As an A&R, you’re often working with new artists who are still learning the ropes of the industry. However, there are some things that you should never do when working with a new artist — it’s very easy for them to feel pressured or intimidated by your position and experience in the music industry.
Here are five studio etiquette mistakes to avoid:
It’s easy to get caught up in the hustle and bustle of the workplace and forget about being considerate of others. However, if you want to avoid being labeled as a bad employee, then you must think twice before doing or saying something offensive or unprofessional. In fact, according to a survey conducted by The Muse, 65 percent of employees say that when they see a coworker make an effort to be considerate at work, it makes them more likely to do the same. So even if you don’t think you have anything to prove and don’t care what other people think about you, remember that their opinions could have an impact on your career and reputation within the organization.
It’s tempting to jump in and take over when something goes wrong. But it’s better to let your team members learn from their mistakes. You can help them by offering suggestions, but don’t do the work for them.
If someone asks you a question about something you said earlier, don’t assume that they understood what you meant — explain it again if necessary! It may be frustrating at first, but it’s better than having two different interpretations of what was said last week, which can confuse the line.
even if an artist is struggling, don’t give them a damaging critique in front of other people around the studio; instead, find a private moment where you can explain what needs improvement without making them feel bad about themselves or their work ethic.
if an artist has written something that doesn’t make sense in context or doesn’t sound good when sung by another person (e.g., “I’m gonna be famous someday”), don’t dismiss it just because it isn’t perfect
Whether you’re starting a record label, running a band, or want to build a DIY music project for fun, you need to have certain team members. These “essential” team members will be there to help when all other support is gone. If you run your show and plan to release music/an album, these are the members you should find.
You’ll need someone to oversee the A&R process and make sure all your artists are signed to a record deal. The A&R manager will also negotiate contracts, check budgets, and make sure everyone’s in line with their musical direction.
These are the guys who will help you make music. They can be producers, engineers, and songwriters — they all make the world go round!
A manager handles all sorts of things for an artist, from booking shows to negotiating deals with labels and promoters. They know how to run your career like a business — which means they’ll help you make more money, too!
A booking agent books show for bands and DJs all over the world. They work closely with managers and labels to secure dates in clubs, festivals, and other venues.
A good attorney will protect your intellectual property rights and ensure that any contracts you sign are fair. An even better attorney will help you get out of bad contracts if they need it — which happens more often than most people think!
The art director designs album covers, posters, and merchandise items. They also work closely with photographers, illustrators, and graphic designers to create promotional materials that reflect the image of your artist or band.
The publicist works with journalists from local newspapers through national magazines to help generate publicity for your music releases. This includes writing press releases and pitching stories to journalists.
This is the person who will help you shape your strategy and plan for growth. The strategist is responsible for identifying what needs to be done next and making sure everyone is on board with the direction of the company.
This person will help you identify the best marketing channels and strategies to reach your target audience. They’ll also help you create compelling content that will make your business stand out from the crowd.
Design is incredibly important to any business, so having someone on staff who can design engaging visuals will help your brand stand out from competitors.
Product managers are responsible for managing all aspects of a product’s development process, including testing, releasing new features, and updating existing ones based on user feedback or analytics data.
This person is responsible for making sure everyone gets to where they need to be when they need to be there. They’re essentially an assistant tour manager who plans everything down to the last detail (and sometimes beyond).
These people make sure that everything runs smoothly on tour — from making sure hotels have extra towels for when you arrive late at night, to arranging for sound checks and transport between venues.
Tour Accountant/Bookkeeper/Business Manager (or however many titles this person has).
Someone who keeps track of all your money — from revenue streams like ticket sales and merchandise sales to expenses like flights and hotels. They also handle taxes and other financial matters related
Getting the attention of an A&R can be difficult, but there are some things you can do to increase your chances of being seen by one. An A&R is responsible for signing new artists and developing careers. Not only does this person see potential in your work, but he or she can also provide feedback on how your music will fit best in the high-profile industry it was created for.
In today’s music industry, branding can play more of a role in an artist’s success than the music they create. Artists are not merely selling their music; they’re selling an image, an experience, and a message which defines them.
An artist is defined by their brand. People will remember the name of an established musician or artist much more than a person with no brands at all. You need to build your brand to get A&R (artists and repertoire) attention. This post will help you do just that!
A&R reps take more interest in an artist with a strong fan base. Expand your fan base by:
Having an established brand can give you an edge over other brands and producers. The more momentum and excitement you can build around your brand, the more likely an A&R will take notice.
