How Much Does It Cost to Record a Demo?

performing band silhouette

If you’re wondering “How much does it cost to record a demo?” the answer is, it depends on the quality of the two major elements: the recording studio costs and the talent. Like most things, you get what you pay for.

In this article we’ll cover typical studio rates, session musician fees, give a few cautions to prevent you from wasting your hard earned money, then put a mock quote together, typical of a quote we’d give here at Nashville Trax.

You are probably also interested in opportunities to  pitch or market your song after your demo is made. Here is a free list of major label and independent label song pitch opportunities.

Why is quality in every aspect of the demo making process your best bet?

A cheap pair of shoes from Dollar Bargain may not be as stylish, may not ne as comfortable or last as long as a pair from a high dollar shoe store, but they’ll basically do their job. Unfortunately, unless your demo is for “family and friends only” a cheap demo almost surely won’t. Your shoes aren’t looking to “take first place” in a lineup of competing shoes. Your shoes aren’t going to be scrutinized by a gauntlet of professionals before you can “win the big prize” (a publishing contract, an artist deal with a record company or a major label recording).

If your goal is simply to have a demo made for your family or friends then B list musicians or a one man band style demo using a drum program instead of a session drummer may be good enough.

Aiming for that big prize? That publishing deal? The major label contract? Wear cheap shoes, spend the extra bucks on your demo, it’s a better investment.

These days most A&R people are straight-from-college, wet-behind-the-ears newbie interns with little experience and little ability to hear a gem in the rough, you must spell it out for them. If it doesn’t sound pretty close to a radio hit and/or doesn’t sound as good as the song from a hit songwriter with an unlimited demo budget they just screened two minutes ago, they will delete your mp3 or toss your demo CD in the trash before it even hits the first chorus.

If you’re in this songwriting business to play games, to toy with it, by all means, do a three or four hundred dollar full band demo and kid yourself you have a shot. If you’re serious about getting your songs cut, do it right: Make the investment needed to be in the game for real, $300 doesn’t even cover the fees a full band of session quality players charge. No matter what the studio claims, you are not getting quality for that price. In the long run it’s not that much extra to get session quality on a demo you’ll be proud to play in any professional-scrutiny-situation the rest of your life.

The costs discussed here reflect what professionals in the music industry who do stellar work charge, not semi-pros or hacks who do “passable work” or “pretty good work”. Pretty good doesn’t win you that one open slot on a recording project. Stellar might.

So let’s crunch numbers:  the “talent” portion in the talent/studio equation mentioned above includes the singers, musicians, arranger, engineer and producer. Typically the costs about to be discussed are part of a turnkey package quote as in, “We’ll demo your song for $1.150” or whatever price the demo service arrives at.

Price alone isn’t the only test of a quality service. There is more than one active demo service a.k.a “recording studio” here in Nashville, including one of the biggest on Music Row, that subs out every full band project. They charge between $400 to $1,000, then hand your song off to one of their subcontracted studios for about 50% of what you pay. They pocket the other half for fifteen minutes of simply forwarding your rough materials to a subcontracted studio, getting the completed project back and giving you back the finished mix.

How does a sub do a demo for $250 or $500 when even the full $500 would not be enough to hire pro session players, a pro vocalist and do a quality, multiple hour mix, let alone cover the studio costs, engineering fees, etc.?

They cut every corner possible. They write quickie charts then hire sub-par C list musicians, one or two singers and run 20 songs at a time, assembly line fashion. Instead of spending approx. eight to ten hours on your song, the time required to do quality, each song may receive a grand total of forty=five minutes to two hours of attention, next!

It’s called sharking and that particular Music Row studio’s name on a project is a red flag to industry pros. It’s cheaper yes, but is that really what you want? A ripoff product and the scarlet letter of shame?

So how much does a legit demo studio cost?

First, caution number two, when choosing a studio, get what you need, but not more.

