Demo Swaps Create Implied Promises Via Email - Traps & Scams Every Musician Must Avoid

You just got an email that reads like a career fast pass. Someone loved your two minute demo, they say. They want to swap, collab, playlist it, or pitch it to a sync agent. Your heart does a small trampoline trick. This article is your sledgehammer and your seat belt. We explain how demo swaps create implied promises via email, why those implied promises can collapse into scams, and how to protect your music and your sanity.

Everything here is practical and written for artists who are busy, broke, brilliant, and suspicious. You will leave with a checklist, email reply templates you can actually send, legal basics explained in plain words, and real life scenarios that prove this is not a theoretical problem. We will cover red flags, scam scripts, tech tips, split and credit traps, and a quick plan to keep control of your songs.

What is a demo swap

A demo swap is when two people exchange demos. It can be two singers trading toplines, a producer sending a beat in exchange for a verse, or an artist sending a mix to a curator in hopes of exposure. Swaps are common and often genuine. They can lead to collabs, feedback, and even placements. The problem appears when the exchange happens via email and someone layers implied promises on top.

An implied promise is not a legal contract. It is a message that suggests a future benefit without a precise commitment. Examples include promises to submit to playlists, present to a supervisor, give feedback, or include a song in a compilation. Those statements sound great. They are also easy to craft and impossible to hold accountable without proof.

Why email magnifies implied promises

Email is fast, cheap, and feels official. Someone can write that they will pitch your song to a music supervisor and the message will live forever in your inbox. That creates hope. It also creates risk. Emails are informal and verbal style promises. Without clear terms you can lose ownership, royalties, or momentum while thinking the opportunity is real.

Real life scenario

• You send a demo to a playlist curator who says they will add it next week. Two months later the curator plays it in a live set without credit and asks for a sample rate that you did not agree to. You realize you gave out stems and metadata in a follow up and now you cannot track usage.
• You swap a demo with a producer who sends a version back with new production and demands a split that gives them ownership of the master. You did not read the sentence where they wrote they wanted producer royalty until it was too late.

Common traps and scams in demo swap emails

Here are the headline scams you will see in the wild. We give the trap name, what it looks like in email, why it is dangerous, and what to do instead.

Playlist promise trap

What it looks like in email

"Love this. I will add it to my curated playlist this week. Send stems and artwork and I will push it live."

Why it is dangerous

Curators and playlist owners rarely promise specific placement unless they are paid. Offering to add a track and requesting artwork and stems can be a soft way to extract assets that later get redistributed without credit. Once someone has clean files and your artwork they can upload your track elsewhere with small metadata edits that hide your ownership.

What to do instead

• Ask for the playlist link and proof that they own or manage it, such as a public profile with followers and prior placements.
• Send a low resolution mp3 or a watermarked file first.
• Do not send stems or high resolution masters until you have a written agreement that specifies placement, duration, and compensation if any.

Pay to play trick

What it looks like in email

"We can get you on a premium playlist for a small fee. Wire $100 now and we will submit and promote."

Why it is dangerous

This is plain pay to play. Legitimate editors do not require upfront fees for honest playlist additions. The practice can also mean your track ends up on low quality aggregator playlists or sold again and again to other artists.

What to do instead

• Refuse upfront fees for editorial playlisting. If a service asks for money, treat it like a marketplace service not editorial placement. It may still be useful but call it advertising and get a receipt.
• Research the service. Look for reviews from other artists and check follower quality and engagement.

Co writing and split trap

What it looks like in email

"I loved your topline. I re worked the chords and the hook. I am happy to swap 50 50 for the final song. Please sign the attached split sheet and send stems."

Why it is dangerous

Producers and writers can be opportunistic. A casual message proposing a fifty fifty split might seem generous. Without clear credit language the definition of the contribution is fuzzy. Some people ask for big splits in exchange for small production work because they can pressure you after the fact by claiming creative ownership.

What to do instead

• Define contributions in one sentence. Who wrote lyrics, topline, chords, production, arrangement, and performed the parts.
• Use a simple split sheet that lists percentages and publishing splits. If you are unsure, propose a temporary demo split until you finalize credits after completion.
• Register splits with your PRO, explained below, once everyone signs.