Building relationships and networking in the music industry is always helpful. Boost your chances of getting noticed by making connections. Get out and connect with people, regardless of their status. Try to meet other artists, producers, DJs, publicists, booking agents, label staff, fans, and anyone else in the music scene. These connections could lead to opportunities. But you must be professional and approach them in a way that makes you seem like a businessperson.
Music discovery websites make it easier to capture new fans, discover new music, and more. Many connect you with the right people and services to help you advance your career in the music industry… They serve a valuable role in assisting independent musicians with industries for promotion, sales, and engagement. But which sites are best? Here’s a list of my top 4 favourite music discovery websites: SubmitHub, Pitchfork, Bandcamp, SoundCloud, and ReverbNation
Marketing and promotional strategies are essential in increasing outreach and getting your music heard. An effective marketing campaign will help you increase exposure, establish credibility, and open new opportunities. There are several excellent ways to promote your music and reach new audiences. Do some research on public relations and marketing strategies for musicians. Here is a description of the five most effective strategies you can use:
The best way to build and maintain a large, successful music career is to surround yourself with people who are just as passionate about your music as you are. You may not believe it at first, but there are many pieces to the puzzle when it comes to building this foundation. There’s management (with representation), publicists, agents, and attorneys. Each of these groups has relationships with label A&R reps — meaning if you’ve already got someone representing you — then all these people have some sort of pull in the form of following-up phone calls, emails, and future discussions/parties that could help move your career forward.
Artists and repertoire (A&R) is the division that consumes and distributes all of the musical content you see on television, in ads, and on your favorite streaming services. It’s also responsible for any live events or performances that take place in a venue. A&R works with artists who want to get their music heard by brands and marketers looking to work with them (e.g., TV shows like Big brother Ninja).
A&R stands for assistant and remuneration. It is a promotion structure that makes money by finding talent. A&R works as a middleman between the artist and their label or service provider and in most cases receives a percentage of their earnings.
A&R reps spend the majority of their time listening to music, scouring clubs, watching social media, reading music blogs, checking metrics, and tracking industry buzz on the hunt for promising new musical talent. They also rely on an evolving understanding of current music tastes and industry trends to find talent with the most potential for commercial success.
However, A&R roles vary depending on the size, structure, and budget of a record label or publishing company. Traditional A&R responsibilities involve signing an artist, guiding their subsequent career, artist development, and representing their interests within the label. A&R duties may also include organizing promotional and marketing efforts, supervising the entire recording process, finding musical collaborators, offering creative input, and more.
A&R also involves liaising with other departments within a company such as marketing (i.e., promotion), finance (i.e., promotion), legal (i.e., contracts), creative (i.e., songwriting or production credits), sales (i.e., performance rights agreements) and distribution (i.e., digital download sales).
The A&R role has changed. In the past, an A&R person would oversee a record company’s entire roster, from songwriting and production to publishing and marketing. Today, that’s no longer true. As technology has evolved and become more accessible, the role of the A&R manager has evolved as well.
A&R managers are no longer responsible for overseeing everything about their acts — they’re more often relegated to working with one or two people at a time on their careers. In addition to recording artists and songwriters, today’s A&Rs also work with social media influencers who have millions of followers on Instagram, Snapchat, or Vine; they may also have some experience in podcasting or video editing.
This kind of specialization is part of what makes music industry jobs so attractive today — especially if you’re someone who wants to focus on one aspect of making music instead of being spread too thin across every aspect.
Getting the attention of an A&R can be difficult, but there are some things you can do to increase your chances of being seen by one. An A&R is responsible for signing new artists and developing careers. Not only does this person see potential in your work, but he or she can also provide feedback on how your music will fit best in the high-profile industry it was created for.
In today’s music industry, branding can play more of a role in an artist’s success than the music they create. Artists are not merely selling their music; they’re selling an image, an experience, and a message which defines them.
An artist is defined by their brand. People will remember the name of an established musician or artist much more than a person with no brands at all. You need to build your brand in order to get A&R (artists and repertoire) attention. This post will help you do just that!
A&R reps take more interest in an artist with a strong fan base. Expand your fan base by:
Having an established brand can give you an edge over other brands and producers. The more momentum and excitement you can build around your brand, the more likely an A&R will take notice.
Building relationships and networking in the music industry is always helpful. Boost your chances of getting noticed by making connections. Get out and connect with people, regardless of their status. Try to meet other artists, producers, DJs, publicists, booking agents, label staff, fans, and anyone else in the music scene. These connections could lead to opportunities. But you must be professional and approach them in a way that makes you seem like a businessperson.
