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"Real questions
on record deals, publishing deals from songwriters and music makers and real answers that can help you"
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Free advice on record deals and publishing deals for songwriters plus a
songwriter's Professional questions and answers guide to song writing, getting Record deals, Publishing deals, making and producing Hit Records, Hit Songwriting and Performing.Check the numbers of the questions then scroll to the answer.....why not
ask your own question? This is only a tiny indication of what you can get
from:
(1) "Can you enlighten as to the fairness and equity of recouping direct cost and outlays.
?"
(2) "How
do I soundproof a home studio?"
(3) "How
do I project my voice?"
(4) "I am wondering however what my bottom line should be in
negotiation?"
(5) "What is
correct vocal harmony?"
(6) "How
can I make music managers and record labels believe in my idea?"
(7) "Does the size of guitar pick affect the length of the
sound?"
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Can you enlighten as to the fairness and equity of recouping direct cost and outlays.
?
QUESTION:
Dec
I write to you hoping you may be able to put me straight and signpost me on a couple of issues in the music
business for record deals and publishing deals.
I left gigging to go into television. These days I work for a development agency for the arts called the Arts Council of England.
It is over the last two years that my partner and I have realised we have unearthed and supported several bands/groups
looking for record deals and publishing deals that have been able to climb a rung on the ladder and strive for negotiating deals thanks to our experience (She and I are both in PR and marketing, my partner for commercial radio)
Our passion of music is so great that we have decided to look at setting up a small record label / management company to formally help up and coming talent.
In doing this, can you enlighten as to the fairness and equity of recouping direct cost and outlays.
Is it possible to assign a percentage of royalty fees to a manager/ development deal?
I know this sounds a little confusing but I am trying to establish where we can achieve a cost return. A recoupment linked to this would seem the logical area to consider…
S****** B**** and L**** S********
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S******, L****
Quite a familiar story!
The answer is far too lengthy for a short Email reply.
<<<<<Our passion of music is so great that we have decided to look at setting up a small record label / management company >>>>>>>>
Easy .... the warning is to make absolutely sure contracts are signed sealed and delivered before you ever switch the studio light on .... make sure the material is positively and
definitely Potential Top Three and make sure the band/artist has sold out signs,
queues down the street, merchandising and white labels out of control and a growing fanbase of around 30,000.
Ignore this advice and turn £4Mill into £10. You have been warned.
<<<<<<<<I am confused as to the way we would ensure that a sizable amount of our income that would be investment could be recoupable as we have capital outlay onto bands.>>>>>>>>>
Again easy ... in the scenario above the investment is achievable [costumes, grooming, staging, choreography, improving equipment and more importantly looks of equipment] ... this can be self financing with gig fees, merchandising and white labels.
As I said before the contract should be drawn up tight with no emotion or enthusiasm....just plain bueiness. Every penny spent should be entered in a dedicated accounting programme for the band [Sage or Excel works fine]. Monthly statements issued to the band members and certainly a watchful eye should be kept on the time period for return of investment and profit making.
<<<<<<<<<We are not ever going to be able to offer exclusive deals but would sit somewhere between a management deal and a development deal for bands>>>>>>>>
As I have now said twice, be desperately careful ... I have seen many try to approach this 'tough' business in this way ....DO NOT!
This is a business to make profit....not to encourage no hoper or semi hoper bands who will sh*t on you ....trust me! I have seen it too many times [even done it myself....] The first glimmer of success will see them scuttle off to a major management/agency/production company.
Simply offer the 'tough' deal that totally protects your position, whether
that be record deal or publ;ishing deal or perhaps management or
production deal... if they don't accept it then simply say 'next'. Forget them and get on to a profitable proposition.
<<<<<<<<<the fairness and equity of recouping direct cost and outlays>>>>>>>>
If you offer that deal the first question they will ask is: "when do we move into the HOUSE and when do we get our first wages and the new touring truck?"
