How to submit instrument tracks

Do you ever get asked to submit a track to a producer, mixer, songwriter? Like, someone wants a guitar solo on a song, or wants to replace the bass part. How about vocal parts; leads, BG, whatever. It all applies.

I have been on both sides of this equation on many occasions and having had tracks submitted has really informed how I present tracks myself. Here are a few tips that can help you if you are going to submit a track to someone else.

1. Be clear with the person to whom you are submitting (I will call them The Producer from now on). Is there tons of free reign to write whatever, wherever, to be creative with timing, tones, styles? Or is it more specific? For example, there is an organ solo: do you want me to replace that solo, write a harmony with it, or to leave space for it when I play my part? How close to ‘final’ are the current tracks? If the mix is mostly baked then you have more work to play AROUND the instruments there, as opposed to an early mix where it might change to accommodate your little slice of genius. Just be clear, like with start/end times of your part.

2. Don’t proffer 300 pieces of tracks that the producer can then pick and choose. YOU pick and choose, mix to create what you think is best and send that one. And tell the producer that you have other takes available if that one doesn’t work. It is so annoying when I am mixing a song to get a submission for a guitar solo that is 15 stereo tracks of different takes, tones, styles, versions. YOU pick what you like best, it is why I hired you, I love what YOU do! Of course I can do it, and sometimes there is some little flub or weird timing that inspires a new direction… but usually it is just a bunch of busy work for me.

3. Offer tracks both with FX and a clean version so the producer can chose something else. If you played this keyboard solo to the delay, it makes sense to send a track with that delay recorded… and a dry track in case the producer finds the delay time interferes with something else. They will listen to the track with delay and hear your intention and may replicate it in a way that works with the mix. Also true of a guitar amp. THAT TONE is important, but might not work with this song, so have that ugly-sounding DI-ed track as well. We all have 55 amp plugs we use when mixing, and it may work better.

4. Know the technical stuff. Don’t submit an MP3 if they want a 24 bit 48kHz WAV file for the session. Make the tracks synch to the start of the song, even if that means your track starts with 2 minutes of blank space. Don’t compress or EQ it a bunch (unless that is a part of the sound). Set it at a reasonable volume. Of course the mixer can adjust volumes, and will, but it is just easier that way. How are you sharing the files? E.g. are you sharing a DropBox Link or e-mailing? Also, take good notes, for many reasons. I used THIS guitar and THIS amp and THIS mic, or THIS keyboard with THIS preset through THIS preamp. It will be easier to replicate the sound should it be needed for various reason (maybe we want MORE of you!) and also informs the producer of the sound. Maybe they want the notes or not, but they can be useful for you.

5. Be transparent with the money details. This can get uncomfortable for some people but it is utterly necessary. Is it money up front? Upon completion? Upon acceptance of the track(s)? Are there points or percentages involved and if so, how are they annotated, collected, distributed? Sometimes we have tracks that are significant to the composition and writing of the song; what about publishing? Writer’s credits? It is very helpful to have a Performing Rights Organization (PRO) like BMI or ASCAP in this so have that set up before-hand. Also some of the aggregators like DistroKid make it easy to distribute a percentage of streams to other members. And… write a contract. It doesn’t have to be complex, just clear. For example, state that you are being paid $X and that is the end of the contract, you claim no rights or publishing in the song, or are getting X% of streaming revenue and is being collected through the aggregator. I’ve done this with every artist I have recorded, to be 100% clear that I will never come after anything after my fee has been paid. It is THEIR music, I am simply being paid to record, mix, whatever. It is super easy to write up and keeps things open and clear so that the focus can be on the art.

6. Don’t get precious with your parts. Did your epic line get buried in the mix? Oh well, it was the producer’s decision. Did that phat tone get whittled down to some thin, wispy facsimile? Again, not your decision there, either. You did your part, and you can do more. If you were inspired by something you created… then write your own piece and YOU make the decisions!

7. Be upfront about credits. Are you going to be credited with your part? Do you want to be? Is the credit in the title (“XXX featuring Paul M. Grove”) or when someone digs into the credits because they want to know who played what? Make sure the producer knows exactly how you want to be credited, especially your name. For example, I go by Paul M. Grove, not Paul Grove to avoid any confusion. It kills me when a producer credits me incorrectly (which happens far too often).

8. Go the extra mile. Maybe have background vocal parts already recorded, or have a rhythm guitar part you ‘heard’ when you were tracking your solo. How about a background organ pad, just in case? Just let the producer know you have them ready to submit if they want them. If you want to sell them the extra part, make sure you are clear about that before you send it out! For me, I like to have that stuff ready and give them part(s), just to be a more valued asset to the community around the production, and hopefully be high on the list for the next session.

The world has gotten a lot smaller these last few years. It is easier and easier to be a part of a production with people whom you will never meet but with whom you share a passion. Communication up front is key. The playing is up to you!