Most good demo studios charge in the $70 to $150 per hour range. Don’t go below $70 per hour on the studio time portion because then you’re scraping bottom barrel so the equipment probably isn’t very modern or very high quality, there will almost surely be issues (dirty pots, noisy analog cords and connections, gear that doesn’t work properly, etc.) and those issues will almost surely show up in the music itself. Above $150 per hour and you’re likely getting into master session audio/video studios that are charging for equipment and recording spaces you probably don’t need to create a good demo.

Musicians and engineers vary in quality too. The timing and chart reading experience required to be a successful session player is far above that needed to play a live gig. The timing part can’t be emphasized enough. Use live players who aren’t seasoned studio vets and the music piece almost surely won’t lock together the way music played by seasoned session quality players does. Impeccable timing is a rare talent that session players seem to be born with.

And some engineers have “great ears” some don’t.

To better understand why it’s important to get “session quality musicians” you should know: the majority of musicians who come to Nashville intending to break into the session scene, the “best of the best” back where they come from, mistakenly think they’ll easily compete with a bunch of “country three-chord-playin’ bumpkins” but have no idea what they’re getting into.

Instead of “easy pickin’s” they typically have their behind handed to them on a platter. The majority fail miserably at session work attempts and end up either focusing strictly on live work which is less demanding musically and less competitive here, or return to where they came from, broke, embarrassed and broken.

You want the players who work sessions daily.

Experienced session quality musicians cost per song

For a demo session, musicians typically charge the studio (with no markup on the studio end) are about $50 to $125 per instrument per song, occasionally higher in certain situations. Guitar, for example, usually requires multiple tracks (lead, rhythm, acoustic, etc.) so guitarists usually make more per song. Ditto keyboards, live strings and a few other instruments.

Rates are generally higher if you are doing only one song. Multiple songs can sometimes knock the per song price down a bit. At our studio, Nashville Trax which is the physical studio we use for our Play It Again Demos service, we usually discount for multiple songs as well as for doubles, passing on player discounts to our customers. For example, both our fiddle players play mandolin at session quality and for a same song second pass on mando they already know the tune so they’ll charge less for that pass.

Singer’s fees are all over the map. Decent singers start around $80 per song for a lead vocal with 1 track of self-harmony. But some charge as high as $250 or even $350 per song, and get it, because they’re that good, that in demand. Typically the singers charging over $175 per song do a lot of major label work. and maybe you do need a vocalist of that caliber. But we can almost always get an excellent singer, perfect for your song, in the $100 to $175 range.

Let’s put together a quote for a basic 4 piece band demo:

A typical 1 song band demo requires about one day or a little more of studio time for the pre-production charting, rhythm tracking, overdubs, vocals and mixing. So at least $560 there. That does usually include the engineer.

It may or may not include the producer’s fee. Here at Play It Again Demos, or Nashville Trax, it does.

2 musicians at $75 each and 2 at $125 = $400

Add the singer we need to put the song across properly, let’s assume a $125 per song rate. Our philosophy: the singer IS the song, pay what you must to get the right one. That isn’t necessarily the most expensive one.

TOTAL: $1,085.
TOTAL with optional mastering for that “radio ready polished” sound: $1,200
TOTAL to add two more instruments and include mastering: $1,400

Note that each song is different. Some are lengthy, some short, some need a more expensive singer to put it across properly, The actual cost is going to vary and could be as low as $795 or so, but those are pretty reasonable ballpark figures.

Typically the majority of the full band demos we produce here, using session quality singers and players, land between about $875 up to $1,200.

Also note that stacked or extensive background vocals, or certain high profile musicians, often cost more. Horn sections cost more. a more elaborate mix. A 6 piece band instead of four…these elements can push a demo up quite a bit. A $1,200 to $1,500 total cost for a one song demo is pretty common for that sort of layered, extensive track work. Adding an extra musician adds their fee, extra record time and extra mix time.

