Musical Career Development Plan
For Singers

This document was prepared to give singers and investors an overview of dick mcvey productions and an honest, realistic approach to the music business. The opinions contained herein are those of Dick McVey based on information he has attained in his nearly 40 years experience on stage and behind the scenes in the music business.

Copyright 2008 * dick mcvey productions * All rights reserved

WARNING: THIS DOCUMENT MAY NOT BE COPIED OR REPRINTED WITHOUT PERMISSION !!

COMPANY OVERVIEW

Dick McVey Productions was established in 1986 and consists of three companies -- Dick McVey Productions, a music production company; All Star Publicity, a full service public relations firm; and the Musician's Referral Service, a contact service for professional musicians. The overall goal of all three companies has always been to help worthy talent by offering them an open door in Nashville and an honest, realistic approach to the music business. While that goal has and always will be the cornerstone of Dick McVey Productions, changes in the music industry dictate that our goals and methods must also change.


The focus of this document will be Dick McVey Productions and our primary goal of preparing and presenting acts to the major record labels for the purposing of securing a recording contract.

The means for accomplishing this goal must be adapted to the abilities and attributes of each individual performer, and therefore we must evaluate each act to determine if all the aspects for a successful singing career are in place.

HOW WE DO IT

THE EVALUATION

We evaluate each act presented to us, just as a major record label would. We look at the strengths and weaknesses of the act and then determine what can be done to strengthen the weak points in order to give our client the best possible opportunity for major record label consideration. We are looking at the following aspects - in no specific order:

We normally start with the act submitting a cassette tape demo, current photograph (preferably one full body shot and one facial close up "head" shot), and a brief history or biography containing the act's musical background. If we are impressed with this initial promotional package, or we feel the act has potential, we then set up an in-person interview to get a feel for the act, and discuss their potential. At this stage, we begin our evaluation of the act and develop a plan of attack.

As with any business, we are selling a product. Our product just happens to be a living and breathing human being, and unique in many ways from the previous or next product. We are faced with developing a marketing strategy that will sell our product to the major record companies and ultimately to the public. In that our product has a completely developed personality and many unchangeable physical features, we have to develop a concept, primarily a look and a sound that is unique, yet marketable and fits the personality of the act.


In researching the country music market, we know that the majority of our buying public is female. Since females out-buy males in the country music market three to one, our concept should be one that is attractive to the female buyer. Once the concept is decided upon, the rest of the plan can be put into place.

THE SONGS

Having been a part of the Nashville music community since 1981, we have been able to establish relationships with well-known songwriters and song publishers. The old saying is "It all starts with a song," and through our relationships, we are able to secure great songs for our acts. The ideal situation is to have an artist capable of writing hit material, but it is rare that an initial project could rely on the writings of a new artist alone. We select songs in conjunction with the act, since we feel the act will "sell the song" in the studio if they like the song or relate well to it. We also try to pick songs that fit the vocal style, ability and concept of the act.

THE STUDIO

Since we want our recorded product to compete on a professional level, we have put together our own 32 track digital recording studio.  We have the same equipment used in recording Grammy-winning albums, and our projects are recorded and mixed digitally, just as if a major label were recording them. And ... having our own studio makes a recording project much more cost-effective for our acts. The studio is constantly kept in top working order and technologically up to date, assuring our projects a first rate result.

Likewise we are using some of Nashville's finest engineers, especially in the mix down phase of the project, to insure topnotch results.

MUSICIANS

Just as with the quality of the studio and engineer, the musicians we hire to play on our recording sessions are seasoned professionals. Many have played on major hit records, and recorded and / or performed with major artists. Their equipment is geared toward the recording studio and the speed with which they can take direction and record material is incredible.

Some of the finest background singers in the world have appeared on our recording projects. One of those singers is Judy Rodman who had hit records of her own in the mid-80s and recently Co-wrote the LeAnn Rimes hit, "One Way Ticket." We have also used Jennifer O’Brien, who has sung behind some of the greatest artists in the business, including Dolly Parton. The background singers are there to enhance the song and compliment the singer and the people we use are truly "pros" in every sense of the word.