Sync bait and switch

What it looks like in email

"We have a music supervision contact. Send MP3 and stems and we will pitch it for placement in TV or games. There is no fee unless they place it."

Why it is dangerous

Sync promises are powerful bait. People will ask for full stems and metadata so they can edit and re purpose your work. Later they will say they pitched it, but they never really did. Or they will pitch a version that uses your topline but credits another writer. Sync deals are real and lucrative. They require rock solid paperwork.

What to do instead

• Ask for the placement contact and proof of prior placements. A list of credits is fine. Verify them on IMDB or similar databases.
• Offer to send a low resolution preview and ask for a non disclosure agreement first if the pitch is confidential.
• Never send full stems until you have a signed sync license or a clear written plan that explains who gets credit, payment terms, and control over final use.

Ownership laundering and master theft

What it looks like in email

"If you want broader exposure we can re master and distribute under our label. We need master rights. Sign here."

Why it is dangerous

Labels and distributors will sometimes ask for exclusive master rights. That can be fine, but some services take your masters, register them under a different name, and collect revenue without sharing. Distribution deals can look friendly and be disguised as a promotional opportunity.

What to do instead

• Read any contract carefully. Pay attention to term length, territory, exclusivity, and royalty splits.
• Ask for references and check who the distributor has placed before.
• Use non exclusive distribution when testing new services. Keep ownership until the deal proves its value.

Phishing and malware via attachments

What it looks like in email

"Open the attached project file to hear my remix. It is an .exe or a strange compressed file."

Why it is dangerous

Bad actors send malicious attachments disguised as session files or stems. Opening them can infect your computer, steal your passwords, or ransom your files. Always be cautious about unexpected or unusual file types.

What to do instead

• Only open attachments from verified contacts. If in doubt, ask for a cloud link from trusted services that show uploader identity such as WeTransfer or Google Drive with verified email.
• Scan attachments with antivirus. Use cloud preview tools rather than downloading unknown files.

Red flags to watch for in email language

Healthy skepticism is a career skill. Watch for these phrases and patterns.

• Promises without details, such as "we will submit it" with no contact name or timeframe.
• Urgency that pushes you to act now, especially when money is requested.
• Requests for full stems or masters before a written agreement.
• Odd file types or attachments that are not standard audio.
• Vague titles and no public footprint, such as a curator with no playlist link.
• Requests to change metadata or uploader name during distribution.

Practical verification checklist before sending anything

Run this checklist before you send a demo to someone who promises anything.

1. Check the sender's email address and look for legitimate domain names. Free email domains can be real people but verify more closely.
2. Ask for a link to their work or profile and confirm it actually exists. If they claim a playlist, ask for the playlist link and a screenshot of their curator dashboard if needed.
3. Ask what exactly they will do with your file. Get steps and a timeline in reply. If they cannot give either, do not send stems or masters.
4. Send a watermarked or low resolution mp3 version for review only. Do not send WAV masters or stems unless you have an agreement.
5. Keep a copy of the email thread and any attachments. Save dates and time stamps. This is your paper trail.
6. Use a file service that tracks downloads and shows a view history. Services such as WeTransfer and Dropbox can show download logs when you have a paid account.

How to protect your work before you send it

Protecting your demo is practical and simple. You do not need to be a lawyer. You do need a few routine steps that take minutes.

Register your copyright where possible

In the United States and many other countries you get basic copyright protection the moment you create and fix your work in a tangible form. Registering with the copyright office gives you stronger legal standing and the ability to pursue statutory damages if someone steals your song. This can be fast and relatively cheap. If you are outside the United States register where your main market is or use regional resources. Registration is not glamorous. It is smart.

Register with a PRO

PRO stands for performance rights organization. Examples include ASCAP, BMI, and SESAC in the United States. PROs collect performance royalties for public plays on radio, TV, streaming, and live venues. Register songs with your PRO so at least your publishing rights have a traceable owner.