Music discovery websites make it easier to capture new fans, discover new music, and more. Many connect you with the right people and services to help you advance your career in the music industry. They serve a valuable role in assisting independent musicians with industries for promotion, sales, and engagement. But which sites are best? Here’s a list of my top 4 favorite music discovery websites: SubmitHub, Pitchfork, Bandcamp, SoundCloud, and ReverbNation
Marketing and promotional strategies play an essential role in increasing outreach and getting your music heard. An effective marketing campaign will help you increase exposure, establish credibility, and open new opportunities. There are several excellent ways to promote your music and reach new audiences. Do some research on public relations and marketing strategies for musicians. Here is a description of the five most effective strategies you can use:
The role of A&R has changed significantly in the last decade. With the advent of digital technology and social media, most artists play for themselves these days. Record labels that depend on A&R to make albums are a dying breed. This doesn’t mean that A&R is out of a job, though. It merely means that it is easier than ever before to find artists that merit a record deal through alternative means. And now more than ever, there are many new models to choose from…
It’s a big news week for A&Rs in the African entertainment landscape.
The last decade has seen the African music industry undergo some cultural shift moments, evolution, and explosion internationally. By chance, think of development in lyricism, sound engineering, A&Ring, songwriting, and collaboration.
With many accolades to some major key players and decision makers – Like A&Rs who continue to keep their nose to the grindstone, working closely with labels and independent artists to provide the kind of work execution to showcase their artistry to the world. Closing strategic partnership deals with major international labels, international repertoire, publishing deals, and many more.
There is still so much more potential within the African music scene and the community that has grown around it and A&R duty are first of its kind in building a marketplace connecting all aspiring artists with producers, songwriters, and industry decision-makers. Will also be responsible for developing superstar talents in creating a music catalog and the business side of it.
A&R Duty is an independent creative-based company founded in November 2021. Providing creative support and services to both inspiring musicians, A&R executives, and industry networks in each of the music market ecosystems and exploring new collaborations, and opening a wealth of opportunities for music creatives.
Based in Nigeria but with global outreach, A&R duty will work closely with labels, music distribution companies, Music journalists, and music executives to serve as a trend spotter, and talent developer responsible for breaking new artists to the music business markets.
“THE COMPANY WILL POSITION ITSELF AS A TOP-OF-LINE AGENCY JOINING FORCES WITH CREATIVES AND EXECUTIVES, LOOKING TO CONNECT THE DOTS AMONG A&RS ACROSS THE AFRICAN MUSIC LANDSCAPE, PRODUCERS, SONGWRITERS ALIKE SUCCEED ON A GLOBAL SCALE”. According to Babatunde Makinde Williams, Co-founder and Director of A&R for A&R duty.
Over the few years, A&R Duty has previously worked closely with different independent labels and a variety of artist projects in the Nigerian music scene with proven stacked records, under the umbrella of a parent company “Gidioti Limited” all while supporting up-and-coming artists and involving in talent development programs and mentorship.
The company’s rosters have featured the likes of Los Angeles CA, based Grammy award-winning singer-songwriter Jackiesboy, Cynthia Morgan, Kiss Daniel, Dapo Tuburna, Chinko Ekun, Shaydee, Psalm E, Wale Turner, Dj Neptune, Dj Jimmy Jatt and many more.
Added Omotola Slasha, Head of Marketing For A&R duty, Our Modus operandi at A&R duty is special delivery, the company which will also operate as a community and marketplace for diverse cultures, languages, and creative collaboration amongst other interesting business and creative opportunities the company has to offer. Working alongside A&Rs in their drive to empower artists across the African music continents.
Looking forward to expanding our repertoire with new talent and opportunities whilst continuing to drive our artist-centric culture forward.
To read more about where the future of Artists and repertoire in the African music industry is headed through A&R duty and to sign up either as an A&R or Music artist visit here – http://www.aandrduty.com
Connect with A&R Duty on social media: @aandrduty
In the music industry, signing an artist is a very important decision. You will be investing time and money into this person and their career. Therefore, either you are A&R,Label owner, producer or talent manager it is essential that you do your due diligence before signing that contract.
There’s a lot to consider when you’re signing an artist. Here are some of the most important factors to consider when deciding whether or not to sign an artist.
A&R is a crucial role in the music industry. It’s the job of an A&R person to find and sign new talent, as well as develop it for commercial success. But what makes an A&R person successful? What are the qualities of someone who excels in this role?
Here are some things you should keep in mind when hiring an A&R:
A good A&R will have a deep understanding of the artist’s history and how they’ve developed over time. That means knowing how they started out, why they decided to pursue music, and what happened in between.
If you’re looking at someone who has never signed an artist before, you want to make sure they have this kind of knowledge. It shows that they understand where artists come from and what drives them to create their art.
