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Here’s how it all works:

concert“Our goal is not merely to create ‘a demo’ but rather a world-class song and production, showcasing the artist in the best light, and which can be used to either approach record or publishing companies, and/or to serve as a basis for building a loyal fan following.”

What Does A Typical Development Program Look Like?

ear 1. Before we start, we audition each artist we take on. Generally, this means that we want the artist to sing for us, talk to us, impress us with how “switched on” and talented he or she is. Not everyone is cut out for this business, even if they’re very talented. We try to formulate an honest assessment of the individual, the personality, the talent, the voice – and the future potential.
conversation 2. Once we agree to work with an artist, we begin by getting to know him or her better. We talk, listen to their favorite music, and “vibe” ideas for what we’re going to do.
microphone 3. We also do some “mic tests”. Most often this means recording a simple cover, but occasionally we dive straight into original material which we, typically, write for them on the spot. Also, we often like to hear the artist’s ability to improvise over a random track.
score 4. Once we hear what their recorded voice actually sounds like, we proceed to develop original repertoire for them. This can include “original covers” (i.e. new, original versions of previously famous songs), but the majority of our focus will be on creating new music in a style aimed at the “target market” (i.e. the most suitable audience for something an artist like this will produce).

A Typical Recording Session Consists Of The Following Parts:

songwriting A. Writing the song (we do this, but the artist is invited to contribute and take part in the creative process, and in such a case the artist’s writing credits/points are added)
songarrangement B. Creating the primary arrangement – the artist sits through this, keenly observing “how it’s done.”
vocal C. Recording vocal cues by the artist, and making changes or corrections to the arrangement, as needed.
score2 D. Making a production outline, i.e. a rough plan of what the song will sound like at the end of the session. This involves minimal arrangement alterations, possible plans for guest musicians (and recording instrumental cues for them), and so on.
comp E. Recording multiple takes of the artist’s voice. This is one of the most time-consuming aspects of the entire production and can sometimes spill over many days – because we always aim to capture the very best vocal performances the artist is capable of at the moment. And this usually means many repeats…
wave F. Once the vocal recording is finished, we do a “comp” – a vocal compilation edit where we use the best of the best takes in order to make a high quality whole.
sessionmusicians G. Once we have the vocal down, we proceed to re-arrange the song to best suit the performance, as appropriate. This is where the final instrumentation is addressed, session musicians invited (if needed), backing vocals structured and laid down, etc.
patching H. Once all this grunt work is concluded, we proceed to “produce” the track, i.e. to prepare it for the market and make it into a “product”. Apart from final mastering, this process may involve stripping down – or boosting – the arrangement, rearranging parts of the song – whatever we decide will maximize the power and impact of the song, so that when we send it out to our contacts, all they can say is “wow!” Alternatively, if we don’t feel the song is a “sufficient fit” to showcase to industry insiders, but strong enough to publish online and help us start building a fan base, we release it through the artist’s page and related web properties.

And Then Finally…

like At the end of the production we consider marketing angles for the song. Is it something that we feel would best be used as a “song demo” (i.e. to be pitched to other artists) or an “artist’s demo” (i.e. reserved for first use by the artist him or herself). If it’s the latter (and subject to the kind of agreement we have with the artist), we plan the artwork, perhaps a video, and any other means of presentation of the song to help it gain public acceptance, perhaps even go viral. If it’s the first, the artist may get the incredible feather in their cap of having (hopefully successfully) pitched their song to whoever the targeted current pop idol might be.
backtobeginning And then we go back and do another song. We continue like that until we’ve arrived at an original multi-song demo, or even an album.
checks Our career-advisory role throughout the process does not include formal hands-on management, concert or tour organization, publishing or distribution – other than in exceptional cases, or subject to a separate agreement. Typically, however, we will do our best to hook the artist up with the best specialists in each of these areas. We will also provide excellent guidance for how the artist can build a profitable music business online using his or her recorded music.

What Can You Expect From Working With Us?

We like to think of ourselves as more than just a production studio. We’re an artist development enterprise, where writing and producing songs for talented people is only the beginning.

The process of creating a song – structuring the lyrics, melody lines, chord progressions as well as producing a viable “in” sound most appropriate for the artist’s “target demographic” – is a complex one. It is mission-critical that the artist understands everything that goes into the creation of a professional-level musical product, then grows and develops personally from there. Having the right work ethic and a correct creative attitude are the foundations for any realistic hopes of a career in the ultra-competitive music business.

But that is only the beginning. Once the artist develops a repertoire with which to showcase his or her talents, the next stage begins: market preparation. With clear goals and corresponding strategies, we help the artist get set up on the web, interconnect his or her web properties and music with all the most important online music venues, always aiming to present a credible, professional image, but one full of excitement and energy. Photo, video and graphic design sessions are considered at this stage. In the course of the market preparation stage, we also help the artist find live venues in which to perform, public exposure possibilities, and more.

The above process of establishing an artistic presence, both online and offline, is accompanied by a steadily increasing campaign to build a fan base. Not mere noncommittal “likes” on Facebook, but rather a fully interactive fan club without which any future career hopes – be it as an independent act or an act signed by a label – would be futile. During this stage we expose the artist to some of our music industry contacts, by submitting demos for their consideration, looking for collabs or promotional partners, etc. (The scope of these services varies from basic to advanced, subject to requirement).

Not all of artists who wish to make a “career” out of their music ever succeed. The odds of getting signed by a commercial label are slim no matter how great your demo might be, and building an independent (“un-signed”) career requires a lot of focused effort and a great and savvy backing team. This is where the last three or so years in our own work and development come in very handy. We’ve been focusing on the areas of our greatest weakness in the past: marketing and understanding what actually needs to be done to greatly improve the odds of one’s success. Using these newly discovered techniques, even those who do not make a career in this field will nevertheless progress immensely as human beings, as they gain a first-hand understanding of just what it takes to have a realistic chance of success at ANYTHING in life.