ATTENTION Singer/Songwriters!! What better way to give your band a career boost than an album, video and show package featuring the same Nashville Trax A Team musicians who played on your album?
You get a stellar album recorded, mixed and mastered, footage of your rehearsal, your first single promoted on social media platforms and all footage from a two camera crew of the show that you can use for promotion for years to come!
A single release and vid starting under $2,000, yes, really! Complete 10 song album/show/video packages start as low as $15,000 and 20 song deluxe packages top out at under $45,000! Payment options are available. Get a quote TODAY: email@example.com
Note that the complete Nashville Trax A Team Players are only available to play live on release party shows playing your album of at least 10 songs and subject to the player’s schedules.
Here’s a Nashville Trax A Team rehearsal Tuesday evening, 9-19-17:
And footage from the show on 9-22-17:
The Nashville Trax A Team: The sound of guitar on country radio for the last couple decades, Brent Mason: guitar; Rascal Flatts long time drummer, Jim Riley; Steve King (Keith Urban) keys; Nashville Trax producer, Bill Watson, bass guitar and band leader; Jenee Fleenor (Blake Shelton & The Voice) fiddle and mandolin; Steel guitar legend Mike Doucheete, all backing the highly entertaining, high octane Joe and Angie Finley of The Swansons!
The Swansons have achieved considerable notoriety in the Los Angeles area. They have pop/rock albums out, winning awards and have built a large fan base. But after starting their latest recording project they felt the urge to “go country”. They wanted a country album and wanted to do it in the Nashville area. After careful research, they decided Bill Watson of Nashville Trax was the best choice to produce them.
The album was started about six months ago and 18 songs have been cut.
This is their first country live performance, announcing their turn toward country music and releasing their new music to the public. Some of the musicians who will back them on the show:
Footage clip from the show, 9-22-17:
Valentine © 2017 Joe Finley of The Swansons, published by Listen Again Music (BMI).
Rascal Flatts’ long time drummer, Jim Riley, (in chair left) one of Nashville’s best session drummers stopped by Nashville Trax today so the students sequestered in his Drum Dojo for the weekend could meet producer Bill Watson (in chair, right) and experience a Nashville style drum tracking session. Jim, Bill, the Bass guitarist/producer, and guitarist Brent Mason are the foundation of the Nashville Trax A Team.
Needless to say the students were full of questions but very respectful and polite…a great way to start a Nashville Trax day!
Interested in being a student of Jim’s next Drum Dojo Weekend? It’s only $850 per student which includes meals and snacks. Contact Jim through his web site.
Day One of a full week lockout to cut vocals on 14 songs for the band that won The Producer’s Choice Award, Best Band In Los Angeles, 2017, The Swansons:
The Swansons meet The Nashville Trax A Team. Left: The Swansons with our fiddle player, Jenee, Middle: guitarist Brent Mason, producer & bassist Bill Watson, Joe Finley of The Swansons, Right: Joe plays Brent Mason the new song he wrote during his stay here.
Be sure to pick up a copy of The Swansons country album when it’s released in late Summer/early Fall of this year!!!
Update 3-6-18: We have already started The Swanson’s album #2 and have about 5 sides tracked!
Ready to cut your own “for real this time” album? e-mail: firstname.lastname@example.org. Or call producer Bill Watson @ 615. 319. 8616.
This was a “for-vocals-mix” cut on a 12 song project collaboration from a studio in Norway. Eventually they will put their client’s vocals on this bed and send the vocals back to Nashville Trax for final mixing.
Title: Jeg Kantro Under Jesu Blood
Pedal Steel: Mr. Mike
Drums: Jim Riley
Bass Guitar: Bill “B.E.” Watson
Piano and Keyboard Strings: Steve King
Acoustic Guitar: Tom Wild
Produced, engineered and mixed by B.E. Watson
This is probably going to be used as both a live performance track and on CD.
Interested in having us do something similar for you? Contact Bill Watson email@example.com or call 615-319-8616
“Only Prayer By The People” won several awards at the Christian Film Festival (August 2017) including best song, best video and best artwork.
Congratulations to our cient, Songwriter: Michael Rourke
Lead Vocals: Nashville Trax Producer, Bill Watson
Background Vocals: Angela Derrington
Acoustic guitar: Bill Watson
Keyboards: Sammi Watson
Bass Guitar: Bill Watson
Produced, Engineered, Arranged, Mixed and Mastered by Bill Watson
“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:
Many songwriters, unaware of the benefits of collaboration, question why anyone would collaborate on a song. Typically they consider only what they perceive as the negatives: splitting the royalties and losing creative control. Perhaps some, used to driving the ship alone, find the process of collaborating a bit odd.
Some hits are indeed penned by just one songwriter. But take a good look at the Billboard Charts, especially the country charts: an extremely high percentage of songs are co-writes. Sometimes a song’s credits will list six or seven collaborators.
