This column is dedicated to those artists, musicians, self-created individuals who are in search of ways to promote, express, convey and carry their self-made works to various listening audiences. All of which may include radio, record and publishing companies as well as live venues, but reach beyond the cinder blocks of a musty-filled single-car garage, grandma's lasagna-painted kitchen, steamy, reverberating showers or tiny bedroom jam sessions.

In the previous column I discussed reasons why bands/artists should record a CD or tape demo. Given the current technology, most groups can complete a decent demo for less than a thousand bucks. Moreover, the cost can be recouped quickly if your band is playing live shows on a regular basis. If the audience digs what you're doing, they'll want to buy your music. If you play in specific places often enough, some record stores will sell your product. Depending on your popularity some stores will consign them (pay as they sell), while others will buy them outright. Don't expect to command the same price you would at your own shows, as they will want to make a decent profit (usually $3-10 over).

There are a few major key components that need to coalesce before you should begin a recording project. Alongside a very tight, well-rehearsed band should be a producer and an assistant/runner. Now, don't freak out on me, here. You don't need to go out and find a Don Was or a John Leventhal, but if you can, great. Chances are you won't have the budget or the resources to find a well-seasoned producer. It would be to your advantage, however, to find someone who is familiar with the process, has great leadership skills, a positive attitude, some musical prowess and an understanding of what your vibe is all about. If you have a band member who seems to possess those qualities, you may want to use him or her.

It is essential to sit down with the band, producer and assistant to discuss the budget and the direction you want the project to take. Now is the time to air any concerns or problems you may have. Don't wait until you're in the studio. It is ridiculous to pay hourly studio time to discuss these matters. Be certain that everyone in the band respects the authority of the producer. The producer's directing the show, calling the shots. Arguing while in the process of recording will only cause turmoil and cost you money.

Although a runner/assistant seems like a peon job, it can be a saving grace in tight situations. An assistant will need to have roaming eyes and look ahead for possible ways to keep the studio time running smoothly. It is their job to keep the producer, band members and engineer comfortable. Other than a periodic restroom visit and outdoor breaks, everyone should remain focused on the session. The runner should keep everyone well fed and watered. Their positive attitude can really pull a project back up if it's sinking. I like to think of these individuals as cheerleaders (with or without the skirt). Because of their objectivity, they can perhaps suggest a needed break when they see the group dragging.

After you have arrived at a budget, begin shopping for studios. The yellow pages, fellow musicians and music stores are good resources for this. Hopefully, your producer will have a few favorites in mind. Bear in mind that there will be other costs above and beyond the hourly or daily studio rate. These costs can include an engineer, tape (digital, analog or both for recording and mixing), mixing, mastering, set-up time and equipment. Do not assume that because it is there, it is free. You may see a beautiful grand piano that you think is great for a particular song. It screams your name, but doesn't tell you it's tied to an hourly rate.

Always ask ahead of time.

The following is a list of very simple, yet often forgotten components of a recording process. If a band begins with a kick-ass attitude and is well rehearsed and focused, these additional suggestions will only enhance the entire recording experience, not to mention keep it under budget.

Water, water, and more water -- It is easy to get dehydrated in the studio. This causes headaches and irritability. To avoid this, bring a one-gallon bottle of water for each person in the studio, including the producer and engineer. Have glasses on hand as well.

Food -- Perhaps this is an obvious one to mention, (but don't bring a bunch of crap). Grease and candy aren't great things to load a band up with (okay, a little chocolate and some chips). Bring plenty of fruit, vegetables, nuts and things to make decent sandwiches with. You will save a lot of money and time if you don't go out or send out for food.

Breaks -- tTake breaks outside periodically. Getting out of the studio for some fresh air can really rekindle a band. When things are really dragging, take a break.

Towels -- Sweat is a beautiful thing, be sure to have something to wipe it on.

Clothing -- Some studios fluctuate in temperature a great deal. Many musicians complain of it being too hot or too cold. Often times it will go from one extreme to another. Dressing in light layers can combat this problem. Bring a few extra sweatshirts and tank tops.

Drugs -- The only drug you may want to have on hand is aspirin, Motrin or Tylenol. It is common that at least one person will want some. All other drugs are out (that's another subject).

Accoutrements -- Sticks, drum heads, strings, extra guitars, tubes, batteries, tuners, picks, Band-Aids, hair ties, earplugs... the list can go on and on. Talk to everyone in the band. See what they need, run through a checklist with them. Having these things on hand will save time when they're needed.

The Zen thing -- If you have a friend who does massage or have the budget to bring someone in on a break, a quick ten-minute back and shoulder rub can revitalize the body.

The song list -- Get the band mentally prepared ahead of time by deciding on the tunes that will be recorded and in what order. Don't put the most difficult one first or last, but somewhere in the middle. Before recording, play something everyone's comfortable with, even if it's a cover tune (heaven forbid). Getting warmed up and loose can be a huge asset. The first tune will sound more alive if the band is warmed up.

Attitude check -- Again, remember who the boss is, who have the final word. Respect and adhere to it and leave all attitudes at the door.

Most importantly is that you have an incredible time with the project. After all, you're playing music, right? What could be more amazing than that?

If you have questions, comments or ideas please direct them to Katoorah@hotmail.com.

Katoorah Jayne is a Nashville-cased singer/songwriter who has written and produced five CDs, toured nationally with the band Western Vogue, and opened for The Rembrandts, The Bodeans, Joe Walsh, Los Lobos, The Texas Tornadoes, Holly Dunn, Leon Russel and James Cotton, to mention a few. Her music has appeared on several compilation discs alongside Shawn Colvin, Tori Amos, Julian Lennon, Leftover Salmon, Matthew Sweet, The Indigo Girls and others. Check out her web site at www.katoorah.com.