We have earned the reputation of always carrying great songs. How? By Representing Great Writers, and by contracting the best independent staff players in Nashville we create a winning team always poised for success. Songwriters, Musicians, and Artists Springbarrel Songwriter Services is known throughout the music community as a comfortable place which is frequented by professional songwriters, musicians, engineers, producers and a host of other music business folk. Take a load off, bend an ear, share project info, and of course, find a hit song - all in a pleasant atmosphere. But, our doors are also open to new and upcoming musical talents. Nothing pleases us more than to find the next hitmaker among those with whom we come in contact. We take pride in being accessible to writers at an early stage in their career and we strive to develop long lasting relationships. By helping writers make informed decisions early on, we can help their careers grow. New writers have said they (quote), "love the open, friendly, yet competitive atmosphere." They also appreciate that our service includes feedback from the people we pitch their songs to. We highly value the opinions of record producers and A&R staff and we like to pass their comments along to our clients. Writer/clients who are (or have been) signed to publishing contracts appreciate that there's no such thing as the flavor of the week at Springbarrel. In other words, we don't give up on a great song just because it isn't cut right away. We will continue to pitch a great song to find the right artist and project. Promoting greatness just makes sense to us. Springbarrel is fortunate to have an extremely dedicated and talented staff and we'd like to take this opportunity to thank them for their good work. (You're the Best!) Also, we are surrounded by the masters of Bayou Recording, a great facility recently rated by readers of Music Row Magazine as one of Nashville's top 5 studios. The Bayou is staffed by friendly, talented people intent upon satisfying their clients' recording needs. Somehow, every session evolves into an effort among friends who are working to reach a common goal. Finally, we hope to continue to grow - in wisdom, talent, prosperity, and last, but not least, in our fundamental and universal love of music as we give the glory to the Creator of it all. Writer Awards: *3 Nashville Songwriters Association International Awards for #1 Country Songs *1 Nashville Songwriters Association International Awards for #1 Adult Contemporary Song *2 Country Music Association Awards For #1 Country Songs *3 Broadcast Music Incorporated Awards for Most Performed Country Songs *3 BMI One Million Air Awards for Songs having received over one million broadcast performances worldwide *1 BMI Million Air Award for Song having received over two million broadcast performances worldwide *2 Country Music Television Awards for #11 Video "Pickup Man" Joe Diffie Howard Perdew, Kerry Kurt Phillips "Prop Me Up Beside The Jukebox" Joe Diffie Rick Blaylock, Kerry Kurt Phillips, Howard Perdew "So Help Me Girl" Joe Diffie Howard Perdew, Andy Spooner "So Help Me Girl" Gary Barlow Howard Perdew, Andy Spooner How Are Our Pitches Made? Below is a more detailed look at our daily activities, and in particular, an overview of how a client's Schedule A Song(s) pitches are arranged for, scheduled and carried out. We receive information and requests for new song material through a variety of means and sources. For example, we are constantly in touch with those involved in recording projects through phone calls and emails. But, the process of collecting and effectively using this information can be somewhat more complex. To that end we: -arrange and attend private pitch meetings with Artists, Managers and Record Label Executives. -utilize paid subscription source information compiled by industry researchers. -receive info concerning recording dates directly from Record Labels. -attend "by-invitation-only" Artist showcases. -receive "pre-press" notices of events such as Artist record deal signings, Record Producer assignments, and recording schedules from Labels and Artist Managers. -And last, but certainly not least, we get tips and info from a substantial network of friends and business associates (for which we are eternally grateful!) -Once we know the recording project managers' preferred pitching method, we schedule and make our pitches accordingly during the window of opportunity relative to each Artists' Project. Sit Down Meetings... We are fortunate to have earned the (much sought after) privilege of sit down meetings with Record Label A&R Reps, Producers, Artist Managers, and sometimes the Artists themselves. Our time is limited in these meetings, but usually we get to pitch 5 to 10 songs. The songs pitched in these meetings must be the best possible pitches for the project. Otherwise, we will not be granted another appointment. It's also important to note that we're often asked to bring additional pitch comps to these meetings which creates the opportunity to pitch more Springbarrel songs. Since the Label Reps have heard the "cream of the crop" at the sit down meetings, they automatically associate our name with great songs and are far more likely to listen when pitch comps arrive bearing the Springbarrel or SSServices label. This opens up additional opportunities for songs written by our new and upcoming writers to be heard by the right people. Requests To Hand Deliver Pitch Comps... When sit down meetings aren't immediately possible due to the time constraints of a Label Rep's current daily schedule, they will honor us with a request to hand deliver pitch comps directly to their offices. (Many listen to comps while commuting to and from work.) These pitches are followed with calls and emails so the Rep can be sure the pitch is pertinent and has been requested by them personally. Requests to Mail Pitch Comps... On a given day it would be difficult (if not impossible) for any person to be the acquaintance of every Rep at every Label in every music market across the country. Along with the enormity of this is the fact that a few Labels insist they don't grant sit down meetings because their Artists write the vast majority of their own material. For these and other reasons, we sometimes request the privilege of mailing pitch comps to out-of-town Reps. But, we do so only after contacting the right person at the Label to obtain the info needed to properly make the pitch. Nonetheless, we're glad to report this method can be successful. We regularly receive emails and calls thanking us for pitch comps we've mailed to projects recorded outside Nashville. In-Office Meetings... Producers, A&R Reps, and Artists make appointments to stop by our office to listen to new material and have pitch comps be prepared for them. We are happy to report that the frequency and duration of these meetings has increased from day one. Not only are we able to extend our hospitality to these decision makers, we provide them additional songs to consider at their convenience for current or upcoming projects. Lunch Meetings... These meetings are a well-tested method of staying informed. We're able to casually discuss upcoming Artist Projects, get updates on the types songs already cut, the type of material still needed for the Artist, and other pertinent project information. Songplugger Group Meetings... Our involvement with Professional Songplugger Groups allows us to further develop relationships with guest speakers chosen among the A&R Reps, Producers, Artists, and Managers we have mentioned so often in these paragraphs. The up-close-and-personal nature of these informative meetings means the shared experiences of the individual members will benefit all. In fact, membership in professional organizations is as important in the music industry as it is in any other business. Summary... In closing, it's important to note that although certain aspects of our business may seem quite simple on the surface, the opportunity for success in music is usually earned over time - it is the culmination of much effort made through many relationships that are developed throughout the years. And, while ever-mindful that the writer's goal of composing a great song presents its own set of challenges, we heartily welcome the great challenge of finding that song a good home.

Please select a question:	Introduction To Springbarrel Where do I send my songs for review? How many songs will Springbarrel review at one time? Is Springbarrel a publishing company? Does Springbarrel offer a songplugging Agreement to everyone who submits material? How much are the monthly retainer fees? Does Springbarrel work on a contingency basis? Does Springbarrel send out a pitch info report? How long does a project usually look for material? How much does a hit song generate? What are the totals of Springbarrel's backend bonuses? Should a song get cut, when are bonuses due to Springbarrel? Does Springbarrel expect a bonus for securing a vanity album cut? Does Springbarrel expect a bonus for securing a cut on an Artist Development Project that will be shopped in the hope of securing a major deal? Does Springbarrel have permission to issue a license to record a song? Is a professional demo important? Does Springbarrel help detemine if a song is ready for a demo? Does Springbarrel critique songs? What is the difference in a song being kept for a 2nd listen and song being put on hold? How does a hold affect the writer's Schedule A Agreement? How do the Holiday breaks effect a writer's Schedule A Agreement? How many clients do you have? Do you only sign writers with a track record of cuts? How often does Springbarrel make a pitch? Does Springbarrel only pitch songs to the Country market? What are my odds of getting a song cut? How long does it take to hear back from a pitch? What does Springbarrel look for when signing a writer? Can I still pitch my own songs after I have signed with Springbarrel? Why do I need a songplugger? Do songs that are “dropped off” at someone’s office or mailed have a chance of being heard? I have been told not to pay any up front money. What is your advice to a new writer?
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