Why Your Vocals Are Important

Your career as a recording artist hinges on many things from the songs you choose to the musicianship on your records. But the single most important thing for your artist identity is your voice. Your ultimate goal as a vocalist is to sound exactly like yourself. In other words, the more relaxed and confident you are as a singer, the more people will know who you are and what you’re about. In realityWhy Your Vocals Are Important
Your career as a recording artist hinges on many things from the songs you choose to the musicianship on your records. But the single most important thing for your artist identity is your voice. Your ultimate goal as a vocalist is to sound exactly like yourself. In other words, the more relaxed and confident you are as a singer, the more people will know who you are and what you’re about. In reality, it’s predominantly musicians who listen to CD’s for the musicianship, but the people who decide to buy your CD will connect with your voice first and everything else much later.

This article will serve as a do-it-yourself primer for how to approach singing in the recording studio. In today’s independent musical environment, it’s typically the case that you will play the part of, not only the artist, but the manager, record label and producer, too. The trick when it comes to getting great vocal performances is to make the most of each of these roles by knowing which role to play and when. I’ll be describing your responsibilities for each of these roles in the paragraphs below.

The Role of Manager/Record Label

In this role, your job will be to make sure you have a great place to record where you feel comfortable and can do great work. Otherwise put, you’ll need to go out and find a studio, talk to engineers, listen to examples of their work, get prices based on your budget and ultimately lay the groundwork for an organized, low-stress recording process. Acting as manager, you might also decide to invest in your own recording equipment (beware of the learning curve!) to give yourself the added flexibility of recording whenever you want with no concerns about the studio clock. Whether you record at home or in a commercial studio, taking care of the details (which have very little to do with actually singing) will make all the difference as to how smooth your vocal recording process will be.

Regarding artist development, an essential task in your role as manager and record label will be to consider a vocal coach. The more you sing your songs and work on them before you go into the studio, the better prepared you’ll be to give a great performance when the time comes. By studying your songs and working on the minute details ahead of time, you’ll end up with a baseline performance that you can deliver confidently. Then when the light goes red (which can be stressful enough), you won’t have to worry about how you’re going to approach your technique or interpretation.

The Role of Producer

Here your role will be to not only find the songs that work best for you as an artist but to help guide the singing process by keeping an eye/ear on a few very important elements. The first element would be the songs. It’s up to you to find the songs that you can sing with emotion and sincerity. If you’re a songwriter, it’s easy to assume that the best songs to sing will be your own, but it’s never a bad idea to look for outside material as well. Outside material will not only keep the level of songwriting consistently high but can also add the necessary diversity to a project. In either case, you have to know what your “artist’s” vocal instrument is capable of and make sure the songs fit. The key of the song is another major consideration. Just because you’ve always sung a song in a certain key does not mean it might not work better in a slightly higher or (even more surprising sometimes) lower key.

When it comes to the actual recording process, you will have to ultimately make decisions about when things are going well and improving and when enough is enough. This can be extremely difficult to do in the heat of battle but it is essential. Being both producer and artist is a very delicate balance. My recommendation would be to take a short (even 5 minute) break every hour or so and listen back to what you’ve sung. The temptation is to keep singing and singing because that perfect take is just one take away. In reality, your best take might have come five takes ago and you’ve been wearing yourself out needlessly.

I am a firm believer in the composite (comp) vocal because it allows the singer to sing the song from beginning to end multiple times going for the performance without worrying too much about the details. Getting bogged down in trying to fix a word or line can be draining and quickly take the life out of a vocal performance. Creating a comp vocal is as simple as recording multiple passes of your lead vocal without allowing your editor/critic into the equation. In other words, sing the song several times (as if you were doing it live) without stopping or redoing anything. Then when this is done, put on your producer hat and listen back to each pass while marking on a lyric sheet which pass is good on each line. It’s possible to have lines where several passes work. I hope this is your biggest problem. After listening to every pass and taking the appropriate notes, if there are still a few lines that need work, you can go after them then knowing exactly what you’re missing and how to fix it. The key to this process is to stay out of your own way while you’re singing. Try to prevent yourself from judging what your doing while you’re doing it. There will be time for that when you’re listening back. The more you keep the producer and artist separate during this part of the process, the more effective you’ll be in getting a great performance.

If you have the budget to actually hire a producer, you’ll be very glad you did.