RECORDING  

We normally record six to ten songs on an act we are going to "pitch" to the major record labels, however we work on only three songs at a time. Once the first three songs are selected to record, we give the act a copy of the three demos to work on at home. When the act feels comfortable with the songs, we spend time with the act in studio and with a guitar to be absolutely certain the act has the ability to perform the song artistically, commercially and without great difficulty. We also search for the best possible key for the act to maximize the performance. After we are satisfied with the preliminary performance of the songs, we schedule the first recording session. We select the musicians and background singers that best suit the material and performance of the act. This initial session is strictly to record or "track" the music, and although the act sings a "scratch" vocal, our primary focus is on the musical production. Once this first session is complete, our attention becomes concentrated on the singer. The act will then place another "scratch" vocal on the tape. The "scratch" vocal is then critiqued, and the act is sent home with a rough mix of the music of the three songs to rehearse. This session usually takes about four hours.


When the act feels ready (usually two to three weeks), we will work again in our studio to clear up any major problems. As soon as the act is ready, we will add any instruments we feel the songs need and attempt to record the final vocal. Normally, we work an afternoon or night session since most acts perform best during the evening hours. If the vocal session is not going well, we reschedule for a later date. The length of this session depends on the performance and health of the singer.


Once the final vocal is on tape, we wait a few days before bringing in the background singers. That way, if we are not happy with our final vocal, we can repeat or repair the final vocal performance. Since the background vocals must closely match the final vocal, it is imperative that we have completed the final vocal before bringing the background singers to the studio. The background singers normally take an hour per song, depending on the song.
Following the background vocals being placed on the tape, we let another few days pass so that we can listen to three entire project with "fresh ears" and be absolutely sure we have the best possible recorded performance from everyone involved. The marvel of multi-track recording is that any one instrument or vocal can be replaced or any mistake or problem section can be fixed without having to replace the entire song.


The instruments and vocals must now be mixed into the final product. This normally takes about an hour and a half to two hours per song. We are doing a digital mix-down or placing the final copy of the song on a CDR (Compact Disc) or Digital Audio Tape (DAT). The digital formats are more reliable than normal tape and are much quieter. The CDR or DAT tape is then used to make compact discs or high quality cassette copies.


This process is then repeated with the next set of songs.

IMAGE

It has been said that "if you are going to be a star, you've got to look like a star." If necessary, we consult with everyone from hair and make up artists to choreographers and fashion designers to determine a look and moves that will fit the act, as well as the concept. With the importance of television appearances and music video in marketing new acts, these are important selling tools.

When you think of visual enhancement, there is nothing more important or effective than the publicity photo.  That's why we use some of Nashville's top photographers to capture, not only the image of the act, but the personality of the artist and concept of the project.

SHOWCASING

Once a major record label has received the promotional package bearing the cassette tape, photograph, biography and marketing plan for the act, there may or may not be further interest on the part of the label. If there is interest on the part of the major record label, they will generally want to see the act perform live. This performance is referred to as a major label "showcase."


The showcase is generally a 30 to 40 minute live performance by the act of original (previously unrecorded) material. This performance usually requires the act to have at least 10 original songs of various tempos. It may be thought of as the act performing their first album live, and in that performance the label is looking to hear as many hit songs as possible. In addition, they are evaluating the act on the basis of stage presence, relationship to the audience, visual appearance and overall talent.


Even though it is impossible to know if there will be interest on the part of the label, it is imperative to be ready to do the showcase should the need arise. The ten songs, four songs in addition to the six picked to record, should be selected during the recording process and preliminary steps for the showcase should be taken prior to the label seeing the initial promotional package.


If the showcase becomes reality, it must be implemented quickly while the act is fresh in the minds of the executives at the label. The location of the showcase is important. We prefer to do our showcases in a private facility like Castle Door, S.I.R. or Soundcheck. These are acoustically constructed rehearsal facilities and most of the major artists use these facilities to put together their live shows, therefore their locations are well-known to the Nashville music community. A private facility also offers the luxury of having unrestricted use of the facility for the entire day and complete control over the sound and lighting which are imperative to presenting a strong live show. Doing showcases in public venues limits that control.


Once the venue is selected, the process becomes a lot like setting up a recording session. We must select musicians, background singers, and an engineer and lighting technician that will enhance the show and the act.
Everyone involved is provided with a tape and charts of the show in advance and a rehearsal is held during the afternoon of the showcase. Toward the end of the rehearsal, a complete run through of the showcase takes place from start to finish. If the act requires more rehearsal time to be comfortable, that can be arranged on the day before the showcase, but at additional cost.