That deal is offered by major players who will design and put together 4/5 bands simultaneously knowing that one will hit the big time. That band will be contracted for 3/5 years and the rest of the bands will simply
disappear.
<<<<<<<<<Is it possible to assign a percentage of royalty fees to a manager/ development deal?>>>>>>>>>>
Complicated way of doing things!
PRS [writers] can only be subdivided if you are a co-writer or they all or whoever writes agree to have you as co-writer. If you control the publishing [the best way] then 50% of all PRS royalties go to you.
PPL and VPL [Phonographic Performance Limited] royalties for the performers on the record go directly to the performers in their various
categories [principal performer, contracted and hired] ... this cannot be tampered with. YOU should ensure that you play something, anything on each record [tambourine?] and register your involvement by simply informing PPL. It is not your
responsibility to make the band aware of this ....in my experience they will put off doing this and never get round to it! I advised Michael Crawford ...
unbelievably he had not heard of PPL!!!!!!
As regards mechanicals ... the production company would negotiate the
record deal with the Record Company/Distribution company and have a separate deal with the artists. The Record
company would normally want an assurance as to the permanence of the members of the band [principal artists].
FINALLY:
Disregard my initial advice and warning at your peril. There are hundreds
of trusting managements etc. who have gone down the route you propose and been severely
shafted. [Spice Girls?]
There is no such thing as a hand shake and 'trust' today ... I could tell you stories that would make your hair curl.
Be a tough b*stard .... but fair, transparent and above board...that way you will attract bands with the proper work ethic, the enthusiasm, the killer attitude,
perseverance and commitment that will make them stars ..... try to be in a position that you can 'hire and fire' ... because you will HAVE TO.
Get the book 'Queen - the early years' .... that will verify everything I say ... and also study the emergence of The Spice Girls .. a salutary lesson for all aspiring guys like your selves.
Stephen ... if you have a database of prospective bands then we would be very interested. We do not advertise and rely on word of mouth ... we have arrangements with a lot of agencies, managements and record companies etc. who supply names and addresses ... we pay a handsome commission on all sales.
By the way... the bible for all this knowledge is 'How To Make A $Million From Your
Music' .... and also 'How To Start Your Own Publishing Business For Less Than £100' .... the Industry's standard manual.
Regards
DEC [Cluskey]
mailto:dec@makehits.co.uk
'Mad About Music' the seminar on CD and CDrom is now ready....Dec at his best! Check out http://www.makehits.com/madaboutmusic.htm or call 01323.728005 [+44.1323.728005]
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How
do I soundproof a home studio?
Question (2)
Hi Dec,
We've recently bought a house and I now have the opportunity to set up my project studio in the second
bedroom with a view to getting a recording deal and
publishing deal. So I will be looking for free advice on a record
deal or publishing deal.
Only problem is it needs a bit of soundproofing as it backs on to the
neighbours?
bedroom and I want to avoid any unnecessary conflicts. I like working late at night and they seem to go to bed rather early?
Anyways, I've found your excellent article on how to build an inexpensive studio and in it you mention something called soundboard that comes in 4x8?
sheets.
Unfortunately I can't find anything called soundboard in DYI stores or builders merchants (Travis Perkins, Jewson)
Is it known under a different name in the UK?
I found some articles on the web mentioning soundboard but they were all American.
What is it made of and is there a similar product available?
Thanks for your help ? Much appreciated
Regards
C********
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C********
<<<<<<<Only problem is it needs a bit of soundproofing as it backs on to the neighbours?>>>>>
A 'bit'????????
First, it is impossible to completely soundproof a room to avoid sound going through the walls. The only way is to construct a 'room within a room' which is suspended from each corner by massive rubber bands. That is how the job is done professionally. Then each door is a double door, like an
air-lock in a space ship.
You will find excellent info in the article I wrote at www.makehits.com/art019.htm . This includes the trick of putting a second floor down with a layer of rubber balls underneath [cut in half]. It also talks of the soundboard idea. This is basically very cheap fibreboard about half inch thick [quite old fashioned but still
available]. It is a light tan colour that flakes away in your hand when you scratch it with your nail.