So if hit songwriters regularly collaborate there must be some benefits. First, writing with a partner or two you obtain immediate feedback that will nip poor ideas in the bud. Also, songwriting is usually a difficult process as you try to perfect the original idea and collaboration provides helpful creative input, for example, when you’re stuck on a particular section the co-writer may inject an idea that is usable that keeps things moving forward.
Collaboration expands the well of experience available to draw from as you write. More ideas. Better lyric lines. And fatal mistakes due to simply being unaware are often prevented. For example, frequently a writer will try to use a phrase or expression common to the area they grew up in that is foreign to everyone else. A co-writer who lives in or grew up in another area of the country would immediately notice that particular phrase is not going to work and question it long before it gets to radio or even A & R.
While most writers believe the best possible song would result from them running the entire show because they assume it would be a more cohesive product, the truth is that collaboration more often produces the best work.
Co-writing can also make you appear to be more professional. Why? Because pro writers generally co-write constantly while amateurs rarely do. Cross over into the co-write camp, write great song, have truly pro demos made, and song publishers will automatically give your submissions additional credibility.
But the biggest advantage to a co-write situation, in my opinion, lies not in the creation of the work, but in the marketing of the work. Instead of one person marketing the song you have two or three. And it’s amazing how often a particular song you’ve long forgotten suddenly gets a hold or a cut because a blast from the past co-writer has been pitching it on projects all along.
Before you co-write with anyone be sure to sign a contract specifying the song title, date of creation, what the contributions of each songwriter are (music %, words %) how royalties will be split and sign and date it. Some points may be unknown at the start, fill those in as you proceed and initial it.
Consider taking on a partner to write your next song and perhaps you’ll soon be singing the praises of an old cliche: Two heads are indeed better than one!- B. E.
Seeking a mastering studio in Nashville? Nashville Trax is now offering it’s stellar mastering services to all comers, regardless of where your project was recorded or mixed.
For more information or order, visit Nashville Trax
Obviously you are searching for “a music producer near me”. The question is why?
When there’s a studio you can use just as effectively that can provide:
All at a highly competitive price.
That studio is Nashville Trax
Yes we are based in Nashville but we can work with you and produce your album without you ever leaving your home town!
We are working on The Swansons second album now, the only thing they travel to Nashville for are their vocal parts. Their first album had two top 10 singles!
We have worked with many overseas artists and groups who had us produce, arrange and mix their album yet never came to Nashville, We cut their music tracks, they cut their vocals at a local studio. Check out our Nasville Trax Facebook page and read about the album project, done right here at Nashville Trax without them ever setting foot in the U.S. and WOW are they super pleased with how it turned out!
We have worked with Dan Thompson, who came in only for his vocals.
You can work with us also, and get a better, even spectacular album produced, with full time session musicians, sometimes for less than using the local studio that has little, if any, talent associated with Billboard hits!
“Dirt On My Boots,” has achieved Billboard Country Airplay #1 status, three weeks straight! The recording, which starts of with a lick by Jenee Fleenor on fiddle and features her playing throughout, has earned RIAA Gold certification recognizing sales and streaming topping 500,000.
Just in RE: “Camo Cap” which Nashville Trax client, Bobby Layton, wrote about his friend Mark Gray who wrote many hits and most of the Exile catalog. Mark recently passed away.
” Piano version was exactly how I heard Camo, Tops on Jason singing. Piano player made song. Entire Production Awesome!! Sonny Lamire of Exile wants to hear it.”
Steve King: piano
Jim Riley: drums,
Jason Eustice: vocals
Bill Watson: acoustic guitar. bass guitar
Produced, engineered and mixed by Bill Watson who says, “I heard this song very sparse and gave Bobby a full mix plus a simple piano/bass guitar/vocal version.
I never met Mark but I probably have a client for life in Bobby, because just before his death, Mark Gray heard a song I produced for Bobby and said that of all the songs Bobby had done in Nashville, it was the best and that Bill Watson is the guy he should stick with.
High praise from high places and very, very cool to get affirmation I’m doing something right from one of Nashville’s upper echelon songwriters.”
A pic Bobby sent of Mark Gray (middle) with Exile shortly before his death, wearing his beloved “Camo Cap”:
Client Feedback just in:
“Can Love Hear Me makes me feel like love is possible! You, your team and Abigail really pulled off a GREAT (!!!) production. Abigail’s voice makes me believe she is hoping for love, with the promise it will happen. Listening over these next few days and week or so will be like unpacking a gift package of sound.”- Mike Rourke, Schenectady, NY
Musicians on “Can Love”:
Tom Wild: all guitars including incredible gut string work, David Northrup added live drums to the loop Nashville Trax producer, Bill Watson, used to start it, which stayed in the production. Abigail Dempsey: Lead and harmony vocals. Bill Watson played bass guitar, produced, mixed. All the above had a hand in arrangement on this one.