The Role of the Artist

This role is strictly musical. All of the groundwork has been laid. When you step up to the microphone, your only task is to remember that these songs move you and to sing them that way. Stay away from any and all technical concerns such as whether you’re hitting the notes exactly on key or whether your timing is good. All of this can be addressed when you sit back down in the control room to listen to what you’ve done.

A piece of advice I give all my singers when they get bogged down worrying about hitting the note and sounding good is to think about the words to the song and what they mean. The best singers sound like they’re talking to you. You believe what they’re saying because they believe what they’re saying. Simply put, just tell the story and the pitch and the tone will follow.

Of course it can be nerve-racking the first few times you go in to record your vocals but the more you do it the easier it will become. Every bit of work you do in advance as your own management, label and production team, will make you that much more prepared to deliver a great vocal performance as the artist you are.

Good luck!

Once you’ve decided to up the ante and put your music online for the world to hear, it’s in your best interest to pay close attention to every step in the recording process. One of the most vital of these steps is the mix of your song. It’s not enough to have a great song. You need a great recording and a strong mix is an essential part of any great recording. The art of mixing (and make no mistake, it is an art) is not a skill everyone possesses. It’s well worth your while, even if you’ve recorded your tracks yourself in your home studio, to seek out an experienced mixing engineer. While there is no substitute for a dynamic, exciting musical performance, a good mix can enhance every aspect of that performance so that the final sonic result truly makes your song stand out. On the other hand, a poor mix can severely compromise even the best song and performance. Only you can write and sing your songs. That makes you an expert in those areas. However, unless you’re also an expert mix engineer, I’d highly recommend going to someone who is.

Budget

I get it. Everyone wants to save money. I do, too, but there are places to save and places to invest. In an effort to keep recording costs down, many musicians have purchased their own recording equipment. This is terrific and there’s never been a better time to buy affordable, high-quality gear. As long as you’re as passionate about learning the engineering process as you are about your music, you’ll do great. Owning your own recording equipment also takes a lot of the pressure off when it comes to experimenting in the studio. Finally, it allows you to record as many takes as necessary to get the performances you want without worrying about the clock. However, one way to make the absolute most of your recorded performance is to let an expert mix them. It’s amazing what a talented, experienced mix engineer can bring out of a mix that might otherwise get lost or obscured at the hands of a less able mixer.

Before You Mix

Before I cover in greater depth what makes up a good mix, let’s go back to performance for a moment. No matter how great the mix engineer may be there are some things you simply cannot fix in the mix. To be more specific, there is no way to “mix in” a great vocal or instrumental performance. What makes a performance great might surprise you. For example, sometimes it’s what you don’t play that counts the most. In my experience, the best studio musicians are the best listeners. What I mean by this is that great players base their instrumental performance on whatever else is going to be played in the song so that all the instruments work together as a whole to serve the song and NOT their individual egos. Playing too much is the hallmark of an amateur studio musician. Secondly, the timely use of dynamics (where to play louder/softer or with greater/less intensity) is essential to a mix that breathes and has shape to it. Simply moving up and down a volume fader won’t do the same thing. When it comes to singing, all the Auto-Tune and reverb in the world won’t give a vocal performance real sincerity and emotion. All this to say, make absolutely certain that the performances are exactly how you want them before you start the mix process.

The Instruments

Getting great instrument sounds in a mix is a combination of many factors. Finding space in the mix for each individual instrument is essential. This is often achieved through judicious use of EQ, compression, volume and panning. For example, the skill it takes to get great drum sounds, marry the kick drum to the bass while also giving the electric guitars rooms to breathe and sparkle is developed over time and repetition…a lot of repetition. When this is done properly, the instruments are exciting to listen to. Each has its place and role to play and when they come together, the song takes on a life of its own.

Vocals

A great mix engineer always makes the treatment and placement of the vocal a priority. Once the instrumental mix is generally where it needs to be, it’s time to make certain that the vocalist is running the show. A combination of EQ, compression, tuning (if necessary), effects and volume fader automation should all serve the ultimate goal of making it sound like the singer is in charge. There are several risks associated with improper vocal placement. If the final mix has too much vocal, then the instruments end up sounding small and weak. However, if the vocal is too soft in the mix, it loses its ability to communicate the emotion of the song. Every genre has its preferred vocal level. In general, pop music has the vocal more integrated into the instruments whereas country music (with its emphasis on the lyric) generally puts the vocal higher in the mix. There are, of course, exceptions to every rule but a good mix engineer will know the genre he or she is mixing in and do the right thing for the song.