For soundproofing a wall it is essential to use the heaviest material possible. So underfloor felt is much better than foam...understand? A second wall constructed against the existing partition wall with your neighbour but not touching it would do a lot of good.
Particularly if you use the method I give in the article. You could arrange the second wall so it did not touch the
existing wall [thus avoiding bass frequencies passing directly through the wooden structure of the wall which would otherwise be fixed to the dividing wall]. Infilling between the vertical 4"X2" timbers with underfloor felt would work wonders [up to 4" of it]. Remember it is the weight of the soundproofing that matters.
Christian, at the end of the day it is best to remember not to annoy your neighbour in the first place.
Bring him round a bottle of Scotch and some flowers for his wife/partner and tell him that you are in the music
business. Tell him you are very aware of the noise that you may make A VERY ODD TIME when mixing. Make sure you tell him the
lengths you have gone to to soundproof ... Invite him round to show him. Tell him the money it cost and that you would welcome a call if he ever hears uncomfortable noise. Also tell him that you always abide by a 10pm curfew. No music after 10pm. EVER!!!!!!
Remember:
There is never any good music made after 10pm. Fact!
The best mixes are first thing in the morning. They are the
mixes that get the record deals and publishing deals.
There is never a good mix made with overly loud levels of sound [your ears simply close down]
It is just as easy to work with earphones as with monitor speakers [I prefer mixing on Industry Standard Beyer DT100 earphones and checking the mix on NS10's, KEFCorelli HI Fi speakers and Nightfire main studio monitors.]
I use lightweight high quality professional Sennheiser earphones for all recording and programming other than open mic. work [then DT100's are essential]
Although my studio is mightily soundproofed it is impossible to stop the bottom end traveling through the fabric of the entire building [and it is
big].
Regards
DEC [Cluskey]
mailto:dec@makehits.co.uk
'Makehits Demo Consultation Service' the Industry Standard critique service used by the industry to tell will a project make money...Dec at his best! A full CD of Dec's comments plus a 17 page critique and a copyright certificate. Check out http://www.makehits.co.uk/demo.htm or call UK 01323.728005 [+44.1323.728005]
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How
do I project my voice?
Question (3)
Hi Dec, I have been back and forth to your website for a while now,
it's great, I was wondering in all your many replies to people if you could spare 5 minutes to help me out with a little problem.
I cannot project my voice, it is something I have been struggling with for many years and so far found no answers
to, not even from my voice coach. my throat goes all tight and restricts sound coming out when i try to project or go too high up the scales, the only answer I have had to this other than sorry cant help you is that it may be the very back of my tongue tensing, that's it, no; ''and you could sort it out by doing this that and the other'', or ''try this''. I wondered if you possibly might have an answer or suggestion as to how
I might improve this problem
so I can have a chance of a record deal or a
recording contract or publishing deal of some sorts.
Thank you in advance
K***** - Avid reader of Your ' One Minute With Dec '
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K*****
Be assured you have no problem whatever.
It would be impossible for your next door neighbour to enter for the Olympics as a sprinter and beat the top world class sprinters. Similarly it would be impossible for YOU to come on stage with my band and have a practiced voice [note the word 'practiced'] better than myself and my brother or the back singers.
Your perceived problem is simple. You simply do not gig....in other words sing live in front of an audience 3/4 times a week. Just like the sprinters who practice hard in real conditions all day ... and compete in serious competition each week.
Having said that, what we look for in a voice is experience and tricks ... we call it vocal movement. Like Christina Aquilera [check out 'Beautiful'.....a great example.] Barbra Streisand has a particularly quiet voice.....
In a sarcastic sense, we have massive sound systems available these days. It is microphone technique that is needed rather than a huge classical voice.