An artist who has been around for a while may not need as much coaching on their development process because they already know what works for them. But if you’re looking at someone who has never been signed before or doesn’t have much experience working with artists, it’s important to get them up-to-speed quickly so that they can help guide your new signing through their career path from day one.
As an A&R executive, it’s your job to find and sign artists that will help your label grow. But before you sign someone, you need to know what you’re getting yourself into.
Do they have a unique sound? Do they have a big social media following? What makes them different from other artists?
What kind of artist do they want to be? Are they looking for commercial success or is their focus on artistic growth? What’s their ultimate goal in music?
You also need to consider how well albums have sold for other bands in your genre. This will tell you whether or not this particular band might be worth signing or not
An A&R’s job is to sign artists and help them develop into successful acts. But the A&R must also look at the entire picture of an artist’s career.
If you’re just starting out as an A&R, there are some important things to consider when signing an artist.
You’re going to need fans before anyone else will take you seriously. If you don’t have a built-in fan base, consider if they have a way of building one on their own. Some artists have huge social media followings, while others make music that appeals directly to listeners who might not be on social media at all. The more options an artist has for growing their fan base, the better their chances are in making it in the music industry.
The best way to determine an artist’s talent level is by listening to their music or watching them perform live. However, if they’re still developing their craft, it can be difficult to tell how good they really are until they’ve had some time to improve their skills and build confidence on stage. In this case, ask yourself whether their songwriting abilities are strong enough for them
As an A&R, you’re going to be responsible for finding and signing new artists. But before you do that, there are a few things you need to consider.
The first thing you need to know is whether or not your artist is ready for the spotlight. Artists can be ready for fame at any age, but there are some things that will help them get there more quickly and easily than others. If your artist doesn’t have good vocals yet, you should probably wait until they do before trying to take them on tour or promote them in any way. If they don’t have enough experience performing in front of crowds or making music videos or photoshoots, then again this could be something you want to wait on before bringing them into the spotlight.
It also helps if your artist has a solid social media presence so that fans and potential fans can see what they have to offer before signing with your label. If they don’t have any kind of following already established online, then you’ll want to make sure they start working on this right away once they join your label so people will know who they are when their album comes out!
The next step is checking out
The history of A&R can be traced back to the early days of the recording industry when companies such as Columbia and Victor were signing acts to contracts. In those days, there was no such thing as independent record companies. The artists signed to labels like Columbia or Victor all came through the same talent scout system, which was referred to as artist and repertoire.
The first record company that used this system was Columbia Records in 1917. The company’s founder, Eraklai V. Phonograph Company, hired a young man named Frank Walker to find new talent for his label. Walker did this by going around New York City and visiting theatres where musical acts were performed. He would watch these acts perform and then sign them if he liked their sound.
This system continued until 1928 when Victor Talking Machine Company started its talent search department under the direction of Arthur Judson and Harry Jolson (father of Al Jolson). This department was known as the Artists’ Bureau; it continued until 1931 when it became known as Artists Records Incorporated (ARI).
ARA continued through World War II, but by 1947 it had been replaced by a new company called Artist Management Association (AMA).
The term “A&R” was coined by Jerry Wexler, who was then a talent scout for the Atlantic Records label. He coined the term “A&R” to refer to his duties at Atlantic, which included both artist and repertoire.
Wexler later became famous as the vice president of A&R at Atlantic Records. He had been hired by founder Ahmet Ertegun in 1947 after having worked with Ertegun at Billboard magazine.
In 1963, Wexler described his role at Atlantic Records: “I was doing all right by myself, but then I got into work with artists such as Ray Charles, Bobby Darin, and others. They were also responsible for discovering major talents such as Aretha Franklin, Wilson Pickett, and Otis Redding.
Wexler claims that he turned down numerous artists including Elvis Presley, James Brown, and Bob Dylan because they did not fit the image that he wanted for the company: “Blues singers were beginning to be heard on what we called rhythm-and-blues stations on their local radio stations” (p. 12). However, he also states that “we didn’t get into the rock until we found out that it paid
A&R – BACK TO THE beginning over a hundred years ago the music industry consisted of the live industry and the music publishing business. The public could listen to popular songs by either going to see a live concert or by listening to someone playing the piano at home or by mechanical means via the Piano Roll. Before the invention of phonographic records (the 7 and 12-inch vinyl records as they came to be known), the music business was dominated by sheet music sales. Music publishers would discover a songwriter and print their music on sheet music to sell in music stores to the public.
The emergence of popular entertainment and the success of Vaudeville variety shows across America gave a huge boost to the publishing business. With Vaudeville and Broadway shows in New York, music publishers and instrument stores started to congregate around an area that would become, famously, known as Tin Pan Alley. These publishers would hire pluggers to promote their sheet music in stores and to Vaudeville and Broadway performers.