On a related note, one of the best reasons to bring in an experienced mix engineer even if you’ve recorded the song yourself is a fresh, objective set of ears. It’s been my experience that if the singer mixes their own project, they tend to keep the vocals too low for a couple of reasons. One is that most singers tend to get uncomfortable with their vocals up in a mix. There are precious few singers I’ve ever worked with who genuinely love the sound of their own voices. By keeping the vocal low in the mix, the vocalist/engineer won’t have to leave their comfort zone but the mix suffers. The second reason has to do with the fact that the singer already knows the words and assumes that they’re hearing the words when, in fact, they may be too low for someone who doesn’t know the song to understand.

Mastering

Mastering a mixed recording is a separate skill altogether. While this isn’t an article about mastering, I’d recommend using a dedicated mastering engineer (not your mix engineer) when it comes time for this step. More to the point, the value of a good mix is that the mastering engineer will spend much less time (their hourly rates are generally higher than mix engineer rates) getting the finished master together. In other words, money you spend on a good mix will end up saving you money on a final mastered recording.

Doing It Yourself

If you’re still intent on doing your own mixing, consider hiring an expert to mix a song or two for you and then ask them for the session files back. Assuming you’re using the same recording software (i.e. ProTools, Nuendo, Logic), you’ll be able to examine every detail of how the mix was done and use the finished mix files as a kind of tutorial so you can ultimately learn to do them yourself. Good luck!

Why do professional recordings sound, well…professional? There are a number of reasons including high quality microphones, pre-amps, an experienced engineer and a well-designed studio space. But one of the single most important elements in a great-sounding, professional recording is the performance of the session musicians. There is a reason that the job of the session musician exists. It’s these musicians whose talent and studio experience contribute in a major way to the polished sound of a recording. Because there are different rules that apply when you’re recording an artist demo, I’m going to limit the scope of this article to songwriting demos specifically.

Shouldn’t I Be Able To Do This Myself?

While I am a big proponent of wearing as many hats as you can in your musical career, there are certain areas where it makes much better sense to rely on experts. First of all, it’s extremely important that you take ego out of the equation. There is no shame in having someone else play on your demo. Remember that a songwriting demo is supposed to put your song in the best possible light in order to “sell” it to prospective artists or place it in films and TV shows. It is not supposed to be proof of your studio musicianship. Recording your instrument in the studio requires an entirely different skill set than playing live. For lack of a better description, studio recording is more like music surgery than a musical performance. While you might be comfortable playing guitar in your living room or even on a stage in front of hundreds of people, it’s an entirely different ballgame to sit in a four by six-foot booth wearing headphones and listening to a clicking sound. Giving a note-perfect, dynamic and in-time performance in this kind of unnatural setting requires a special set of skills.

Isn’t It Cheaper if I Do It Myself?

Given that we all have to keep an eye on the bottom line when it comes to our recording budget, there is the temptation to save money by playing on the demo yourself. The problem with this method is that often it will take an inexperienced musician twice as long to get a viable take as it would a pro. One of the many advantages of using session musicians is that they are not only good at what they do but fast. In other words, the price you pay to hire a session musician translates into savings on studio time compared to playing the part yourself. Being fast in the studio is useful for another reason as well. When a session bogs down with take after take, it starts to feel a lot more like work. When things go quickly and smoothly, they stay musical and fun. Don’t discount the need for a session to stay enjoyable. My experience has been that everyone does his or her best work when the atmosphere in the studio is light and productive.

Great Expectations

When it comes to recording a demo, it’s essential that you keep your listening audience in mind at all times. In the music industry, there is a certain level of “polish” that record labels, publishers, managers and producers have come to expect from the demos they listen to. By bringing in the same musicians that play on hundreds of songwriting demos and major label record projects, you’ll be giving these industry types what they’re used to hearing. We’ve all heard from time to time industry professionals say that they can “hear through” your rough recordings. My recommendation is NOT to take that chance. You’ve only got one opportunity to make a first impression and you should give yourself every advantage. Also, even if there is one industry professional willing and able to hear through a rough recording, you’ll hopefully be pitching this song to a number of industry people many of whom will be expecting a professional sounding demo.