If you think something simpler, such as a piano/vocal demo will get your song across, you can cut back to about 2.5 to 4 hours of pre-production and studio time depending on complexity. A piano/vocal usually lands at about $250 to $350.

So now instead of asking, “How much does it cost to record a demo?” you can figure out what instrumentation is required, do the math and know approximately what a demo should cost.

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ADVERTISEMENT:Or hit us up for a quote! E-mail your mp3 rough and a lyric sheet to:

nashtrax@bellsouth.net Att: Bill Watson

* By definition, a demo is intended to demonstrate the song with the intention of playing it for friends. family, industry professionals etc. it’s not usually intended to be sold publicly so the rates charged by services and musicians for demos reflect that. There are also other levels of recordings usually demos that later get the mastering process called “limited release” that give you a license to sell a certain number of CDs or downloads (for example a limited release project permits sales of 10,000 downloads or 2,500 CDs).

**An upgrade of your demo to limited release will add $100 to $200 to the costs detailed above.


Michael Jackson’s Rhianna Demo Finished!

Tim Zimmermann

Tim Zimmermann

The Michael Jackson (not THAT Michael Jackson!) penned, Rhianna, we were hired to produce a demo on is finished!

Here’s a brief clip of the “before” version we were furnished with:

Here’s the Play It Again “after” sung by our pop vocal and background vocal specialist, Tim Zimmermann (pictured above):

Click here for more information about this project.

Rhianna is © Michael Jackson 2013, posted by permission. All rights Reserved. Unauthorized use is a violation of U.S. and International copyright law.

If you’re interested in recording Rhianna or using it in any commercial application please let us know and we’ll forward your “request for a mechanical license.”

Pro demos make everyone- friends, family, artists, record company A & R and music publishers- take notice. Have 3 or 4 pro demos to peddle and they’ll brand you as a pro-level songwriter every time you pitch them.

We would be thrilled to do that for you!

If you would like a quote on making a professional version of your song simply drop an e-mail with your rough mp3 or mp4 attached to: nashtrax@bellsouth.net detailing what you want.

Write in another style? There are more samples of work to your right in Categories > Samples of Our Work.


Songs needed for Mercury/Interscope album

Provided your demo sounds this professional in terms of musicianship, singer’s voice quality and mix, you are welcome to submit songs for this or any project below.

A female artist on Mercury/Interscope needs tunes to complete upcoming CD. Acoustic guitar driven country, uptempo or medium tempo similar to Sara Evans material preferred but will listen to exceptionally well written story telling ballads. Forward MP3s to:

billssongs2000@gmail.com with “For female artist on Mercury/Interscope” in heading.


Now Tracking : Fractured Fairytale

Gone will be a fun song to mix!

Gone will be a fun song to mix!

This is songwriter Michael Jackson’s third song I’m producing for him (this Michael J is no relation to the M.J. of “Billie Jean” fame).

It’s a swampy Delta blues type tune that I’m thinking will need a rough, edgy vocal, a lot of acoustic instrumentation like harmonica, acoustic guitar and a full drum kit. The first order of business will be to ask our studio session drummers the best approach rhythmically.

I love the tune, can’t wait to hear it come together!-b.e.

Update: It’s finished. Click here to listen!

This Waves Mastering Plugin across the stereo mix will help give it that glossy big studio sound!

This Izotope Compression Plug in across the stereo mix will help give it that glossy big studio sound!


Izotope Ozone 5 Stereo Imager

Izotope Stereo Imager

Izotope Stereo Imager

This Izotope Ozone 5 is one of our new plug ins. I’ve been experimenting with it and the results have been both interesting and impressive.

Why use it? It magically gives the stereo field a far greater sense of depth.

If you have a guitar part or a vocal part and apply an Ozone preset, the part will seem to be floating in space back in the mix somewhere. Flip to a different setting and now it may move to the right and be in the forefront. Each setting will change it’s mix placement.