PHONOGRAPHnRecords were invented by Thomas Edison in 1877 and were originally called Phonographs – the ‘P’ in the copyright symbol ℗ stands for Phonograph. The development of Phonographs over the next few decades ushered in the first record companies that saw commercial value and market potential.
Record companies, in the form we know them today, came to the market soon after the invention of the Phonograph by Edison, and the further development and innovations made by Emile Berliner shortly afterward. With the advent of record labels at the turn of the 20th-century records became the main sound-carrier format that people purchased to enjoy music. Music publishers needed artists to record their songwriter’s songs, whereas Record companies needed publisher’s songs for their artists to record. For the first half of the century, the recording industry’s business model was founded on the hit singles market – it was all about the ‘Song’. In the early 1900s, there were three major record companies: Victor, Edison, and Columbia. Today, just over 100 years on and after many mergers and buy-outs, there remain three major record companies: Universal, Sony (that owns Columbia records), and Warner – and the business, once again, is all about the song.
Although phonograph records existed since the 1880s, for the first 50 years the album and Long Playing record format (LP) did not exist commercially. The technology not arrived at the mass market which could produce over 45 minutes of music in one sound-carrier format. The phonographic record was the disruptive technology of the time and the record industry replaced sheet music as the main form and structure of music consumption.
Artists such as Frank Sinatra, Peggy Lee, Ella Fitzgerald, Louis Armstrong, Nat King Cole, and Bing Cosby were amazing performers, personalities, and vocalists who could capture a great song’s emotional essence and vocal performance. However, they didn’t write the songs so the artist & Repertoire representative would marry the artist to the song (or the artist with the songwriter, composer & arranger). Song standards such as ‘Come Fly with Me’, ‘Summertime’, ‘Stardust’, ‘Mack the Knife’, and ‘My way’ were written by famous songwriters such as Cole Porter, Hoagy Carmichael, Leiber & Stoller, and George & Ira Gershwin who wrote for Broadway Musicals and the popular artists of the time.
The 1950s saw the continued success of the phonograph record. This was thanks to technological advancements in recording and sound reproduction; the growth of national radio broadcasting, Broadway musicals, and the Hollywood film industry; the popularity of jukeboxes as well as the increased economic conditions after the great depression and World War II. The 1950s saw the record business boom with success from global superstar artists such as Frank Sinatra, Dean Martin, Tony Bennett, Peggy Lee, Bobby Darrin, and Andy Williams. It also saw the post-war growth of the youth market with the birth of Rock n Roll and exciting new artists such as Chuck Berry, Little Richard, and Elvis Presley.
A&R was most evident during this period which saw the number of artist signings increase significantly to the major record labels. It was the decade that ushered in the 45” EP, the popular format for releasing singles, and the 12” vinyl record which was soon to become the significant format and game changer to the traditional business model. Originally best suited to classical music’s longer pieces, the 12” became an art form in itself with concept albums such as Frank Sinatra’s ‘The voice of Frank Sinatra’.
Although during the 1950s the 45” format was the biggest selling format, it soon became apparent that there was more profitability in selling the more expensive LP format and so record companies started using singles as promotional tools to sell albums. They also started making hit songs only available to buy on LPs to increase profits.
Singles have always been treated as a non-profit making promotional tool (i.e. a loss leader) but their purpose was to market and drive album sales. Of course, if you sell millions of singles and can license the song to compilation albums and synchronize it to a movie or television program then there is a very healthy income stream. However, the traditional business model and main income stream were in selling albums. Today with the fast-changing market conditions and the move to online digital download and streaming services the model is changing, although albums still account for half of the recording industry’s revenue streams.
By the mid-1950s and the explosion of rock n’ roll to the youth market, artists started writing their songs. Artists such as Chuck Berry, The Beatles, The Beach Boys, The Kinks, and Rolling Stones wanted to express the feelings of their generation and started writing their songs for creative and financial reasons.
with the advances in recording technology and technical complexities of the recording process the role of record producer developed and adapted as artists sought more sophisticated arrangements, experimentation, and artistic expression in their music.
During this period it was often the case that A&R managers were also recorded producers, composers, and arrangers for the artist such as in the case of Lieber and Stoller for Elvis Presley and George Martin for The Beatles and either worked or were hired by Record labels to work with their artists on composing, arranging, recording and producing their music.