The Care and Feeding of Session Musicians

When it comes to working with session musicians, there are a few things to keep in mind. First of all, if you’re not comfortable writing out a chord chart, professional session musicians are perfectly capable of listening to your rough recording and writing out their own charts. For them, charting is quick process that should take no longer than 10-15 minutes at the most. Then, when it comes time for the musicians to play, always suggest that they try it their way first. There are two reasons for this. First of all, you’ve hired them to make your demo sound great so you should give them a chance to go with their instincts before you offer any direction. Secondly, by letting them do what you’ve brought them in to do with a minimum of interference, you’ll create goodwill that will go a long way towards the overall vibe in the studio. In almost every case, what the session musicians come up with will be better than you ever expected. HOWEVER, if you’re still not getting what you want after they’ve tried it their way, you’re 100% entitled to politely ask them to try it the way you were hearing it. The ONLY appropriate response from a session musician to your request is “absolutely.”

Conclusion

It can be intimidating to work with such talented musicians, but remember, they’re working for you! One of my favorite expressions is “the best ones have nothing to prove.” In other words, when you hire pros not only will they be great at what they do but they should be a pleasure to work with as well. There is no reason to hire even the best session musician if they have a bad attitude. This is extremely rare but if it happens, I’d recommend never using that musician again. There are way too many wonderful, friendly and talented session musicians out there to ever settle for one with a chip on their shoulder.

Finally, if you’ve never used a professional musician on your songwriting demo, do yourself a favor and try it out. You’re in for a treat and you’ll end up with a great demo.

Good luck!

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.

Who’s the Expert

You’re a songwriter. It’s what you do. It’s what you’ve trained yourself to do through countless hours of study, practice and effort. Your songs are yours and no one can write them for you. In other words, you’ve become an expert at writing your songs. That’s how it should be.

However, if you’re going to treat your songwriting as a business that you hope to profit from, then it’s in your best interest to employ experts at every level. In other words, unless you’re also a recording expert, I’d advise you to employ the people who are. Writing a great song is the first and most important part of the process but a high quality, well-performed demo of your song comes a very close second. Unless you’ve devoted as much time to learning the art and craft of recording as you have to your songwriting, you will be doing your songs and your career a disservice by attempting to record your demo yourself.

We’ve all heard the argument that a great song is a great song and anyone with ears should be able to “hear through” any recording no matter how rough. To my way of thinking, this is the music industry equivalent of being set up on a blind date with a person who may very well have a heart of gold but who doesn’t bother to shower. In other words, you’ve only got one chance to make a first impression with your song and given the competition out there, it had better be a great one. You might even meet a music industry person who can genuinely hear through a rough recording. This may be true for that one individual, but if you’re planning on showing your song to a variety of artists, managers, producers and A&R reps as well, it’s never safe to assume that anything less than a first-rate recording will do. By “first rate” I don’t mean full-band or elaborately produced, I simply mean your song should be recorded and produced by professionals.

How to Find a Good Recording Studio

One of the most daunting aspects of the recording process for most songwriters is simply finding the studio that is right for them. Word of mouth in the songwriting community and the recommendations of your performing rights organizations (BMI, ASCAP & SESAC) are great places to start. My recommendation is that you should treat this part of the process just like you would any business decision. Gather as much information as you can and base your decision on where you think you’ll get the best service and, of course, the best results.

The Studio

With the advent of improved recording technology and affordable, high-quality equipment, professional recordings can be made almost anywhere. Recording is no longer the exclusive domain of the big, multi-room complex. That being said, there are a few things you should consider before choosing a studio for your project. First and foremost is sound quality. Ask the studio owner/engineer for a demo of something that’s been recorded in their studio. But you should be more specific still. Ask that the music on the demo be in the style of the music you’re planning to record. For example, if you’re making a country demo, it doesn’t matter if the studio has a great sounding R&B demo because that won’t necessarily translate into a great sounding country recording. Secondly, make sure you’re comfortable in the space where you’ll be working. Although working in a big, beautiful studio can be inspiring for some, it can be intimidating for others. You’re going to be spending a lot of time in this place, make sure you feel at ease there so that you can relax, work effectively and enjoy the process.

The Engineer/Producer

It’s not only the studio you’ll be spending time in but also the engineer/producer (often the same person) you’ll be spending time with that matters. You’ll want to make sure you’re comfortable working with this person as you’ll be entrusting them with your music. A few things to look for in an engineer/producer include organization, patience and focus. The more experienced and professional they are, the more you should feel like they have your best interests at heart and want nothing more than to give you the best product you can possibly have. There should be no ego whatsoever involved no matter how accomplished/experienced this person may be. A simple reminder for those of you who are new to the game…it’s not the engineer/producer’s role to judge whether the song is good or bad. The assumption is-and should always be-that you’re there recording your song because you know it’s good and ready to be recorded. It’s their job to take that song and make a great demo so that it’s ready to be heard. All this to say, don’t be disappointed if you don’t get comments about whether your song is good or not, it’s actually not the engineer/producer’s place to comment.