Vocal coaches in the UK are less than useless to give you these skills. Then prepare singers for the West End or Broadway ... a tiny career opportunity. In 'How To Make A $Million From Your Music' I give what is recognised as the best way to acquire the necessary skills. And that is nothing to do with projection etc.
https://secure.mistral.co.uk/makehits/swgappsecure.htm
Projection, today is totally unnecessary...it is a modern day Soul, Hip Hop, R&B voice that is required. In fact essential.
You would be surprised at how calmly and controlled I sing.
Let us have your postal address and we will send an info pack on what we do.
You will then know what is required for your sought after record deal or
publishing deal.
P:S: the only 'aid' that a pro singer will ever use ....which is great when we have a cold or flu, is a glass of Port.....excellent..works every time. Just one, mind you.
Regards
DEC [Cluskey]
mailto:dec@makehits.co.uk
'Mad About Music' the seminar on CD and CDrom is now ready....Dec at his best! Check out http://www.makehits.com/madaboutmusic.htm or call 01323.728005 [+44.1323.728005]
The Boss, Dec, enjoys a drink with
Mr & Mrs. Rolph Harris and Bruce Welch and his Good Lady - always
involved in charitable causes.
The Serious Writers Guild is run by
real, successful, active music people....not faceless businessmen.
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I am wondering however what my bottom line should be in
negotiation?
Question (4)
Hi Dec,
I need your help.
I finished some tracks in the studio with C******* H***** (recently B******** J***).
She only did live lead vocals on the recent Singles DVD and BV's on the last album but at least there is a cult market for her. It helps in getting initial conversations started within the
industry re record deals and publishing deals.
One of my songs is perfect for the summer holiday/dance market. You know the scene, 10 girls on a package holiday, looking to pull at the club in Greece or Spain!
I've realised recently however, after re-reading your course over and over, that the production/arrangement, (although of high technical quality) needs to be modernised.
I have found a great remixer who has worked with G*** H******* and some other big names.
He is willing to work on a percentage basis.
Should I offer him a percentage of publishing and mechanical for say 2 years? Or
is that plain dumb?
I have put the ball in his court, by taking your advice, and asking him
to make the initial offer. I am wondering however what my bottom line should be in negotiation.
Thanks very much for your help. It's very much appreciated.
Kindest regards
D**** N*******
Planet Earth Publishing
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D****
Sorry for delay .... been overseas touring.
Sounds like a good track. A record deal around the corner?
If he asks for cash then he is really not that smitten with the track. He should ask for small out of pocket
expenses and a percentage.
It is difficult to know what a remix guy will charge percentage wise.....some are used to huge deals with BMG etc. but they are big name
remixers, with a pedigree.
<<<<<<<Should I offer him a percentage of publishing and mechanical for say 2 years? >>>>>>>>>>
He is not entitled to any Publishing royalties as he did not write the song [melody and chord structure]. Remixing comes into the realms of 'arranging' and this is what makes it hard to negotiate. An arranger charges by the bar and per instrument arranged for ... there is a set rate, but this can be a crazy price so we generally 'do a deal'.
Programming comes under that vague term of 'arranging' and likewise should be charged per bar ... but never is .... just a 'deal'.
The deal can be a straight cash deal with no residuals [best way].
As regards 'producing' .... which is what a remixer is loosely known as .... he would concentrate on a percentage of the mechanicals [between 2.5% and 5%]. This can be paid by the Record Company or paid by the artist or paid by the Record company and recouped from the artist.
It should always be remembered that the remixer is 'playing' on the record so therefore he should pick up PPL royalties [Phonographic Performance Limited]. Most guys don't even know about this royalty - which can be enormous, if the track charts and has a lot of airplay and TV/DVD play.
At the end of the day, D****, it depends on how much YOU want to give away.
Whatever he says ...half it! Never let him near the Publishing royalties [it's your
publishing company and YOU wrote the song]. Without your song he would make Zilch!