Throughout the 1960s A&R executives became more focused on signing artists that could write their songs, rather than seeking songs for their performers. Those artists that didn’t write their songs started to form long-standing relationships with songwriters such as Elvis Presley with Leiber & Stoller, Elton John with David Taupin, and still happens today with collaborations between Robbie Williams with Guy Chambers or Adele with Paul Epworth.
This era was the domain of only 5 major labels that started acquiring other labels in buy-outs and mergers. It was a Singles driven market and the 12” was the new disruptive technology of the time.
Are sounds familiar doesn’t it? These days most people download singles, cherry-picking their favorite tunes rather than buying full albums. The business consisted of 5 major labels in the early 2000s but with the de-merger of Sony/BMG and the recent acquisition of EMI by Universal Music Group, the market is left with only 3 major record companies. Napster and iTunes are the recent disruptive technology. And all of this happened 50 years after the launch of the 12” record.
From its early days under Ahmet Ertegun and Herb Abramson to its maturation as an industry segment in the 1990s, A&R has seen it all. It’s gone from a job title to an entire department of execs and artisanal record-makers. From its 1960s dominance to its struggles in the ’90s, A&R may never be quite what it once was (or in some cases, was again), but it has always influenced popular music.
A&R Terminology – A&R stands for Artist & Repertoire. This is the department in a record company that is responsible for scouting upcoming talent, signing new artists, and overseeing their creative development. (To read more about the history of A&R see Wikipedia – A&R)
A&R terminology is a working knowledge that will help you and your colleagues stay on the same page when referencing an artist and his or her work. It is also useful if you wish to enlist the help of professional music execs. Knowing A&R terminology will also help you understand how artists (and their record labels) are evaluated.
A&R stands for Artist & Repertoire, it refers to the person who searches out new music talent. The Scout is at the frontline of their label’s A&R team and they are responsible for discovering new talent
Where the artist, the A&R representative, and key record label staff (and any invited special guests) listen to the finished record together for the first time – can be quite nerve-racking for the artist and A&R person.
The artist will be listening out for any negative comments from their new team; the A&R person will be looking out for signs that their role has been usurped by someone else. The whole team will be hoping that the record is good enough to get signed on the spot, but in reality, this rarely happens.
Playbacks should take place as soon as possible after the completion of production so that there’s still time to make changes if necessary, but not so early that everyone gets bored of hearing it over and over again. The ideal situation is when everyone can all sit down together in one room at one time and listen without interruption, but this isn’t always possible.
If you’re doing a playback over email or phone, then it’s best to send out one track at a time so that people can respond to each one individually before sending on to the next one (there’s nothing worse than hearing two tracks back-to-back which doesn’t work). Make sure there’s enough space between tracks so that
The monitor mix is the version of a record that leaves the recording studio before it has been professionally mixed.
A rough reference copy from the recording studio to send to the artist, A&R dept, and mix engineer before the mix session.
The monitor mix is usually made with a limited set of speakers or headphones, so it sounds as close as possible to what you’ll hear on other systems.
The sleeve notes contain the songwriting and producer credits, the long list of thank you’s, lyrics, and the copyright information contained in the inlay sleeve of records.
Artists & Repertoire. The person or people who have control over an artist’s musical direction, including their selection of songs to record. Often these people also act as producers.
The visual elements that are used on an album cover or CD booklet include photographs, illustrations, typefaces, logos, etc…
An audio processor used for correcting out-of-tune vocals during recording sessions or live performances. Andy Hildebrand originally developed Auto-Tune from Antares Audio Technologies Inc. His original intention was to use it as a tool for singers with disabilities such as laryngitis or bad vocal habits (such as poor breath support) but it has now become a standard studio tool for many mainstream pop artists too!
A non-refundable amount of money is received by the artist and songwriter from record and publishing companies for the exclusive right to copy, sell, adapt, distribute, broadcast, and perform their music. It is paid upfront before recording commences and allows the artist to concentrate and focus their time and energy solely on their music. An advance is negotiated between the artist manager and the record company via music lawyers.
The person who manages an artist’s career on a day-to-day basis acts as an intermediary between the record label and the artist or band. Artists’ managers are responsible for all aspects of their clients’ careers including booking shows; booking studio time; negotiating recording contracts with labels; negotiating publishing deals with publishers; marketing; promoting tours etc.
A type of record deal where an artist receives a small amount of money upfront from a record company in exchange for ownership of their master recording (the finished album). This type of deal is most commonly used by developing artists who are not yet making any money from touring or merchandise sales (or have only just started doing so).
This is an agreed % of revenue an artist will receive from every record sold, e.g. a 20% artist royalty rate will mean that the artist will be paid 20% of the published dealer price (PPD) of each record sold. If an album’s dealer price is £8 per CD then the artist will receive £1.40 in royalty payments from the sale of that one CD after all costs have been recouped by the record label (see below).
