Sean hails from Canada, Nashville Trax has been supplying specific tracks for his projects for about two years now.
We have added drums, bass guitar, fiddle, guitar and more to his projects, whatever he thinks it needs, or he’ll send our producer, Bill Watson, a stereo mix and ask for Watson’s input on what might be beneficial.
When Sean started mentioning that he was receiving royalty checks for these projects, enough to fund additional track work on multiple songs, we became curious, thinking it might benefit our other clients and potential clients to know how he achieved this.
Sean gladly and unselfishly obliged.
We didn’t ask for it, we really just wanted to know the facts of how he went from recording at home to getting substantial airplay, but we received a bonus, it reads like a testimonial of our work:
“When I finished my EP (using a blend of my own work and tracks by the world class Nashville Trax musicians) I published it through CD baby which enabled me to get it onto all professional download and streaming services. The last step I took was to release it to country radio in Canada through DBDS service.
They picked it up and started playing it on satellite. That picture is the very first royalty cheque I received and I have received even more cheques since then.”
Sean continues, “Utilizing Nashville Trax and getting the privilege of having some of the greatest studio players in the world play on my material ( I’m a country player “hack” up in Northern Alberta ) they inspired me to start writing again and more. They gave me the gift of recording and writing professional sounding music that was only made possible by having a cadre of professional artists readily accessible at a reasonable cost.
They gave me the confidence to risk pushing and exposing my music to the world because of the level to which they elevated things.
Even if I didn’t get those royalty cheques, Nashville Trax was worth the investment into myself. They allowed me to achieve a goal that was always on my bucket list for life. Release some quality sounding songs that I could be proud of.
I look forward to continue making great music together with Nashville Trax!”- Sean Morton, Northern Alberta, Canada
Would you like to contact us about YOUR project? E-mail:
“My first royalty check for the Miles & Miles release in the US… This is for one Quarter.. Miles & Miles was played over 1000 times per week in the US… it did really good.. Thanks for the great work Bill!” – Dan Thompson
Your song is finished, now what? You aren’t capable of producing a professional quality recording on your own so you need a demo produced.
Or do you need a master? But if a master, how do you get it on the radio?
They seem to have the same basic steps, what’s the difference between a master and a demo anyway?
You’re confused. Let’s clear that up!
As this time the cost to have a four to six piece band with a session singer demo produced at Nashville Trax is $750 to $1,400.
Each song production is unique but, in general, the higher price point may include background vocals, more instruments, better musicians and more time spent on the mix. A demo mix requires between 45 minutes to about 3 hours of mix time.
You’d do a demo if initial cost is a huge issue and the song will be used mainly to pitch to music publishers and other A & R industry professionals.
Some of our clients have assembled demos into an album and burned it on a CD but in most cases they aren’t true airplay quality. If you want radio airplay you really need to let us know that upfront, bite the bullet, and invest the additional money to ensure we deliver that.
Some of our clients have successfully attracted investors with a demo. For example, client Chad Barnes of Phoenix Arizona was able to interest an investor in putting $5,000 into his song “Cowboys” based on the initial sketch recording Bill Watson made of the tune. As the full blown production progressed he was able to interest an investor to put up an additional $100,000, presumably for promotion and distribution.
A master suitable for radio airplay typically lands at about $2,500 but could be much lower or higher depending on the same factors detailed above for demos.
While a demo might have one of our A Team musicians on it, a master has only our A Team musicians. Your master may also have a more intricate arrangement; doubling and stacking of tracks (the musician physically playing a part multiple times to thicken the part) as well as a more detailed mix requiring up to 10 hours of mix time.
You’d do a master if you are making an album for release and intend to get radio airplay.
Nashville Trax is a music production facility, we do not go beyond that role; however, we have witnessed the previous successes of our clients over the years and once your demo or master is produced we have a network of companies who can handle your next step effectively.