With a successful track, that charts, he will pick up around 3.5% of the gross mechanicals [record/Video/DVD sales] .... a negotiated part of any involvement in TV drama and Film royalties and most of all around £45 for each radio
play. Much more for a mainstream TV play.
Regards
DEC [Cluskey]
mailto:dec@makehits.co.uk
Just released:- "57 Secrets of a Hit Record" ... - 260 pages of the Secrets plus the CDrom Analysis Software and Audio CD to ensure that your music is a Potential Hit www.makehits.com/57Secrets.htm
or call UK 01323.728005 [+44.1323.728005]
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What is
correct vocal harmony?
Question (5)
Hi Dec
As a member of your Guild, I'd like to ask you a question about back vocal
doubling when recording.
If, for example, the lead vocal melody in the chorus spans several different notes
accompanied by different chords and you decide to add 3 different part
back-vocals, what is better practice: to change tonality for all three parts simultaneous while they follow main vocal, or to hold same tones in regards to the main vocal until chord changes to new one.
thank you in advance
D ******
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Davorin
A very intelligent question.
Both work..... but you cannot just change all notes without regard to the chord structure. Sometimes you can change one ... this would then be called a 'passing note'.
But it depends on the producer's intentions when recording. He may want a close harmony feel [that is what we call harmony that follows the melody as closely as possible within the constraints of the chord structure]. I developed a unique sound for my band by doing this with one voice above the melody and one voice below. It was never done before, strangely, and was quickly nicked by The Hollies, The Searchers, The Fortunes, The Four Preps...and loads more....but we were first!
That type of harmony needs a very distinctive and strong, obvious, lead voice ... as it is surrounded by harmony and not easy to identify in the finished sound.
The other way you describe is called 'block harmony' .... where the lead voice is distinct from the Back Vocals and the B/V's simply sing a block of harmony, changing with the chord structure and using the words and metre of the lyric.
This harmony would work equally as an 'AAAh' or a hum. When we sing an AAh or OOH we still follow the melody, using the note above and note below technique....this will give a 'fifth' interval' sound to the back vocal...which can be very full and interesting. Fifths, tenths and thirteenth's will always give off the harmonics of the missing harmony notes, even in vocals [try a tenth on an acoustic piano
to check this out....doesn't work on electronic keyboards as they do not produce natural stringed sound]
An interesting way to use block harmony when recording is by using a combination of both methods. Have the melody sing in octaves and have the two harmony notes in between as block harmony. This gives a sound which was much used by jazz singing groups [Singers Unlimited... etc]. The melody will sometimes come within a single tone of the harmony and this gives the sound....try it on piano ... you will immediately recognise the unique sound [used a lot by George Shearing as his distinctive sound]
Regards
DEC [Cluskey]
mailto:dec@makehits.co.uk
Just released:- "57 Secrets of a Hit Record" ... - 260 pages of the Secrets plus the CDrom Analysis Software and Audio CD to ensure that your music is a Potential Hit www.makehits.com/57Secrets.htm
or call UK 01323.728005 [+44.1323.728005]
|
How
can I make music managers and record labels believe in my idea?
Question (6)
Hi Dec,
My question is I know my music is great and I believe in my music and myself, I just want to know how can I make music managers, record labels
and publishing companies believe in my idea and make them have faith in me. I will not stand down and listen to anyone saying I
can't make it, but for a big manager or record label,
publishing company to say no, how can I turn around their decision?
Krisha
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Krisha
Thank you for the kind compliments.
As regards your question of not 'being heard' by record managers,
publishers etc. I feel you must have missed out on major things I said in the
'How to Make A $Million' programme.
Of all the problems that face writers and music makers, the advice I give is the advice that works the best
FOR EVERYONE. I would suggest you read back over the sections about writing exciting letters.
All of the members say that this works with a vengeance.