These are expenses that are charged back to an artist on a per-unit basis, such as manufacturing, marketing, and distribution costs. The recoupable period for physical products is usually between six months and one year after the release date, depending on the type of product being released. For digital releases, there is no recoupable period, as all costs are borne by the label and then recovered out of royalties earned every month following the release date.
This refers to units lost during manufacturing or handling processes due to breakage or damage. Breakage rates may vary depending on how sensitively fragile your product is but we recommend budgeting
The ‘drop-down’ section of a song comes directly after the second chorus. It features either an instrumental solo section or an alternative melody line to that of the verses and chorus. It is usually 8 bars long, hence why it is known in the UK as the Middle 8.
A section of music within a song that directly follows the Chorus and precedes the Refrain.
The main refrain of a song is repeated several times throughout the song.
Refrain (or Chorus): The main refrain of a song that is repeated several times throughout the song.
The first part of each verse typically sets up what will be said in the second part (the body) and often ends with an incomplete thought or idea (incomplete rhyme scheme).
A solo played over an instrumental backing track without any vocals present; this can be during or after a bridge or middle 8 sections of a song, or at any other point in time within an arrangement where you feel it would suit your purpose best! Instrumental solos are usually between 4-16 bars long but can be extended beyond this if required.
A&R (Artist & Repertoire) is the department in a record label that is responsible for talent scouting and overseeing the careers of recording artists.
As the undisputed leader of A&R (Artists & Repertoire) in Nigeria, A&R Duty is an A&R services company with a difference. Where other companies claim to be one thing and turn out to be something else, making promises they can’t keep, we are honest and respectable people who believe in quality and value for money. We are true professionals who put YOU first.
A&R is a music industry task that has been around in Nigeria but still remains unknown to a large number of Nigerians. What exactly is the role of an A&R? With the gradual takeover of social media in Nigeria and the need for new music and songs, A&R becomes even more relevant within the Nigerian Music Industry.
A&R is a term used in the music industry that stands for Artists and Repertoire. A&R people are responsible for scouting new talent, signing acts, running established artists’ signings, and that ey often coming up with creative new ideas to keep the musicians popular. Sometimes A&R personnel get involved in an act starting from recording part of their demo recordings to producing their debut albums.
An A&R representative plays a pivotal role in the industry. An effective and professional A&R rep can find, pinpoint, and develop new artists while shunning those with insufficient talent from ever-releasing an album. Naturally, due to their importance in the business, some A&R reps earn large salaries in the seven figures, while others make small fortunes for themselves. No matter what the salary, these individuals must keep up with new music trends, listen to hundreds of albums each month, work long hours, go to many concerts, and scout anywhere they think they might find the next big name.
A&R DUTY is the only Independent A&R firm that signs and empower A&R Officer/Managers to join forces and respond to artists.
We are a team of A&R and music experts who conceptualize and execute bespoke artist development services to support our clients’ artists’ general careers, including their singleartistsum releases and tours. We design and develop artist strategies, target fan bases, and generate public awareness.
A&R DUTY offers A&R services that are unparalleled. The service it offers includes:- Signing and educating A&R. Signing, training, and empowering artists for you to maximize your brand succesartistsng term.- Acquiring and developing new talents or independent artists with their fan pages from grassroartistsajor online commercially successful artists. We also provide music production services to most of the signed acts we handle depending on the genre of music they are related to.- Managing your offline activities.- Promote your brand through quality digital marketing.- Sales and marketing strategies.
We can’t deny that Music is an integral part of us and has the capability to shape our lives.
If you’re looking for A&R Services in Nigeria, then our A&R department can help. We work with A&R and artists to produce music that gets airplay and helps gain fans. Our Music Selection Team (MSL) and A&R Department can also assist in finding producers, engineers, and even PR companies and shiz like that.
A&R Duty is a rating system that rates artists and their music on four different disciplines: Relatability, Delivery, Replay Value, and Mixing. We have created this company to help bring artist development to the forefront of the modern music business and bring about a positive change in the way artists push their music.
At A&R DUTY, we know that the most effective method of identifying hits is to find songs method resonate with our audience. We design innovative A&R services and techniques that are proven to get us closer to pinpointing these songs. Our dedicated teams of music experts and specialists help us uncover this untapped potential in your tracks and ensure that they are positioned to hit with listeners around the world. The audience must be able to relate to a song. The kind of lyrics you have on your music determines the audience that will listen to your song. There is a correlation between lyrics and audience. A bad lyric can make listeners become bored but a good lyric gives listeners something to relate to and appreciate.
