Yes, we can debate the practicalities untill forever, but it's all about emotional movement in the end. And those artists we pitch too is just another listener who wants to be moved when they listen to our demos, I believe so. But after they decide they like it, it becomes about politics, especially on the big labels.

The album cut days are really over for songwriters (even if you can get one, you won't be getting any returns), it's all about hit singles as an outside writer, which makes the game almost impossible, as noone knows what can be a hit. When noone knows, why would they then bet on an outside song.. that's basically the reason Im going for doing music for music libraries, & tv/ film stuff.

Those games are also about making the RIGHT music (Im thinking of the artist identity factors) more than the BEST music, like the record game, but the politics aren't that big, so I feel it's more doable to get some credentials up my sleeve.

With those, it might be easier to get the attention of other good songwriters down the line. So, when I hit the 80 years mark, I may be ready for Nashville laugh LOL

So, thanks for the great points, Marc! You are a treasure of online candy bars grin I don't know what the hell I'm talking about nor doing, but I understand perception..

A demo is a small part of the full equation. You can't pay anyone to make an emotional impact, so if you get a bad demo in return (or even a good but uninteresting one), it might be that the song didn't even make anyone in the DEMOstudio care. That would be a safe bet, an artist wouldn't either.. (and Im not debating pro demos or not, just implying that there are good and bad pro demos, AND that it may not all be because the demoservice done bad)..