That list includes music publishing companies; song pluggers; music promotion companies, concert promoters; distributors who can obtain major label distribution for your album or single; and yes, we can connect you with the same radio promotion team that obtained radio airplay for our client Dan Thompson.
Read more about Dan Thomson’s album and single releases this article opened with:
Just before his death in December, Bobby Layton’s good friend and sometimes co-writer, Mark Gray, writer of #1 hits by Alabama (Close Enough To Perfect For Me) and most of Exile’s hits, heard a demo produced @ Play It Again Demos for Bobby Layton and said,”That’s the best demo you’ve ever had done, Bobby, this producer, Bill Watson, is the guy you need to stick with.” Here’s Bobby yesterday, signing a contract on the second song produced by Play It Again Demos for him, That Ain’t Country Music, to Listen Again Music, (BMI).
Hit country song royalties are paid by the performing rights organization (BMI, ASCAP or SESAC) chosen by the songwriter/music publisher and can be compiled from many possible sources.
Artist: Jake Owen
Song: What We Ain’t Got
Songwriters: Travis Meadows/Travis Goff
Released: August 11, 2014
369,000 copies sold through May 2015.
Highest Chart Position: Billboard Country Airplay Chart: #18
Billboard Hot 100 peaked at #89 mid February 2015
Past 12 Months Royalty Stream, June 2015 to June 2016
Distributed via BMI derived from:
AM/FM Radio Airplay, You Tube, Sirius XM, I Tunes, Rhapsody
AM/FM airplay: ($72,537) All other sources: ($9,374)
Total Royalties, one year period: $81,911
Best Quarter: $71,269 1st Quarter 2015
Royalties dropped to $1,544 for the fourth quarter of 2015.
Royalties posted here reflect only the songwriter share. The music publisher received identical amounts.
Your music is recorded and ready to market but you’re not sure how to best do that?
You know what to do but marketing your music is taking all your time?
Try Song Rocket!
Song Rocket is a small group of professionals who noticed the dichotomy between what should be happening for songwriters trying to promote their music, and the reality.
Song Rocket founding member Tim Spinks puts it this way,” From about the year 2,000 on, as the Internet and communication markets expanded, new Internet sites entered the song selling game, cable television expanded its offerings and more…in short the need for original song material increased exponentially, yet overwhelmed with decisions and choices, many songwriters were feeling frustration.
At the same time life became “busier”. People, including or perhaps especially those in the music business, became tethered to their cell phones and addicted to Facebook. They don’t have time to capitalize on the opportunities and weren’t even sure which were worth pursuing.
We launched Song Rocket to solve that problem.For a small monthly fee a songwriter can relax and rest assured their song copyrights are being exploited. And if they spring for Premium membership they’ll be exploited to the fullest.”
At some point in their music marketing journey, most songwriters who write for the Christian market ask the question posed in the title.
How do you get your songs to Christian artists?
Obviously the Christian market is huge, almost as big as pop, yet it seems the doors are less open for new Christian artists than in any other genre.
The top two reasons for that are:
- Most Christian artists aren’t launched from a songwriting-oriented community the way, say, a country music artist is launched in Nashville. Christian artists are often launched from a church (Hillsong, Bethel, etc.) or signed as a band and tend to write their own songs more than in other genres.
- Ironically, even though Christians ate not supposed to sue each other in court, as the apostle Paul makes very clear in 1st Corinthians, verse 6, the fear of a lawsuit is certainly a big factor in what seems to be a closed door policy at many Christian labels. Lyrics tend to focus around often used Christian phrases, sometimes straight from the Bible. Many record companies and artists fear that if your lyric you submit is similar to one an artist writes years, even years later, it could spark a lawsuit.
In spite of those points, make no mistake, Christian artists and record labels do want hit songs, they just rarely will accept song submissions directly from songwriters. They generally turn to the catalogs of Christian music publishers, but even they tend to be restrictive toward unpublished songwriters, they use staff writers or turn to pre=screened songs from songpluggers.