It’s one thing to have a track, or even an album that you feel represents you well. But it’s another thing altogether to know how the music will be received by the listeners. The best way to do this is to get the perspective of someone in your target audience, and A&R services can provide that type of insight. An A&R representative can listen to your music and offer their thoughts on how popular it will be, what genre it would fit into, or many other things depending on the specifics of your project. Once you know this information, you can adjust based on their feedback and give your project the exposure it needs to succeed in the long run.
Are you looking to take your brand to the United States or across the world? Are you hoping to get a contract signed in Nigeria? Are you struggling with trying to find local music? Then you’ve come to the right place. If you’re facing these issues and many others, then A&R DUTY is the answer to your problems. Our team of dedicated professionals has 20+ years of experience in the music and entertainment industry. We know how to help you build your foundation and secure your future.
Building an audience for your music isn’t easy, but it can be done. In this post, we’ll explore how to build a fanbase from scratch. We’ll go over the different types of fans you want as well as how to get them, and then we’ll talk about strategies for success with each type.
When it comes to building a fanbase from scratch, many aspiring musicians have the same question: how do I get people to follow me?
To answer this question, we’ll look at some of the most common mistakes that new artists make when trying to reach out beyond their initial social circles. We’ll also examine what kinds of things you should be doing and saying on your social media channels to gain followers and fans who are genuinely interested in what you have to offer. If you’re looking for more detail about creating an emotional connection with your audience at large, check out our article What Is Fan Engagement? How To Build A Fanbase From Scratch.
There are three types of fans that you can build.
Don’t take anyone for granted. You may be the most important person to yourself, but don’t ignore the people around you.
Don’t just focus on your fans. Focus on your music, brand and business too!
Don’t just focus on your music. Focus on social media and email marketing too!
One of the best ways to build a fanbase is by being yourself. When you’re building your brand, it’s important that people can see who you are and what makes you unique. To do this, there are some steps that you need to take:
Social media is a great way to engage with your fan base, but you shouldn’t post constantly. Posting consistently is the key to building a fanbase.
When you start your podcast, you’ll likely have a goal in mind for the size of your audience. Maybe it’s 100 downloads per episode or 1,000 listeners on any given day. Whatever the number is, don’t get too hung up on it:
It’s important to realize that numbers aren’t everything when it comes to building an audience. The quality and engagement of your listeners are much more important than the sheer quantity of them. If two people follow you and engage with each episode then they’re going to be more valuable than 100 people who just listen passively without commenting or interacting in any way with what they hear (or worse still don’t even download episodes!).
Live shows are a great way to build an emotional connection with your fans, and they’re also a great way to build trust. Your fans will know you’re not just making stuff up in the studio or on the Internet they can see for themselves that you’re real and that what you do is worth listening to.
Live shows also give people a chance to connect with you in person, which can lead them down the path of becoming your biggest fan (and perhaps even becoming your friend). If someone enjoys meeting up with other people who like something they like, then they’ll probably want more opportunities like this one.
If all else fails, ask them if they’d be willing to help promote your show! This works especially well if there’s something fun or interesting going on at the venue where it’s happening (like free food).
Collaborating with other artists is a great way to build your fanbase. When you collaborate with other artists, you can gain exposure, receive feedback on your work, make new friends and learn new skills.
I’ve collaborated with many people over the years. Some of my favourite collaborations were when I was in college and made a music video for my song “Life Is Good” with the band The Rival Rockets in 2011. This helped me gain exposure because it was shared on social media by more than 100 people who were fans of both bands at the time. It also helped me receive feedback on my work because we had a few rehearsals before filming so that we could make sure everything worked out well during filming as well as post-production editing work afterwards.”
Giveaways are a great way to build your fanbase! But you have to do it right.
First, it should be fun. People love free stuff, but they don’t want something lame—they want something cool. When you’re giving away a prize that’s only worth $5 or even $1,000 (yes, we’ve seen artists do this), the contest has to be interesting enough that people will pay attention and share with friends so they can win too! If you can tie the game into some aspect of what you’re doing as an artist or brand then even better: if someone likes your music they’ll probably like anything else related to it too!
You should also make sure it’s something relevant—don’t just throw anything out there because “it could work.” Make sure whatever prizes/giveaways are available to fit well with what your fans want and love about themselves because then when people see them they’ll feel good about themselves too which means more fans joining up with us later down the line when our careers take off thanks again, guys!!
Building a fanbase from scratch can take time, so be patient and persistent. Don’t get discouraged by the slow progress at first, because it’s normal to feel like you’re not making much progress when you’re just starting. As long as you continue working hard and stay consistent with what you do, then eventually your efforts will pay off!