In some ways I am a very lucky person. My vocation as a radio producer and host combined with my freelance writing and consulting on club bookings sets things up for many recordings to be delivered to my door. While I normally look at this as a blessing, sometimes it can also be a curse. Not counting the major labels, on average I receive six to eight recordings per week. As of this writing I have over one-hundred and fifty CD's sitting on my pending shelf.

It's obvious to me that the music I receive is sent with the hopes that it will be listened to, used on the air, reviewed immediately or used to set up a new gig. Unfortunately the numbers just do not allow for this to happen all the time. This article is being written to offer a personal perspective on things that help move recordings to the top of my list. Please bear in mind that while I cannot speak for all individuals on my end of the business, I am sure that many will be in agreement.

Recording Medium

While cassettes are an inexpensive somewhat user friendly medium, they are not a high-fidelity format. Bear in mind that the cassette was created as a dictating device and has been re-engineered for use in music. Most often cassettes cannot be used on the air. Attempting to cleanly cue up a song from a cassette can be a major problem. Aside from the difficulty (if not impossibility) with cueing, other problems with cassettes include but are not limited to: equalization, noise-reduction, and azimuth alignment. While all this may be a bit technical, what it means is do not send cassettes if you want to be played on the radio.

Personally, I only listen to cassettes if they are accompanied by a 1:1 copy of the master DAT with appropriate Start ID's. This way I know that if I find the music appropriate I can use it on the air. I just do not have time to listen to something I know I cannot use.

If at all possible, CD's are the way to go. They can be previewed in almost any environment, the sonic qualities are unsurpassed, and they are easily cued for use on the air. CD's are definitely worth the extra time and money involved.

If you must send a cassette send a high quality manufactured product, recorded at real time. Make sure its playback equalization and noise reduction characteristics are clearly identified and labeled on the "J-Card" (shell label insert [look at it from the side]) and on the cassette itself. Equalization synonyms are as follows:

Type I Cassette Equalization Synonyms	Type II Cassette Equalization Synonyms
Normal	High
Ferric	Chrome
120u	70u
	Metal

Noise reduction labeling only needs to include double ended noise reduction systems. The ones most likely to be used are, Dolby B or Dolby C. Other double ended systems you might run across include Dolby A, Dolby S, and DBX, these however are rarely used in consumer products. Information about single ended noise reduction (Dolby HX-Pro, or DNR) is not necessary as these systems do not require separate playback settings. However, bear in mind that if no noise reduction is incorporated in cassette recording, this information must also be included in labeling.

Cueing Aids

When recording your project, remember to insert appropriate Track Numbers or Start ID's depending on whether you are working on a CD or DAT. This is especially important if your project is being recorded live. When playing music on the air, it is not usually suitable to start a cut with applause or a verbal introduction. If you can, edit your program so the music can easily be cued up by going right to the appropriate track number. (A good example of excellent track editing on a live recording is the compilation CD recording, In Their Own Words, Volume I on the Razor and Tie record label.) This also makes it very important to label all cuts on your project. All cut lists should include the track number, song title and cut length in minutes and seconds.

If a cut has either a long instrumental introduction or could be divided into two separate cuts, set them as distinct track numbers with distinct times. (Use sub-titles if necessary and label the cuts appropriately.) It is hard to imagine how often a determination to play a song on the air is made based on length alone. Take advantage of this and label all cuts appropriately.

Sequencing and Length

The sequence of songs on a recorded project is very important. Sequencing (song order) often determines just how much of a recording will be listened to before being put aside. With the large volume of recordings being sent out, (remember the 150 CD's on my pending shelf.) often times' writers and/or programmers are trying to be exclusive rather than inclusive when it comes to writing about, playing on the air, or booking music. This is part of the critical nature of the business. There is a lot of music (often great music) out there!

Appropriate sequencing should make the listener anticipate the high quality of the next track while enjoying the one currently being played. With poor sequencing, thoughts that run through the listeners mind often include "...when will this be over..." or "...I'll play one more track and if it doesn't do it -- the circular file...."

Just like a baseball line up, put your best stuff up first. Determine your best songs by asking people you trust to honestly criticize you. Do not assume that what goes over best in a live performance will be your best song on the recording. Recorded material is heard in a different listening environment than a live show. Ask your good friends, trust your producer, manager, agent, mother, whoever, then go with your best gut feeling. Sequence your project so that each track, including the last, leaves the listener hungry for more. Personally I love it when I cannot wait to hear more of a record, or performer.