The Money

Beware of being penny-wise and pound-foolish. Remember that you’re running a business and investing in your business is an essential part of helping that business grow and ultimately bring you a return on your investment. This does not mean, however, that you shouldn’t have a crystal clear understanding of what the costs of your demo will be. When it comes time to discuss price with the studio, remember to ask for an itemization and all fees. The obvious fee would be the hourly rate but it’s important to ask what other charges you might be incurring. This can be anything from a separate engineer charge, costs for burning CDs and even separate charges for certain pieces of studio equipment. A studio using an hourly rate system ought to be able to give you a fairly accurate estimate for what your overall project will cost. Some studios simplify the process even further by giving you an all-in project fee that is decided up front. It’s always better to know all of this at the beginning of a project so that there are no unpleasant surprises when it comes time to pay.

Know Your Strengths

There are only so many hours in the day. If you’re early in your career as a songwriter, you should be spending those hours working on your songwriting and devising every means possible (networking anyone?) to get your songs heard. However, if you’re truly fascinated by the recording process itself and are willing to invest the time, then by all means learn to engineer and produce as well. There’s never been a better time to get involved in recording due to all of the innovations and improvements in recording technology. If, however, you think you’ll save money by doing your own recordings without investing an equal amount of time to learn how to engineer, the end results will hurt your cause more than any amount of money you might save by recording yourself. As I’ve heard said, cheap can be expensive.

Conclusion

Let me be clear. I’m not recommending that you go out and spend your hard-earned cash on a professional recording every time you write a song. If you’re planning on having a career in music you have to be judicious in how/when you invest your demo budget. But, when you’ve got a song or songs that are ready for prime time, I’m simply suggesting you treat them that way.

Good luck!

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 Are You Demoing 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.

Budget

Let’s start with the elephant in the room…the money.  Doing quality recordings of your songs is never inexpensive.  As a matter of fact, doing a full band productions of a song can be downright expensive.  As a result, you should have VERY good reasons for doing a full production of your song.  An example of a “very good reason” would be that you know a music supervisor who has come to you specifically looking for a song for a film or TV show and they’re looking for a full band production.  Another good reason would be that you’re working with a young artist and you want to do a version of the song that highlights not only the song but the singer as an artist.  However, if you’re hoping to have a long, successful career as a songwriter, you need to manage your demo budget carefully.  In terms of pitching possibilities and placement opportunities for your songs, I firmly believe that it is better to have a catalog of ten great sounding, professionally recorded guitar/vocal or piano/vocal demos than it is to have half that many full-band recordings.

What Is A “Stripped Down” Demo?

A stripped down demo is generally a recording of a single instrument (either acoustic guitar or piano) and a vocal including vocal harmony.  This is in contrast with what I’ll refer to as a full band demo which generally involves a rhythm section (drums and bass) as well as various “color” instruments like electric guitar, keyboards, fiddle (if it’s country) and any one of a variety of other instruments.  The trick to a well-recorded stripped down demo is that it implies something bigger without necessarily having to use a lot of instruments to do it.  For example, a piano/vocal recording where the singer adds harmony vocals on top of their lead vocal gives the impression of the chorus getting bigger more dramatic without having to use a big drum fill or electric guitar power chords to do it.  Stripped down demos are particularly effective on ballads but can also work well on uptempo songs.  Sometimes, it’s as simple as including a shaker, tambourine or even foot-stomps and hand claps on a recording to give it a sense of drive and motion.  Adding a slight percussive element like this still fits in the category of stripped down because it’s being done in exchange for what a full drum kit would do.  Give this snippet of a stripped down demo a listen to see what I mean.

Stripped Down Demo with Simple Percussion:
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Stripped Down Does NOT Mean Low Quality

Let me be perfectly clear.  Just because your demo is only one instrument and a vocal, this is not permission to do it yourself unless you’re an experienced studio musician or demo vocalist.  When a demo is boiled down to a single instrument and vocal, it is doubly important that the recording and performances be of the highest quality because every element of the recording will be exposed. Most importantly, trained studio musicians and vocalists bring an emotion, precision and energy to a recording that will make it stand out in a way that is essential for creating a positive first impression.  I suspect I don’t have to remind you how intense the competition is out there.  You’ve only got one chance to make a first impression with your music so make absolutely sure that your demos (whether stripped down or full band) are done by experts.  In other words, save your money by using fewer instruments and scaling back your production, not by using inexperienced players, singers and engineers.