Before scheduling a showcase we are careful to make sure we are not competing with another event. Our experience has shown that the showcase is normally best attended on a Wednesday or Thursday evening at around 6 PM, and the serving of food and drink is always an added incentive. Over 300 invitations will be sent to executives at labels, management firms, agencies and media.


Recently, some labels have requested acts to do an acoustic performance and meet at their offices, and that performance must also be considered and prepared.

ARE YOU READY?

In the past, major record labels spent months to develop acts into recording artists. Today, its a fact of life that labels expect the acts to come to them ready, in most every way, for a recording contract. This is where our company is strongest. If an act comes to us and we feel they are not ready for a major label presentation because there are problems, we offer services and capable persons to work with the act to overcome those problems.

Normally, the first contact a major label has with an act is via a compact disc. A strong studio performance is a "must" in getting to "second base" with a label. Probably the most common problem with singers is that they have stage experience, but little or no recording studio experience. Having an in-house recording studio gives us the ability to work with singers in a studio setting. We have the act bring prerecorded music tracks of two songs to the studio - one up-tempo and one ballad. At the rate of $50 per hour for a two to three hour period each month, we eliminate bad, self-taught singing habits, and teach proper studio technique. The act is required to work daily at home on the techniques taught in the actual studio session, and the act is then reevaluated during the next month's visit. We also have access to vocal coaches who work with our acts and give them advice which will insure the act is singing, exercising and eating properly. This guarantees the act of a long and trouble-free singing career.

As with the recorded performance, the live performance must be topnotch. If a label is excited about the initial promotional package (tape, photo, bio and marketing plan), then the next step is seeing the act perform live. We are able to work with the act to insure we are getting the most from them, both vocally and visually. We have access to choreographers to work with the act to show them moves that will work with specific songs and yet be within the scope of the marketing concept. We also instruct the act how to set up and deliver an effective stage show both visually and musically.

Visual problems are the most frustrating. It is the video age, and labels expect an act to be "video friendly." While there are a number of physical problems that can be corrected, such as teeth or being overweight, the problems of age or having unattractive physical features are truly hard to deal with, both physically and mentally. We bring in consultants with regard to the physical appearance of the act (hair, make-up, clothing, etc..) which minimize problem areas. Making business decisions with regard to visual problems are probably the most difficult, however having to tell someone "no" based on their appearance is a fact of life today in the music business.
The other problems generally come from the personality, bad habits or attitude of the act or someone personally associated with the act (spouse, parent, manager, investor, musician, etc.). These problems are generally frowned upon by major record labels and could cost the act a recording contract if not controlled. The bottom line with the major record labels is they want a "no-problems, clean act."

WHY USE US?

In summarizing this document there is one important question you must ask yourself -- will your project be heard? There are a number of recording studios and producers that will record your project, but will they or do they have the ability to get it to the major record labels? In most cases the answer is "No."


If you read his biography then you know Dick McVey is a goal-oriented person with the primary goal of getting an act placed with a major label. He is not a salesman simply trying to make a sale. You will always know where you stand. If the potential is there, Dick will tell you honestly -- if not, he will tell you honestly and offer ideas that will make you better.
Also keep in mind that every time Dick takes an act to a label, his reputation goes with it, therefore he insists on taking only those acts that are ready in every way. Think about it, the door to Nashville's top executives would not be open if Dick had taken unqualified acts to them in the past. Dick's personal philosophy is "build the reputation and the bank account will follow."


Many singers come to Nashville with a dream. There are many unscrupulous people who will try and sell them that dream. These people are not here for the music, they are out to prey on the ambitions of people anxious to make it big in a hurry. It rarely happens that way. Most of these "salesmen" do not sing or play an instrument. They have never experienced the feeling of being on stage or on the road.


When it comes to the music business, Dick McVey has been there, done that and speaks the language. He understands your highs and lows, your drive, ambitions, and goals. He relates to your problems, and most of the time has solutions. He hears your questions and responds with honest, realistic answers. The bottom line is he cares about you as a person while molding you into a marketable product.


There is nothing that can deny great talent, and, as they say, the cream really does rise to the top. For some acts it rises easily and naturally, for others it requires a great deal of work, perseverance and patience. Fortunately, even less-than-average singers are blessed with the ability to make a living doing what they love, and unfortunately some people will fall into that category. If you are willing to work, Dick McVey will make you the best you can be. Should that bring you to the level of being a major label candidate -- great. If not, you'll have a great career and a lot of fun as a singer at whatever level.

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