That makes finding a path to get your potential hit songs to a specific Christian artist, or any Christian artist time consuming and difficult.
If you are feeling frustrated by trying to market your Christian songs it may be time to try a professional song plugging service. For a monthly fee ranging from about $60 per month up to about $500 per month, plugger will market your work to their contacts.
It makes sense to pay a small fee that buys you a fresher and broader contact list as well as the credibility of professional representation. Best of all, it removes the frustration and burden of attempting to market your own songs.
Have you tried Song Rocket? Song Rocket is a song plugging service that can get your songs to Christian artists, Christian labels, Christian music publishers and other Christian song markets at a reasonable month;y cost! They also offer a far more comprehensive marketing program that will attempt to place your songs in song libraries, on radio, independent films and more. Give Song Rocket a look today!
The questions, “How Do I Get My Songs Published?” and “How Can I Get My Songs Heard?” are echoed sooner or later by nearly every songwriter serious about marketing their work.
The short answer? Song Rocket
As opportunities exponentially increase for song placement each year, ironically it’s getting more difficult to get the decision makers listen to new music.
At one time the major label record companies, television networks and movie companies were the only games in town. Now there are numerous venues: cable TV shows, song libraries, Pandora, You Tube and many other places in need of music.
But that splintering of the music money pie leaves the various users of music with less money and less incentive to listen to new music from unpublished and unsigned songwriters.
The larger question: in this age of specialization why would a songwriter spend time marketing their work? Use that time to write songs and leave song plugging and marketing to the professionals.
Take a look at Song Rocket. If you clicked on this article odds are very good it’s exactly what you need.
Song pluggers based in Nashville promote songs to their contacts for a fee. Some charge upfront per song, some work for a percentage of royalties, some charge both.
Most Nashville pluggers primarily pitch country, Americana, Christian and bluegrass music. Songwriters who are not having success placing their songs with music publishers or who want more feedback than they receive from publishers tend to utilize their services.
Most pluggers primarily focus on placing songs in major label projects. When you’re paying thousands of dollars upfront or, as one plugger charges, $300 per month, you’re looking for a home run.
But beware, most traditional pluggers’ clients strike out and pay a lot of money for zero results.
For many songwriters, a better alternative is a subscription service such as Song Rocket. Based in the Nashville area, for a small monthly fee they provide a much broader range of plugging and song marketing services than traditional pluggers. No one strikes out. Everyone sees forward movement of their song catalog on a regular basis.
The Song Rocket service includes a traditional major-label-focused plugger who will work your catalog the same way a music publisher would but also submits for what they dub “secondary markets” songs needed for a local commercial or perhaps for a sound library- the list of secondary markets on their site is long.
But the reason they can guarantee all client’s songs will get exposure is because, in addition to regular services aimed at pitching to the elusive big time major label projects they have a creative team division that actually creates content, uses client’s songs in that content, then monetizes it. For example, they might create a video featuring a client’s song or songs, then post it on You Tube and promote it, with the revenue going to the songwriter(s).
We believe Song Rocket is a good choice for any songwriter looking for traditional plugging due to the low monthly cost. But it’s almost essential for instrumental music, lengthy songs, songs that don’t fit a specific radio format and other song properties that may well be viable in the marketplace but would never land a deal with a music publisher or major label.
Listen Again Music (BMI) located in the Nashville TN area is accepting songs from unpublished songwriters. They are currently in a catalog building phase, songs accepted and contracted will be promoted to major label and independent recording projects as well as film and Television. The “open doors” policy is for a limited time.
Interests are Country, Christian, Rock and Pop.
Extra consideration will be given to performers currently playing the song regularly in a live show.
Also, lump sum purchases of royalty streams and/or copyrights are being offered on songs that charted on the Billboard Top 40 and are no longer earning substantial royalties.
Click here for contact information and more complete information.