Click the examples below to hear the difference between a guitar/vocal rough recording done on home recording equipment and the same song professionally recorded with a session piano player and professional vocalist.

Rough Recording:
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Final Stripped-Down Demo:
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When Less Is More

Beyond being easier on your budget, there are several additional reasons to consider stripping down your demos.  First of all, a simple guitar/vocal recording of a song shows that the song is strong in its most basic form.  If you find yourself thinking that your song will only work if it’s got a full-band production behind it, then you might want to re-investigate the song itself.  Another advantage of scaled down production is that it leaves room for the artist or producer on a project to explore production options instead of pegging the song to a particular style of production.  Along those same lines, a piano/vocal demo sung by a vocalist with a clean, contemporary sound would open up pitch opportunities across several genres.  In other words, it might be possible to pitch the same piano/vocal demo to a pop artist as well as a country artist.  If, however, you’ve created a full band recording of the same ballad, the session musicians would most likely have to commit to a particular style thus limiting your pitch opportunities.

Conclusion

Hopefully, your career as a songwriter will be a long and prosperous one.  Having great songs is the first and without a doubt the most important place to put your time and effort.  But, if you want to make a living as a songwriter, then creating quality demos and getting those recordings into the hands of those who can do something with them comes a close second.  By stripping down your demos, you’ll be able to stretch your demo budget and highlight what’s unique in your songs without compromising on the non-negotiables like a quality recording studio, professional musicians and experienced demo singers.

Good luck!

This is a guest post by Tom Kimmel.

For some of us, a lyric rushes out into the world before we can think much about it and sometimes it’s a fine lyric, just as it is. Other times, even if we feel a strong personal connection with the lyric, it could be strengthened with a little work.

On the other hand, often a lyric comes in dribs and drabs, and once we have a complete draft we might be so relieved that we declare it finished prematurely.

In both cases, a lyric might benefit from a fresh perspective and a willingness to tinker a little.

Ted Kooser, one of my favorite poets, says that even when one of his poems comes out in one piece he still plays with it a bit to see if it might be improved. He hastens to add, however, that no matter how much or how little re-writing the poem requires, he wants it to read as if it flowed from the pen.

We songwriters have a similar goal. We want our songs to slide by easily without calling too much attention to themselves even if the lyric has real content and depth. To that end, there are a couple of references I return to.

When I’m re-writing a lyric I first ask myself if the song has what I call a strong through the door factor. In other words, I want the words to sound good and to sing well, so well, in fact, that if someone heard the song through the door they’d enjoy it!

In order to achieve that, I may record a working version of the song-in-progress and listen to it softly or from a distance, not analyzing the words, but listening for the sound and flow of the words. Do the words seem to roll off the tongue or do I stumble over certain sounds, words or phrases?

Chances are that if a lyric doesn’t sound good from the other side of the door, it won’t sound good up close either. So, in my book, it’s very important that a lyric sound and feel good. If it doesn’t, I can begin my re-write by asking these questions:

1.     Do the syllables I emphasize when singing my lyric coincide with the notes emphasized in my melody? If not, I’ll try to adjust.

2.     Do the number or words or syllables I’m placing in my lines and phrases make it easy for me to sing the song? If I’m cramming in too many syllables in a line or phrase, I can experiment with simplifying by making my phrasing less busy.

3.     Likewise, I may need to add words or syllables to more closely coincide with notes of melody that I’m emphasizing.

4.     Are most of the vowel sounds in my words easy to sing? For example, I’m probably going to avoid placing the words hat or it over a very high note!

Of course, strong lyrical content is extremely important to most songwriters, so the second way I approach a re-write or edit is by examining how the lyric unfolds as the song develops. I may ask myself, “Does my lyric and song unfold in a way that is satisfying, that holds the listener’s attention as well as my own?”

To consider this when I coach songwriters and lead workshops, I suggest that a song is very much like a three act play. Some of the story, be it a literal tale or an emotional or spiritual narrative, is revealed in the first act, which most often is the song’s first verse and chorus. The second act, usually the second verse and chorus is a new beginning; more of the story is introduced and then summed up in the second chorus. The remainder of the story is then told in the third act often the bridge and final chorus.

