When it comes to being a successful music artiste, you need to have more than just talent. Just like any other industry, your brand is the most important aspect of your success. In this article, I’ll talk about what artiste branding is and why it’s so important for your career.
Music artists need to understand the importance of artiste branding. Artiste branding is the process of creating an identity that can be used to market you and your music. Every artiste wants a great brand because they know that this makes it easier for fans to find them, easier for people who are interested in what they do, and easier for promoters and brands to identify them as someone worth working with.
Artiste Branding is a process that involves the creation of a unique identity for your product or service. It’s more than just a logo; it goes well beyond what people see when they look at your business card.
The brand is how you want to be perceived by your audience and how you want them to perceive themselves in relation to you. It’s about creating an impression that is consistent with this perception from every interaction you have with them—from email messages to social media posts and direct mailers, all the way down through their actual relationship with your business or organization.
It’s important to identify your brand, especially if you are an aspiring artiste. Your brand is what separates you from other artists. What makes you unique? How do people see you? How do they perceive your music and performance?
Identifying the key elements of your brand can help guide you into making good decisions about how to present yourself as an artist. For instance, if the key element is that you’re a performer who loves showmanship and has a knack for comedy, then it would be good to have elements related to these traits in all aspects of your communication, including merchandising and social media posts.
A record label is an independent music company that specializes in signing, recording, and promoting artists. They help to brand the artiste and get their music out there by marketing it. Record labels also provide recording studios where artists can work on their music.
By working with a record label, a new artiste will be able to make albums or EPs with professional producers and engineers who have had experience working with other acclaimed artists in their genre. Recording studios can be expensive for an up-and-coming artiste so having one built into your contract with your record label is definitely beneficial!
Your brand is what people think of you when they hear your name. It’s the sum total of all your associations and experiences with you, which could be based on anything from a song or video clip, to an interview on TV, to see you perform live at an event.
Your brand can also include other factors such as personal style (fashion), public behavior (charisma), or social media presence (brand ambassadors). Your branding strategy should take into account all these aspects of how people perceive you in order for it to be effective.
Branding is a long-term strategy because it takes time to build up associations between your artiste identity and positive attributes that appeal to potential fans/customers/clients. However, if done well enough then those associations will become so strong that even if something negative happens in the future – like getting arrested for smoking weed at Glastonbury Festival – then it won’t matter as much because there are already so many good associations built up around your brand already!
What is an artiste brand?
Artiste branding is used to promote and market music artists. It helps them become popular, as well as make more money from their music. It’s also known as artiste marketing or artiste promotion.
Why does branding matter for a musician?
Branding is important because it helps people to remember your name when they hear it or see it on social media posts, advertisements, and other places where musicians are mentioned. This makes it easier for fans of the artists to follow them on social media platforms like Instagram where they can find out more about new projects coming soon.
We hope this article has given you some insight into what artiste branding entails, how it can benefit you, and how to go about doing it.
A strong marketing strategy can help you succeed as a musician. In this article, we’ll discuss seven steps to achieving your music marketing goals and show you how to put them all together into a cohesive plan that will take your career to the next level.
You don’t have to be a rocket scientist to know that setting goals are an effective way to achieve your aims. But did you also know that if you don’t set specific, measurable, and achievable goals, your chances of success are reduced dramatically?
You can use the SMART method when setting your music marketing goals: S stands for Specific; M means Measurable; A is Achievable; R signifies Relevant; T represents Time-bound (specific).
For example, “I want to get 100 plays on SoundCloud” is not a good goal because it’s neither specific nor measurable. “I will work out 5 times every week over the next month” would be much better as it’s both specific and measurable (and also achievable).
Now that you have a clear goal in mind, it’s time to determine who your audience is. Who do you want to reach? What kind of music do they listen to? Are they likely to be on Facebook or Twitter? How old are they? What genre of music are they interested in hearing?
What makes this step so important is that if you don’t know who your potential customers are, then how can you market yourself effectively? In order to find out who these people are and where they hang out online (and offline), I recommend doing some research with Google Analytics. This information will help guide you through the rest of this process.
The next step is to research what others are doing, which includes your competition but also other musicians in your genre and bands in your area or scene. Look at their websites, social media accounts, and videos. If they have a YouTube channel or any online presence, check that out too! Not only will you learn from their successes (and failures), it will give you ideas for ways to promote yourself as well.
The tone of voice is the personality of your brand. It’s how you speak and what you say, but it’s also about how you present yourself in text and images on social media.
You want to be authentic, consistent, and unique so that people can identify who you are. Your tone should be relatable too; if someone hears an artist they like when they listen to yours, that’s a huge win!