You can do these things with reverb, EQ and panning but there’s a pronounced, ethereal quality about the Ozone sound that tells me there’s more going on than basic mixing techniques.

Yes, I went against all known advice and tried it across the stereo mix bus. Nothing blew up, I didn’t get arrested and it sounded great so I’m good.

Even the presets that, if you believe posts by purist gear heads, are extremely dangerous to touch and should never be used in any situation because “Something very bad will happen,” sound pretty good as-is.

There are many engineers who frown on using Izotope Ozone across the stereo bus. If they use it at all its only on those individual instrument tracks. But my theory is this:

If it sounds better with it on than off, that’s called improvement, use it!

Note that a lot of earlier criticism of Ozone on the stereo bus was in regards to phase issues and Version 5 dropped the delay circuits that caused phase cancellation in earlier versions so some of that aversion to using it at least lightly may have abated.

Granted if I do use it on an overall mix it would be subtle and I’ve found I usually can’t just toss up a preset. For most situations tweaking is imperative and O5 has a lot of functions to mess with including EQ, reverb (nearly useless, just turn it off), a harmonic exciter, a multi-band compressor, stereo imager, and post EQ.

But make no mistake, Ozone 5, used properly, can impart a pinch of extra good mix juju on some projects and who in their right mind says no to that? –b.e.


Modern Country Music Samples

If you write country songs that require more modern sounding drums, guitars and such, similar to what makes it to radio these days, you’ll find that here.

Here’s a song we produced, aiming for that market, featuring the 70’s/80’s distorted rock guitar and rock drumming elements, ubiquitous on country radio from the 90s to the present:

If you like what you hear why not shoot out an e-mail to: nashtrax@bellsouth.net and request a quote to make your song sound like this?

Note that a lot of today’s country borrows from 70’s and 80’s folk rock (Jason Aldean is a good example) while another segment has pop music elements, for example, most of Taylor Swift’s releases when she still was considered a country artist.

If you would like a quote on making a professional version of your song simply drop an e-mail with your MP3 rough version attached to nashtrax@bellsouth.net with the details of what you want. We’ll likely bat a couple e-mails back and forth before we figure out an exact price. It can be completed over the Internet or you can be present for the entire project.

We can do Country Pop, Country Rock, Traditional Country, Bluegrass, Americana and all points in between!

Lady In The Harbor © 2024, posted by permission of the songwriters. If you’re interested in recording either song, using it in media or using it in a live performance situation, please let us know and we’ll forward your request to the songwriter and to the music publisher.


Long Day But Great Vocal Tracks!

We cut some GREAT Vocal Tracks!

We cut some fantastic Vocal Tracks!

Wow, in the studio before 7 am yesterday and still there at 8:00 p.m. yet it felt like only about four hours went by. We got some guitar overdubs done on 4 tunes early, then Brittany Baptiste, a session singer, came in at noon and did a tremendous job on a pop song. Her tone quality is truly exceptional. And the girl has good nature and patience to spare, she didn’t mind taking the extra time to get it right.

Then about 4 pm Tim Zimmermann, a background vocal specialist, flat out nailed a bgv heavy song titled “Forever and Me.” We’re cutting 6 versions of this song for targeting various segments of the Contemporary Christian and Southern Gospel markets.

Tim cut 3 leads and about 15 bgv tracks to cover 3 of the versions. His vocal licks were just off the hook, easily equal to and even exceeding the best bgvs I’ve ever heard and I’ve worked with several of Nashville’s best bgv singers.

Watch out folks, there’s a new boy in town!

The coolest thing is, unlike some musicians I’ve worked with in Nashville who were all about getting done as fast as possible and out the door, probably to ensure they got their 2 o’clock nap in, there wasn’t a hint of clock watching by anyone all day. It was all about making the music as great as possible; obviously I’m all about that.

Long day, but great tracks made it fun and worth it. We barely noticed time passing and, if anything, it was over too soon!- b.e.