In my own work, if I then see that I reveal too much, too soon in my song I make changes. One technique espoused by a friend of mine is to take the first verse and make it the second verse… and to write a new first verse that is more of a prologue… so that the story has somewhere to go! Likewise if the song is slow to develop, I have the option of trying my second verse as the first verse. Experiment!

Bottom line: a song is not a painting. It doesn’t exist all at once. It has a beginning, middle and end, and it needs to flow, rise and fall throughout its lifespan. (In filmmaking they call this advancing the narrative.)

So let’s say I’ve got my song sounding good and I’ve got my story unfolding in a nice way. There’s still one question I ask about my lyric and that is, “Are all the lines in my lyric relevant to my theme?” In other words, does my whole lyric support the point or theme of my song? If I have some filler lines or phrases I’ll probably want to work on the song a bit more.

Finally, I have found that considering the above questions gives me a context for my writing. There are numerous details I can attend to, but if I don’t place the work of re-writing into this larger context, then all my work on the details likely won’t bring about the hoped for result.

In closing, I’ll share a technique I use over and over in the process of finishing or re-writing. If I’ve come to feel that I’ve been trying too hard to complete something, that I’m using too much mental muscle because I’ve lost the creative thread, then it’s important that I step away from the song, let it rest and come back to it fresh.

The single most helpful way I know to do this is to make a rough recording of the song, singing only the words I’m happy with and humming in places that might need a stronger lyric. It’s important that I don’t force words that don’t sound right or make sufficient sense. Then, and this is key, I listen to my rough recording at bedtime. (And by that I mean listen last thing before I turn off the light.)

It’s amazing how often the right words will bubble up from the subconscious the next day… or soon thereafter.

Working as a producer for the past dozen years, I’ve recorded with all kinds of artists from “fresh off the boat” newbies to artists whose experience in the world of music doubles or even triples my own. In every case, my role as a producer stays essentially the same. It’s that role that I’m going to describe in this article.

What Is A Producer?

The best way I know to describe what a producer does comes in the form of this analogy: A producer is to a recording as a director is to a film. When it comes to making a film, the buck essentially stops with the director. It’s the director who steers the ship working with everyone from the technical editors to the actors in order to achieve his or her overall vision of the movie. It is exactly that way with a producer when it comes to making a recording. Not only must the producer have the experience to work with the studio engineer (often possessing the technical expertise to engineer the project themselves) but the musical understanding to help the artist with everything from song choice, structure and arrangement to the all-important vocal performances that are vital in giving a recording its personality. In short, a producer provides the experience and necessary perspective to guide a recording from start to finish.

Producer Backgrounds

Producers can come from a variety of backgrounds. I’m listing the four most common and what each brings to the process, but, typically, producers have experience in more than one of these areas.

1) The Songwriter – Since at its essence, a recording is dependent on the quality of the song, the songwriter/producer is heavily involved in the song selection process. Not only does this type of producer have experience in knowing what does and doesn’t work when it comes to pre-existing songs, but often this producer will co-write songs with the artist for a given project.

2) The Musician – Here, it’s often an instrumental and music theory background that gives this type of producer their experience. They have first hand knowledge when it comes to working with musicians and knowing what instrumental approach will work best in a given situation.

3) The Engineer – In this case, the producer’s primary experience comes from actual recording (i.e., placing microphones on drum kits, recording vocals and mixing albums). By becoming an expert in the nuts and bolts of the recording process, an engineer/producer can make the recording process a smooth one for the artist.

4) The Music Fan – This is someone who lives and breathes music and has the instincts to guide artists and session musicians through the recording process without necessarily having had the “hands on” experience of being a songwriter, musician or engineer themselves. They often bring great perspective to a situation where being too close to any one part of the process might compromise the overall recording.

What Do Producers Do?

As I’ve mentioned, producers can be involved in many different aspects of a recording. Some producers are very “hands off” acting mostly as the voice of experience and perspective for artists who already have a fairly clear idea of who they are and where they’re headed. On the other end of the spectrum are the producers who are involved in every element of the recording from co-writing the songs, to engineering to playing one or even all of the instruments. In some, but certainly not all of these cases, the resulting recordings have such a distinctive sound that the producer becomes as associated with the recording as the artist themselves. For the record, no one way takes precedence over any other for producing a recording. The only measure of a producer that matters is whether or not the resulting recording is satisfying to everyone involved. As most producers operate somewhere in between minimal and complete involvement, here are the main areas where most producers do their work.