Play It Again Music Publishing has launched in Nashville!
With Dallas Davidson at the helm and a team of top notch songwriters, this venture is expected to be a huge success. Davidson’s cuts include hits by the likes of Luke Bryan, Blake Shelton, Jason Aldean and Lady Antebellum. Dabidson has written 30 top ten records and 20 Billboard #1 hits.
Song promotion and publishing is currently available only to songwriters who have an ongoing relationship or staff position with the company.
Runnin’ Out of Moonlight (Billboard Country #1)
Songwriters: Dallas Davidson, Ashley Gorley & Kelley Lovelac
Wow, what a time in history to be a songwriter, it’s amazing!
Google Play, You Tube, iTunes, Amazon Advantage, Kickstarter, websites, e-mail marketing through Constant Contact…Songwriters don’t need record labels anymore to recoup an investment in demos and promo!
Gary Nowak’s YouTube video “Gasoline” (a song produced at Play It Again Demos which Gary posts under the name “Jess Mei”) is closing in on a half million views. You Tube pays for views of original song material as well as cuts the owner in on ad revenue.
Help Gary get the ball rolling on our latest work for him, the song A Miracle At Work which he built his new video around, just posted under his “Jess Mei” moniker.
And yet another client, Nicholas Gianetti reports getting a Nashville Trax single funded for $40,000 for a video, CD and promo through Kickstarter.
When I received an e-mail from Jim Bussey saying that he’d earned over $300,000 on his song “I can See It In Your Eyes” from various Internet sources to date, it struck me that he invested $1.200 in the recording and profited by over $298,000! Yet there’s likely some guy out in Ames, Iowa somewhere who had an equally good song but chose a different company over Nashville Trax, and received the typical competent, but bland, recording.
And the song went nowhere.
He’s probably walking around the streets of Ames thinking, “Man, good thing I saved that extra $250 bucks that Play It Again company wanted!”
When I started into the business everything was done by mail. There were no MP3s to shoot around on the Internet in seconds. No YouTube videos to instantly publish your song to the world.
Looking back, it was ridiculous what songwriters went through to get a song contracted with a major label or major music publisher. But that was the only game on the planet. Impress the gatekeepers or else.
Or else your songs stayed in a drawer or you played a home made demo for family and friends only.
People did “indie projects” but good luck getting anywhere, advertising in print medium was too costly to sustain. And getting the free publicity necessary via radio airplay? It happened, but very rarely. Now free and nearly free marketing opportunities abound.
The gatekeepers are still there generating 1.000 rejection letters and e-mails for every, “please let us contract this song” phone call.
They are still a valid path to try in pursuit of a major label Billboard hit but songwriters don’t need them anymore to be heard! There was an article in the last Nashville Scene noting that some songwriters are making more on YouTube than they would with a Billboard hit through a major label deal.
Google Play, You Tube, iTunes, Amazon Advantage, Kickstarter, websites, e-mail marketing…Songwriters simply don’t need the big company investment anymore to recoup an investment in demos and promo!
Songwriters don’t need them to make income from songs!
Frankly, if the gatekeepers ever disappear entirely, I won’t miss them much. How about you?– b.e. watson
You no longer need to worm your way in to Sony then wait for A&R to decide if they’ll take your song or reject it.
John Goodman of Dickie Goodman Publishing is offering free music publishing to any songwriter who has written an original song that isn’t yet tied up with a publisher! Dickie Goodman is Guinness certified as having the most Billboard charting novelty records ever. They have all the mechanisms in place to fully exploit your copyright.
Legal Restrictions: Note that a demo recording is not licensed for this type of use. You’d need to pay for an upgrade to limited release master and once you achieve 10,000 download or CD sales, an additional upgrade fee to full master recording is required.
Click here to go to Dickie’s sign up page and learn more.
The article released this morning:
John Goodman offers free music publishing!
for more info: e-mail:
Jump on it, the offer may not last!