Every recording manager/publisher/production company person is a businessman and reacts to business letters....they especially react to exciting enthusiastic, well written and thought out letters [as my example in the programme]. They do not react to jiffy bags and hand scribbled letters on lined notepaper [not that you would do that]
The scheme is to get them excited about YOU, get a meet, then with all the methods given in the course, if YOU look right and YOU sound right [speaking and
talking as a Hit music writer] then if your music and the image portrayed on your CD is right for the chart
today and for the recording/publishing company, then it is impossible not to succeed.
By the way, you should only present ONE Hit track to them. But you knew that?
The industry is crying out for Top Three material ... but you need the method to get it heard.
Then you have to deliver the goods.....not what YOU think they need but what they know the public
WANT.
You are looking to build a geed business relationship with the record
company so they know you can deliver the goods when asked...that is how every successful songwriter and music maker operates. They create 'trust'.
Regards
DEC [Cluskey]
mailto:dec@makehits.co.uk
Just released:- "57 Secrets of a Hit Record" ... - 260 pages of the Secrets plus the CDrom Analysis Software and Audio CD to ensure that your music is a Potential Hit
www.makehits.com/57Secrets.htm
or call UK 01323.728005 [+44.1323.728005]
|
Does the size of guitar pick affect the length of the
sound?
Question (7)
Hi Dec
I'm doing a science fair project on guitar picks. My question is.. "Does the size of guitar pick affect the length of the sound?" I have to get research. I need anything you can give me.
J*******
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J*******
Generally speaking the length of the sound depends on
1) The quality and newness of the strings
2) The age of the guitar [guitars older than 2 years generally suffer from glue fatigue...in other words, the glue wears out from the vibration and the wooden parts simply fall apart]. Most classical players will only use a guitar for two years, having the next guitar built at the same time.
3) The materials used in the guitar. For instance the Gibson Les Paul guitar is famous for the
length of note [sustain] ... simply because of the design [neck continues into body in one piece] and the quality and hardness of wood used. Brian May's 'Red Special' is built of oak, for instance.
4) In an electric guitar, the note can be elongated by use of compression...and by use of overload and distortion pedals and pre-amp overloading. Compression is always
a necessity in studio acoustic guitar playing. [e.g. 'More Than words Could Ever Say' by Extreme]
The size of the pick is the least important part in the chain.
However, a small pick will generally encourage a quieter way of playing, and as the leverage will be less than a large pick then the sound will be smaller and thus will be shorter. Very favoured by jazz players.
There are many picks made of different material which will give longer or shorter
sounds when recording or playing live. A professional recording session player will always have a selection of picks for differing
purposes when he is in the recording studio.
For instance, mandolin players will use a felt pick, which will, not only give a shorter sound, but also a quieter softer sound.
A lot of guitar players, including myself, have experimented with picks made of metal [gives a harsh brittle sound] made of stone [can give a unique raspy sound] coins of all sorts [gives an extremely dirty noisy sound].
The UK threepenny piece with its thick six sided design..was a favourite [Jimmi Hendrix] also the UK sixpenny piece with it's serated edge [Brian May?]
The favourite pick for Marshall type chunky, dirty sounds is the bog standard grey plastic 'USA Nylon' pick. It can be used for normal quiet playing, for big loud playing. When it is used upside down, because of the roughness, it will give an extremely dirty, noisy, sound which is part of the Marshall Stack sound. Using it side on and stopping the strings with the heel of the hand will give that very identifiable Marshall Chunk [on full distort]. It is also the best for 'pick slides' as the nylon is hard wearing and will not be damaged by the strings when 'sliding'.
Finally, the smaller the pick, generally the faster you can play. Also the larger the pick the less feeling will be transmitted from the fingers/personality of the player.
I hope this helps...you are now subscribed to 'One Minute With Dec'
Regards
DEC [Cluskey]
mailto:dec@makehits.co.uk
Just released:- "57 Secrets of a Hit Record" ... - 260 pages of the Secrets plus the CDrom Analysis Software and Audio CD to ensure that your music is a Potential Hit
www.makehits.com/57Secrets.htm
or call UK 01323.728005 [+44.1323.728005]
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