After you’ve done your research and tested your niche, the next step is to choose which marketing strategy will work best for you and your music. This may mean choosing one or all of these options: social media, blogs, email marketing campaigns, and more. You’ll need to keep in mind that not all of these channels are going to be right for every artist or project—you’ll have to decide what’s best for you! Choosing an appropriate channel means taking into consideration factors like whether or not it suits the type of music you’re creating (for example: if you’re releasing an acoustic album with heart-felt lyrics about love lost, Instagram probably isn’t going to be an effective choice). You should also consider how much money is available for marketing efforts as well as who your target audience is since this will influence which channels might work better than others. Finally, don’t overlook personal preferences either; even if another person thinks something “should” be done differently/better/more often than they do doesn’t mean it’ll actually work out well when applied within their own context so make sure whatever works best fits within both criteria before moving forward with any decision-making process here!
As in any business, you have to know how much money you can spend. You can’t just throw it out there without a plan. You will need to figure out your budget and determine how much of that budget should be allocated for marketing purposes. If possible, I recommend putting aside at least 20% of any revenues generated from your music sales or performances for marketing and promotion purposes.
Once this is done, devise an action plan and create a marketing plan, content calendar, and social media calendar that includes specific strategies and tactics for reaching all audiences (including fans, promoters, bloggers/media outlets). This will ensure that no stone goes unturned when it comes to spreading the word about what you do!
Monitoring and adapting your plan is the most important step in this process. It is also the step that many musicians skip, which leads to many problems later on.
You need to constantly monitor your progress so that you can adapt your plan as necessary. You may find that one of your goals will take longer or shorter than anticipated, or that there are unforeseen roadblocks in front of you that make it impossible to achieve the goals on time.
If you don’t monitor your progress, these problems can cause a domino effect and derail everything else in your plan. For example: if one goal isn’t working out because of unforeseen circumstances (e.g., there’s bad weather), then other parts of your strategy might not work either because they depend on achieving that first goal (e.g., booking gigs). If monitoring and adapting fail at any point along the way, chances are high that everything else will fail too—and all for nothing!
No matter what level you’re at in your music journey, you can use these seven steps to create a plan for marketing your music. If you’re just starting out and need help getting started, this is the right place for you!
If you’ve been working on building an audience and have some traction, but want to take things up a notch, this is also the right place. In fact, it may be even more important if you already have an audience because otherwise how will they know what kind of content they should be sharing with their friends? They won’t! This is where step one comes in: Ask yourself: What’s my goal?
In the music business, there are a lot of roles and jobs. A&R reps are one of the most important functions in the industry. So what is an A&R rep? Who is this person and what do they actually do? In this article, we will discuss what an A&R rep does, where they work, and why it’s so important to have them involved during production.
The A&R rep is the person who represents the artist.
The A&R department is responsible for signing new artists and overseeing the development of their careers. This can include recording, marketing, and promotion of an artist’s work;
coordinating with radio stations and TV networks regarding airplay; managing live performances; handling publicity matters; planning tours (if applicable); etc.
The A&R Rep is the person who finds and signs new artists to a label. They are responsible for finding new talent, getting them into the studio, and getting their music out to the public.
While this may seem like an easy job to do, it’s actually quite difficult. The A&R Rep needs to have a wide range of contacts in order to find new talent. They need to know people who are connected with musicians, producers, and songwriters so that they can get in touch with potential artists before they’re signed by other labels or managers.
A&R departments are usually at record labels, but sometimes they can be found at publishing companies or management firms.
A&R reps have a lot of power in the music industry because they’re in charge of signing new artists to their label or company, and helping develop those artists’ careers. An A&R rep will typically work one-on-one with the artist(s) they’ve signed by helping them write songs and coordinate their schedules with other musicians and producers who are working on albums with them. The job can be challenging because it requires good communication skills, patience, persistence when dealing with others who have control over what happens next (like managers), being able to see potential where others might not see it yet (this part is key!), being able to say no when necessary…the list goes on!
It’s true that A&R is a less-talked-about role in the music business. But it’s not an antiquated one, nor should it be viewed as obsolete. While we often think of A&R as meaning record label executives who scour the world for new talent, what they do today remains largely unchanged: they are responsible for finding and signing artists.
A&R reps can be found at any level of the industry – from independent artists to major labels – but their job is essentially the same regardless of how big or small their organization is. The role itself hasn’t changed much since its introduction over 150 years ago; instead, technology has allowed people to better network with one another and make connections more easily than ever before which means that opportunities exist everywhere!
The responsibilities of an A&R rep include conducting extensive research on potential talent (including listening to demos), meeting with bands/artists directly or via email/phone calls/Skype conversations, and attending live shows when possible (a great way for you both parties get comfortable with each other), forming contracts between yourself & artist(s) if appropriate…
The music business is a complicated ecosystem that requires a number of roles and positions in order to operate smoothly. The role of an A&R rep helps to ensure that the quality of the music being released is top-notch, so it’s important for them to be aware of what’s going on in their industry at all times.