Along these same lines, recording length is important as well. Just because you can fit over an hour of music on a CD does not mean that you must. Only include what you believe to be your best work. If the recording turns out to be phenomenally successful, you will need the other material for your live shows, or radio interviews. (There is nothing a producer/host likes better than to world premier a new song from a hot performer.) Remember you want people to leave wanting more.

Packaging

The plastic jewel box is the industry standard for CD packaging. There are many reasons for this. The plastic itself can be recycled as can the jewel box. These boxes offer the CD the ultimate in protection in an easy open package. They easily fit on shelves or in storage/carry boxes, and are designed to hold a tremendous amount of printed material that is also protected and available with the CD itself.

Cardboard jewel boxes or sleeves become lost in most collections. If you have ever looked in a large CD library you will notice how the cardboard packages are almost completely unreadable and often unseen on the shelves. Cardboard sleeves also make it more difficult to carry recordings to the studio from home. (If a CD doesn't make it to the studio, it won't be played on the air.) Stick to the industry standard and design your printed material to make use of its construction.

Printed Material

If at all possible include all printed material, (bios, pictures, addresses, phone numbers, etc.) in the CD jewel box. This way the CD and printed information will not be separated and will always be available. There have been many occasions when bio information would have been handy to have on the air, but was left at home or misplaced. In many radio stations CD's are kept in a library and go from one person to another depending on who is on the air. Press kits are kept in a separate location often unavailable to the on air personality. This makes them useless if they are not contained within the CD jewel box.

Large 8 X 10 photos are nice, but usually unnecessary if material is not being sent for use in the print medium. (I have a collection of many of these photos that I hope to one day use to create a "wall of shame" in my office.) Again it is best to include all pictures in the jewel box.

An often neglected piece of information that needs to be included with all printed material is an address and phone number. This address can be that of your agent, manager, your in-laws, or even your home but do not neglect to include it. The best way to do this is to list it on the CD insert (or special insert designed for promotional use) and include a separate business card. This way contact information can be kept with your recording, and in a separate, standard sized, business card file.

Word of Mouth

Word of mouth can be a handy thing. Quotes from other performers, writers, producers or other personalities can be quite helpful. It is important to make sure however, that the individual you are quoting has truly said this about you and has given you permission to publish the quotation. Ask if you are not sure!

There have been a number of times when I have either been misquoted or not asked about using my quotation in a press kit. There have also been cases when someone falsely said that an individual (quite important in the singer/songwriter community) suggested that I listen to a recording. Remember, this is a small industry with a big network. Bad press is much worse than no press at all.

Other Details

At times I have received press information without any music. This information would ask me to call or write if I wanted a copy of the particular recording. Most often I throw this type of material away not because I am not interested, but because I just do not have time. If you want your project to be heard, do your homework in advance and try to send it out without question.

While some people religiously fill out return information postcards (often included with a recording) I also tend to throw these out as well. With over one-hundred and fifty CD's in my pending pile I just do not have time to request recordings from an individual of whom I am unaware, or return postcards. If you must have this information, I find it is better to call than write. Others may feel differently.

Summary

Well, those are the basics. Here they are again in case you missed any.

1. Send CD's as opposed to cassettes.
2. If you must send a cassette, label it appropriately and send it with a DAT copy too.
3. Make it easy to cue up.
4. Put your best stuff first.
5. Leave your listener wanting to hear more of you.
6. Use standard packaging.
7. Design printed material to fit inside the packaging.
8. Use common sense in spreading the good word.
9. Do your homework in advance.

Bear in mind that these are not hard and fast rules. There is at least one exception to each suggestion made here. Most of all what is needed is luck. Based on that, best of luck to you all, and don't sweat the details. Keep the music coming.

Micah Engber

Micah is an independent producer, writer, critic, and radio host from Portland, Maine. He serves as an independent producer and consultant for several local, regional and national radio broadcasts.

Micah is available as a private consultant for record production, pre-production, and radio distribution. For more information, e-mail him directly at:

radiomicah@yahoo.com

Recordings can be sent to him at:   405 Western Avenue, # 311, South Portland, Maine 04106