Embed metadata and use audible watermarks

Embed artist name, contact, and copyright in the file metadata. Use audible watermarks for demos that you send widely. A short pitched voice tag at the start of the demo that says your artist name is annoying, but it deters casual theft. It also proves the file originated from you. Keep a clean master that you control and send watermarked previews until you trust the other party.

Use dated delivery methods

Send files through services that log upload dates and downloads. If someone later claims they had the file first they will find it harder to argue against a logged delivery. Email timestamps are helpful. Cloud services add another layer of proof.

Simple contract language that matters

If someone asks for stems or masters, ask for a short contract. Keep it under one page. Do not let them bury key terms in long legal copy. If they push back, you are probably handing over too much control.

Key terms to include

• Purpose of the transfer, for example review only, pitch to playlist, or production.
• Duration of the permission. For example thirty days for review only.
• Non exclusive clause if you are sending for review only. Non exclusive means you keep the right to use and distribute the file elsewhere.
• Credit and metadata preservation. The contract should require that your artist name and writer credits remain intact in any use.
• Compensation terms if payment is promised. Be explicit on amounts and timing.
• Termination clause. You should be able to request deletion of the file from their systems if the project stalls.

Sample two sentence clause to request

"This file is provided for review and pitch to playlist or supervisor only. The rights granted are non exclusive for a period of thirty days and metadata and credits must remain unchanged."

That is short. It is not glamorous. It is effective. If they refuse that level of clarity walk away.

Email reply templates you can actually use

Copy these and paste. Edit for tone. They are blunt and real.

Template 1: Request proof before sending stems

Thanks for the note. I am interested in hearing more about this opportunity. Please send the playlist or placement link and two references of past placements you have handled. I can send a watermarked mp3 for review. I will provide stems once we agree on terms in writing.

Template 2: Decline pay to play politely but firmly

Thanks. I do not pay for editorial placement. If you offer a transparent campaign with reporting and receipts I will consider it as a paid service. Otherwise I will pass.

Template 3: Ask for a simple contract for sync pitching

Appreciate you thinking of my music. Before I send stems please provide a simple sync agreement that outlines the pitch process, who will be contacted, the duration of the pitch period, and the split if a placement is secured. I will send a preview once we have that in place.

Template 4: Split confirmation

Great work on the production. For clarity please confirm contributions and proposed splits. I suggest a temporary demo split of X percent writing to Y percent production until final credits are locked. I will register the split with my PRO once we both sign.

How to handle stolen demos and what to do next

So you did all the sensible things and someone still used your demo without permission. That sucks. It happens. Here is a plan.

1. Collect evidence. Save the original files, email timestamps, upload logs, and any public use. Take screenshots and note URLs.
2. Contact the person politely and ask for an explanation. Demand removal if the use was unauthorized.
3. Contact platforms directly. Streaming services and social platforms usually have takedown processes for copyright infringement.
4. Send a DMCA takedown notice if the platform is US based or follows DMCA procedures. Many platforms accept notices from rightsholders or their agents.
5. If the use has commercial value and the person refuses to remove or compensate, consult a lawyer or a music rights service. Many organizations offer affordable copyright enforcement for musicians.

Real life examples and what they teach us

These stories are anonymized but real enough to make you squint.

Story one

An artist swapped a demo with a producer who promised a collab. Months later the producer uploaded a track to a streaming service under his own artist name and credited a different vocalist. The original artist had sent high resolution stems and a simple text that could be interpreted in multiple ways. The lesson is send only previews until the split is agreed and signed.

Story two

A curator promised playlist placement in return for artwork and track. The curator added the song to a low quality aggregated playlist and then resold the track to a distributor. The artist had no contract and no way to prove the curator was responsible for the wider distribution. The lesson is document everything and do not send clean masters without written terms.

Story three

A songwriter sent a demo to a sync agent who promised to pitch it to a show. The agent provided a long list of credits that checked out. The agent also required stems. The song was later used in a campaign with proper credit and payment. This is the example that shows not all pitches are scams. The difference was clear documentation, a written sync agreement, and honest reporting.

Tools and services that help

Use tools that make your life easier and add verification layers.