Was Phil of Duck Dynasty Out of Line?

loveJesus

Now that the flap over Phil Robertson’s comments about homosexuality and race have abated, ending with A&E reinstating Phil, I thought I’d throw in my two cents.

There was no doubt how this would turn out. Have you walked through a Wal-Mart lately? Every turn reveals a new Duck Dynasty themed product. The powers that be weren’t about to kill the goose that laid the biggest golden egg in history over principles, be they right or wrong. A&E definitely had a huge stake at risk and also surely got pressure from high rollers with money invested in those products.

As to Phil’s comments, if he did get off base a pinch he brought it back to ground zero with, “I would never treat anyone with disrespect just because they are different from me. We are all created by the Almighty and like Him, I love all of humanity. We would all be better off if we loved God and loved each other.” Why didn’t that get more press?

The Bible is the source of wisdom. It should be studied and sinful behavior should be avoided. However, we believers are not charged with the task of pointing out other’s faults and sins. Rather, we are charged with bringing others into the fold and letting them work out their own relationship with The Lord. If something isn’t right in their life He has a way of bringing it to the forefront and sifting it out. Our intervention isn’t needed. Or wanted.

Over 2,000 years ago Jesus said plainly, “He who is without sin cast the first stone.”

Nothing’s changed.

My favorite book of the Bible is 1st John. It takes maybe 5 or 10 minutes to read, but invest the time and you’ll put it down a better person than when you picked it up. If I read it seventy times in the next year it will be too few.

Written in approximately A.D. 85, through the ages John speaks directly to us:

“God is love, and all who live in love live in God, and God lives in them. And as we live in God our love grows more perfect.”

Jesus, The King of Kings, the only king that never took physical territory, only hearts and minds, and likely the only king that ever washed the feet of his subjects said to us, “Love your neighbor as yourself.”

With those five words Jesus laid out his Plan A Gospel Template; our mandate is simple: Love others unconditionally as we are loved unconditionally by Him.

There is no plan B.

b. e. watson


Music Publishers Looking for Songs : Free Songwriting Tip Sheets

 Is Songwriter's Market long in the tooth?

Is Songwriter’s Market long in the tooth?

Once you’ve had a pro demo made by a demo service that meets industry standards it’s time to find a home for your song, also known as song marketing.

(Click here to hear a demo that meets or surpasses industry standards. Compare. Do your demos sound this professional? If you want to do more than spin your wheels, they need to.)

Where can you find pitch opportunities, especially publishers who are looking for songs?

Start with free songwriting tipsheets available through SRN and PIAD:

PIAD Not genre or area specific but predominately it lists Country, Contemporary Christian and Pop album recording sessions on tap in Nashville. Basically a “who’s looking for songs right now?” blog with tips. You’ll need to follow the blog to find out the latest artists are in need of songs with a little of your own required followup research. Tips are accurate and current when posted.

SRN Quite a few “producer’s looking” type listings. Beware though, anyone can post so quality is suspect and song sharks likely swim the SRN waters.

The book Songwriter’s Market isn’t as useful as it once was and needs updating badly but it does contain a few valid pitch opportunities and it’s not super expensive: Amazon.com 2014 Songwriter’s Market

I just read the review, ouch! But it echoes what songwriter’s have been saying as far back as the 2011 edition!

Paid Subscription Songwriter Tip Sheets
tend to have valid tips but also have a long history of slacking off and repeating old tips as the publication ages. They are usually pretty expensive.

Songlink There are various subscription levels starting at $385 per year. This is a well respected sheet but it tends to list more independent artists throughout the world, not many of the coveted major label artists.

Tune Data $750 per year. Tune Data’s tips started great but have declined in quality and quantity. Caution: It’s unclear if their business model is even sustainable much longer.