1) Pre-production – This includes working with the artist to decide if the songs are as good as they can be and, ultimately, which songs would work best as a group for an album release. It also includes deciding on the overall sound of a recording which involves deciding which session musicians/instruments would be best suited to achieve the sound and feel of a particular song.

2) Instrumental Recording/Arrangement – At this point, the producer works with the assembled musicians and helps direct their performances in the studio in order to achieve a cohesive sound for the recording.

3) Vocals - Finally, because the typical music listener responds first to the voice of the singer, one of the most important roles of the producer is working with the vocalist to help them give their best, most sincere performance of their material. It is extremely difficult for even the most experienced vocalists to have any perspective on their performance while it’s happening. For this reason, a producer is the voice of reason and experience who knows how to encourage a vocalist to do one more vocal pass or helps them realize that it would be better to take a break and come back to fight another day.

How Do I Find A Producer?

For those who are new to the process of recording, whether it’s an album project or even a song demo, it is unclear where to look to find a producer for your project. Generally speaking, word of mouth in your music community serves as the best, most organic way to find a producer right for your project. Another effective way to find a producer, particularly if you’re interested in doing a whole recording project, would be to look at the liner notes on some of your favorite independent CD projects made in the city where you plan to record. Often, those producers are available for hire and it’s just a matter of getting their contact information that the artists themselves usually have. Finally, there’s no rule that says you can’t contact a well-known/successful producer whose work you admire. Maybe they will be too busy or too expensive to work with, but you never know and if you’re respectful in your request there’s no reason not to try.

At the end of the day, it’s a good working relationship and the trust between artist and producer that makes for the best results. So, be sure that you not only like a producer’s work but also feel comfortable working with them as well. You’ll be spending a lot of time with this person and trusting them with your art, so make sure that you feel like the producer you choose is willing to give you and your music the attention necessary to get a great recording.

As a result of recording and producing literally thousands of demos, I’ve learned that it is always better to “prepare and prevent” than to “repair and repent.” Here are a few steps you can take to help make your demo recording experience more successful.

Song Preparation

It may sound obvious but make sure your song is FINISHED. I can’t tell you the number of times I’ve had clients come into the studio only to start rewriting a part of the lyric or melody. It is significantly less stressful (and quite a bit less expensive) to write a song when you’re not paying the studio an hourly fee.

You can also benefit from trying a few rough recordings at home before you get to the studio. The simple act of listening back to a song instead of performing it will reveal any weaknesses or issues that need to be dealt with before the studio clock is running. The last of these rough home recordings will become the definitive rough recording.

The Rough Recording

This is any simple, inexpensive recording that you do on a hand-held recorder. Generally a piano or guitar plus a scratch vocal will do the trick. The key here is not a perfect recording but rather an accurate representation of the song. In other words, it doesn’t have to sound great as long as the chords, melody and lyrics are correct. The purpose of the rough recording is to provide the demo vocalist and session musicians with a final version of your song that they can learn from.

The Demo Vocalist

Let’s start with the demo vocalist. It’s always a good policy to get a copy of the rough recording and the lyrics to the singer a week or so before the session. There are several reasons for this. First of all, the singer can let you know what key the song should be in to best suit their voice. This way, if you end up recording instrument parts before the singer does their part, you’ll know the correct key. Secondly, the more time the singer has to learn the song, the less time he or she will take to sing the song when the studio clock is running.

When you get to the session, it’s wise to have printed lyric sheets for the engineer, musicians and vocalist. The lyrics should be typewritten and have each chorus written out in full. The reason for this is that you’ll be using these lyric sheets to mark spots that need fixing (or spots on certain takes that you like) and having “Repeat Chorus” written for the second and third choruses won’t allow you to take good notes. The better the notes you take on the lyric sheet while the vocalist is recording, the easier it will be to tell the vocalist what works and what needs to be fixed.

The Session Musicians

The session musicians do not need anything in advance. They will be learning the song from your rough recording when they get to the session. You can save a little time by writing a chord chart of the song if it’s something you’re comfortable doing. If not, the session musicians should have no trouble doing it for you in the first few minutes of the session.

After that, it’s up to the singers and musicians to bring your song to the next level. There’s nothing more fun than listening to world-class musicians and vocalists record a song you’ve written. The more you prepare in advance, the more you’ll enjoy your studio experience.