• WeTransfer and Dropbox for tracked file delivery. Paid accounts can show download logs.
• Audio watermarking services that embed inaudible watermarks for tracking.
• Copyright registration with the national copyright office for legal standing.
• PRO registration for publishing tracking and royalties.
• Simple contract templates from trusted music rights organizations. Many trade groups publish short template split sheets and sync agreements.

What does a professional look like in email

Acting like a pro does not mean you have to be boring. It means you create clear steps and stick to them. Here is a checklist for your email etiquette.

• Answer within 48 hours, even if it is just to say you will review later.
• Ask for proof of claims. Professional people expect this and provide it readily.
• Use plain language and clear questions. Avoid long rants about past hurts in first contact.
• Keep files organized. Name your files with artist name, song title, and date. This reduces confusion and shows you are serious.

Simple business smart moves you can implement today

1. Create two versions of every file, one watermarked mp3 for demos and one clean master you keep offline.
2. Set a template response for demo requests that asks for proof and an intended use.
3. Register your songs with your PRO and where possible with a copyright office.
4. Use split sheets for any collaboration that moves past demo stage, even if it feels awkward.
5. Keep a single folder of proof for every email exchange related to songs. Time stamps matter more than you think.

Glossary of terms and acronyms

We explain the music world jargon so you can respond like you own the thing.

• Demo: A rough or working recording used to show a song idea. Think of it as a prototype not the final product.
• Stems: Individual audio tracks that make up a song, for example vocals, drums, bass, and synths. Stems let someone remix or re produce the track.
• Master: The final mixed and ready file that is released to streaming services and stores. Owning the master usually means you control how the recording is used.
• PRO: Performance Rights Organization. They collect public performance royalties and distribute them to writers and publishers. Examples include ASCAP, BMI, and SESAC in the United States. Registering with a PRO is how your songs earn performance money when played publicly.
• Sync: Short for synchronization license. It is the right to use music with visual content such as TV shows, commercials, or games. Sync deals pay differently depending on territory and medium.
• NDA: Non Disclosure Agreement. A contract that limits sharing of confidential information. Useful when a pitch involves unreleased material or private negotiations.
• Split sheet: A document that records who owns what percentage of writing and publishing for a song. It keeps everything tidy for royalty collection and registrations.
• A and R: Artist and Repertoire. The team at a record label that finds talent and guides artistic choices. A and R people will contact artists directly for signing possibilities.

FAQ

Can I trust a playlist curator who emails me

Trust requires verification. Ask for the playlist link, proof of ownership, and examples of prior placements. Send a low resolution preview file first. Do not send stems or masters without a written agreement that defines the placement and compensation if any.

Is it safe to send stems for production swaps

Only send stems after you have a clear agreement on splits and credits. Use a temporary demo split if you are not ready to finalize credits. A split sheet with signatures protects everyone and reduces future disputes. Keep a master copy offline until you have formal documentation.

What if someone promises a sync placement but asks for free rights

Be cautious. Sync placements can be real and valuable. Ask for proof that they have direct contact with the supervisor or a documented process. Request a simple sync agreement that outlines the pitch strategy, the term, and the split if a placement occurs. Do not give exclusive rights for free.

How do I prove a demo was mine if it gets stolen

Preserve evidence. Save original files with creation dates, email threads, cloud upload logs, and any watermarked versions you sent. Register your copyright if possible. Use platform takedown procedures and contact a music rights service or a lawyer if the case involves commercial exploitation.

Should I register every demo with the copyright office

Registering every demo is not always practical. Focus on songs that are moving toward release or placement. Registration is cheap insurance for material with commercial potential. For early drafts you can still keep records, metadata, and dated files as evidence if needed.

Action plan you can use right now

1. Create a demo template file name that includes your artist name, song title, and date. Use it consistently.
2. Write a reply template that asks for proof of any promised placement or credit and attach your watermarked mp3.
3. Register your top three songs with your PRO this week. It takes minutes and protects performance income.
4. Draft a one page agreement for review only transfers that limits the use to thirty days and keeps rights non exclusive. Use it when someone asks for stems.
5. Keep a folder where you save every demo related email. Time stamps are your friends in any dispute.

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