should you.

3.     Demo your songs - Develop a relationship with a professional recording studio and when you’re absolutely certain you’ve got a song that’s ready for prime time, spend the money to make a broadcast-quality version suitable for a variety of uses from pitching to artists to placement in film and TV. And speaking of pitching…

4.     Pitch your songs - Actively look for opportunities for your songs.  It’s one thing to write a good song and have a great demo but if no one hears it, then it can’t possibly generate any income for you.  This isn’t the glamorous, romantic part of the business but I promise you, the overwhelming majority of successful songwriters - even those with publishing deals and song pluggers - spend a lot of time pitching their own material. It’s tough out there and you need to do everything in your power to get your songs heard.  Also, as I mentioned above, no one will make your songs a priority more than you will.

5.     Network - Another less-than-pleasant reality for the gifted, introverted songwriter is that there is no substitute for the relationships you make in the industry.  Get out there and meet people.  This doesn’t mean you have to be fake or stay up until 3am drinking every night (unless you like that kind of thing).  It does mean, however, that you have to find opportunities to interact with the decision-makers in the music industry.  A few suggestions of ways to do this might be attending music conferences, songwriter festivals and some of the events sponsored by organizations like the Nashville Songwriters Association International (NSAI) or the Songwriter’s Guild of America (SGA).

6.     Sign an admin deal - If you’re starting to get some cuts and placements for your songs and the subtleties of copyright law, royalty statements and licensing feel like too much to keep track of or negotiate, then consider signing with a publisher to administer your copyrights.  In other words, instead of giving away ownership of 50%-100% of your copyright, give a copyright administrator 15%-25% to “mind the store” while you’re taking care of the other stuff.  I promise you, if you’re making money from your songs, you’ll have no trouble at all finding an experienced publisher to administer your copyrights.

Conclusion

For the sake of simplicity, I’ve kept this article and the terms of a publishing deal very general. There are all manner of publishing deals from copyright administration all the way to full ownership of your publishing and there are reasons for and against all of these. Music publishers provide a valuable service in our industry but I think it’s important to realize that signing a publishing deal isn’t always your best option.  Be absolutely certain you understand what you stand to gain (beyond the simple validation of your talent) and what you’re giving up to get it.  In the world of professional songwriting, there is no one way to achieve success and, no matter what, the more you understand and can do on your own, the better off you’ll be.  Good luck!

Posted in Music Business | 17 Comments »

Capturing The Magic In Your Rough Recordings

Wednesday, May 5th, 2010

www.jenniferhamady.com

www.jenniferhamady.com

Songwriting, for most of us, is a tremendously intimate experience.  The magical inklings of lyrics and melodies spring to life in our minds, getting polished and reworked until they’re ready to be shared with the world.

Unfortunately, the delivery is often a painful one.  The way we imagine our musical creations rarely seems to translate quite right to our rough recordings.  Often something gets lost or altogether altered.  This is all the more true when we ask other people- session players and certainly singers- to give voice to our work.

Are these ‘mistranslations’ inevitable?  What is the best way to get our songs out there in the world as we feel them in our hearts and hear them in our heads?

The first part of the answer lies in how you initially express and share your song.  This is generally in the form of a rough demo, the recording of which is often a traumatic experience for most non-singing songwriters I know.  Desperate to just get it down, they shift out of the inspired mindset in which they created the song and- apologizing all the way- clinically eek out each note and phrase.

While this may seem like the right approach to capturing and conveying accuracy, it’s one of the worst things you can do.  The lyrics and melody are, after all, only one aspect of the song.  And contrary to popular opinion, they’re in fact the easiest to teach and learn.  The magic, on the other hand- that intangible, inexplicable ‘feel’- is not.

As both background and explanation, let’s look at how a song is aurally learned.  Consciously, the mind- via the prefrontal cortex- attempts to intellectually organize and memorize lyrics, melody, and rhythm.  Unconsciously, the mirror neuron system- what allows us to imitate, among other things- processes the subtleties and nuance of the way the singer is breathing and singing.  Finally, if the performance is perceived as a moving one, it engages and registers in the basal ganglia and amygdala- the emotion centers of our brain. Put together, the result is technical accuracy, internalized inflection, and emotional conviction.

Unfortunately, if you sing your scratch demo as perfectly as possible, neglecting the passion and emotion, your demo singer will likely miss them too.  In spite of what he or she might otherwise choose to do, the mind and muscle memory will inevitably record and reproduce your sterile version of the song.

The good news is that ‘demo lock’ can be as positive as it can negative.  It is therefore your job as the songwriter, no matter how well or badly you think you sing, to do your best to get your and the song’s soul core onto your rough recording.  Doing so will ensure that the singer’s emotional memory is activated to capture and repeat it.  The intellect can then be called upon as needed to make any conscious alterations to notes, lyrics, timing, or phrasing.

Consider Johnny Cash’s “American IV: The Man Comes Around” or Joni Mitchell’s “Both Sides Now”.  With the feel in their later years trumping ‘correct’ and technically enviable singing, the mind and body of the listener can focus on the heart of these songs.  Have singers learn ‘A Case of You’ or ‘Hurt’ from these records as opposed to the originals, and you’ll be blown away by the difference in not only their interpretation, but their musical and technical accuracy as well.

It also helps, when possible, to have the scratch vocal performed by someone of the opposite sex of your demo singer, or at least, someone with a very different kind of voice.  This will further prevent the conscious mind from trying to technically and tonally ‘match’ the sound of the singer’s voice, shifting the focus to the embodiment of the song’s essence and message.

I’d also like to address the structure of the demo session itself.  Most of us on both the singer and songwriter sides of the aisle are used to a 2-3 hour, one-shot deal.  The song is played, a key is picked, the tune is learned and performed.  That’s a lot of work- on a lot of levels- for a couple of hours.  The pros can definitely do it, but I think there’s a way to make the process even more relaxed and effective for everyone involved.

To begin, I recommend that songwriters provide singers with their scratch demos a few days or a week before the session. This gives them a chance to learn the song in their own safe space. Without the pressure to immediately perform, the intellect and body tend to relax, helping to ensure a better initial learning.  If you’re uncomfortable with such a hands-off approach, a quick phone check-in will ensure that your singer’s on the right track.

Another trick I use- albeit perhaps unconventional- is to recommend initially learning in silence.  Generally, singers start ‘faking through’ a song as soon as they hear it.  The problem with this approach is that muscle memory is unable to tell the difference between ‘learning’ and ’singing’.  Two or three times of half-singing through a piece, and the voice and body are well on their way to making unsupported associations that are difficult to overcome when it’s performance time, even for the pros.

By learning the song through listening however, both the emotional and technical cues can be processed and memorized, ensuring an optimal initial physical engagement. You may have to pay your singers a bit more for this ‘advance work’, but I assure you that the investment will be well worth it.  Not only will you have a more confident and relaxed vocalist in the booth, your session will likely go much faster and more smoothly.

Just as your songs come from the heart, so from there should they be initially expressed, learned, and recorded.  Stay connected and committed to your emotional conviction at all times, and the soul of your songs will always come through.

Posted in In The Studio | 13 Comments »