Oh wow. This discussion is awesome. The reason I asked about your remote recording is because it's how John Evans and I produce for our Evans and Stokes project. Thousands of emails back and forth and dozens of versions of each song uploaded to a shared drive to get them just right. I can see that your experience is much the same. I was hoping that you'd be able to offer some miracle tip that would streamline things, but I guess that was a bit pie in the sky to hope for. Still, I'm very interested to hear that you use programmed drums in the songwriting and then after the songs are essentially done, you send it off for a studio drummer to record to. Our most recent review (Heaven's Metal) was very positive ("beautiful melodies, engaging guitars and exceptional lyrics" etc) EXCEPT that we got slammed on our use of programmed drums for our final recording. We've always known that we are let down in the drumming area. It's very useful to know how you managed that part of the process. The collaboration I have with John is so fruitful that I'm not mad keen on complicating the process by adding a third member to the songwriting team. The way you and Dale delay the drummer's input would eliminate that complication. I imagine in your case, the drummer would inject their own flair into the final cut, but not until after the core songwriting is done. I like that.
I totally get what you're saying about being a needle in a haystack. We've done a lot of work to reach out to Christian radio. Also, I know from past projects that getting reviews published always creates interest (provided what you've produced is worthy of people's time of course) so we've also invested a lot of time seeking out appropriate reviewers. And, of course, there's always {sigh} social media.