Taxi The Taxi song pitch service has an interesting business model. Songwriter’s pay over $300 per year ($299 + $5 per pitch) for the opportunity to pitch songs directly to Taxi. The listings being pitched to are disguised so the songwriter has no way of knowing exactly who they’re pitching to other than “Producer huge in TV and film seeking hard rock song for movie scene involving…”

With no accountability it’s hard to say just how legit Taxi is.

If your song is good and your demo sounds great (meets or surpasses industry standards) it’s not that difficult to get a song signed. My firm recommendation is to sign with a music publisher if possible. If you sign your song directly with the producer of a big name act they’ll want a cut of the royalties and the artist will want a cut. That’s why you’ll sometimes see many names listed after “written by” in credits. The song was likely written or co-written by one to three people with an additional person or two who added nothing to the songwriting process except their name.

Refuse to give up a cut of the $ and they’ll go to the next best song. Pitch to producers certainly, but when they show interest and it’s time to sign you’ll have the leverage to quickly pull in a music publisher and will get a better deal.

If the song isn’t a hit and it’s contracted with a specific artist’s camp, it’s then permanently tied up with a producer who spends his days producing artists, not pitching songs. A music publisher will keep pitching it and has leverage to keep hands out of the pie that don’t belong there.

In any case my firm opinion is if you aren’t pitching demos that meet industry standards it’s just not likely paying big money for a tip sheet will benefit you. Be honest with yourself and get three or four quality demos made before wasting money that should have been spent on bringing your work up to pro level. Once you do have pro level demos get some songs contracted through free or nearly free avenues then let your music publishers pay for these expensive sheets while you focus on writing songs – b.e.

Bill Watson of Nashville Trax

Bill Watson of Nashville Trax


Now Tracking : Gone

A second song in queue at  Play It Again Demos is by Michael Jackson, titled “Gone.” It’s a wonderful song with some interesting chord and lyric twists.

This would be a song I could hear Jamie Grace doing. I’m excited and looking forward to experiencing what I hear in my head coming to life.

The charts are finished and we’re tracking tomorrow, it should be mixed the first week of December!- b.e.

Update 12-1-13: The rhythm and overdub tracks are cut for Gone, the singer delivered some truly exceptional vocal tracks, now it’s on to mixing which is scheduled for Wednesday afternoon/Thursday!

Update 12-5-13: You can listen to the finished mix version here!


The Josh Turner Camp is Looking for Songs

Word around town is that Josh Turner is going to be recording this coming spring and appropriate songs can be submitted to his producer, Frank Rogers through various independent Nashville music publishers.

Sony Music Publishing, Nashville

Sony Music Publishing, Nashville

If you’re not familiar with Turner his work is defined largely by his baritone voice singing gospel and country that’s more traditional than most of what currently plays on country radio.


William Ellis of Montgommery Gentry

William Ellis Drummer for Montgomery Gentry

William Ellis Drummer for Montgomery Gentry

If you need a great drum track you need go no further than William Ellis of Montgomery Gentry and he’s available through Nashville Trax. Besides MG, William has performed and/or recorded with:

Hunter Hayes, Travis Tritt, Keith Anderson, Blue Merle, Steve Cropper, Aaron Goodvin, Matt Kennon, Lisa Brokop, George Ducas, Rick Derringer, Jimmy Johnson, EMP Project, and more.

He’s a fantastic choice for either live or session work in all styles.

Another great choice also available through our studio? David Northrup, the groove king. If you need drums on a pop or rock song, he’s the man. He’s also great at swing, blues … you-name-it.

David Northrup at Red Rocks

Our studio session player is ready to cut your drum track!

David has toured with many major acts including a multi-year stint with Travis Tritt. When Wynnona Judd’s drummer/husband was injured in a motorcycle accident David was the drummer called on to fill in. He’s been with us since we first opened doors in Nashville 10 years ago and has been a part of numerous recording projects. See our website and this blog for more information about David!

Both drummers are available on projects recorded in our studio (why not come in, record and meet them?) or through our drums over the Internet service, Drum Tracks Online.

All at NashvilleTrax.com