A&R reps are responsible for scouting new talent and artists, as well as determining whether or not they should be signed by record labels. They also have a hand in selecting songs and albums that will be released on their record label, as well as overseeing each artist’s creative process while they’re making new music.
A&R reps are paid on commission, so they make money when they sign artists. The range of payment is between 10% and 30% of the artist’s income. The more successful an artist is, the higher percentage you’ll likely receive.
For example: if you sign a band that makes $100k/year and their album sells 1 million copies in its first year, your agent will likely get around 20% (1/5th) of those royalties—but there’s no way to guarantee that number because it depends on many factors including how much money was spent on marketing efforts such as touring and merchandising during that time period.
Music publishers are the people who help songwriters get their songs published, and then make sure that the song is used in the right way. They also get a share of the profits from the song.
In addition to helping to promote and market the song, music publishers make sure that it gets used in movies and TV shows, as well as on commercials and in video games. They negotiate deals with record labels to allow artists to record their writers’ works on those labels’ rosters.
You can do it yourself. If you have an idea and a passion, you may want to take the DIY approach. You will write your own material, manage your own career, hire your own lawyer and accountant, and perform in front of an audience on stage. In order for this to work out well for you, however, there are several things that must be considered:
A&R is a complex and challenging job, but it’s also a fun one. If you love music and want to be involved in the process of discovering new talent and signing them to labels, then this could be your dream job!
When you’re writing songs with other songwriters, there are two documents that you should be familiar with: a collaboration agreement and a split sheet. The purpose of both is to help everyone avoid any confusion or conflict when collaborating on music. This article will look at what these are and how they can help keep your creative process happy and harmonious!
You can create an agreement or contract on your own and not get a lawyer to write it up – lawyers charge a service fee. But if you don’t have a lawyer, it’s not recommended that you create your own contracts.
You could ask another musician or producer to create the contract with you—this is called a collaboration agreement. If the two of you agree to split the profits in whatever way makes sense for both sides (50/50, 60/40), then this type of arrangement can work well without hiring a lawyer.
However, there are pitfalls when trying to draft something yourself: liability issues may arise from conflicting terminology or ambiguities in language; lack of clarity in what type of relationship exists between parties; lack of clarity regarding ownership rights; etc… So unless you’re very familiar with music law (which most people aren’t), this route isn’t necessarily recommended either – especially since there are free templates available online which will do most everything needed for standard agreements between musicians/producers that are produced by record labels.
The term “split sheet” usually refers to one of two kinds of agreements. The first is a songwriter’s collaboration agreement, which is a contract that is signed by the writers of a song before they write it. The second type of split sheet is created after the song has been written and signed by all parties involved in its creation, dividing up ownership and royalties evenly between them.
Split sheets are generally easy to understand if you know how they work: each party agrees on how much they’re going to share in terms of owning the song (for example, 50% owner), publishing rights (for example, 75% publisher), or any other part of its production or distribution that could be negotiated like this.
A songwriter’s collaboration agreement is a contract that is signed by the writers of a song before they write it. The purpose of this document is to ensure that everyone involved in the creation process understands how their work will be used, who will get paid, and when.
Collaboration agreements are created before a song is written. A writer’s collaboration agreement is a contract between two or more writers (songwriters), who agree to work together on a specific piece of music.
Split sheets are created after a song is written. Once you’ve written the song, you create what’s known as a “split sheet.” In other words, a document that states who owns what percentage of the song. split sheets usually divide the ownership evenly between co-writers, but you can agree on any percentage splits you want (though I would suggest NOT making any one writer’s ownership less than 33%).
Split sheets are created after a song is written. Once you’ve written the song, you create what’s known as a “split sheet.” In other words, a document that states who owns what percentage of the song. Split sheets usually divide the ownership evenly between co-writers, but you can agree on any percentage splits you want (though I would suggest NOT making any one writer’s ownership less than 33%).
The split sheet should be signed by all parties and filed with your PRO (if there is one in your town), so it’s best to have it completed before anything else happens with this new tune!
A split sheet should be created and signed by all co-writers of a song before any publishing deals are made. This document is essentially an agreement between co-writers that outlines how they will share revenue from the song in question. For example, if you wrote some lyrics but someone else wrote most of the music, then you would have less stake in the copyright ownership than they do, and vice versa. A split sheet is a way to ensure that everyone involved with creating this particular song gets what’s fair for their contributions to it.
As mentioned above, an even split between all participants on the creative side is often preferred because it allows each party to retain full control over his or her publishing and copyright interests; however, sometimes this isn’t possible due to pre-existing publishing deals that were entered into before this song was created (e.g., one person owns all rights when he writes something alone). In these situations as well as others there may be other considerations like whether or not we’re talking about a single person who has multiple pseudonyms (e.g., “Dr. Luke vs Kesha”) or whether or not everyone involved with creating
The music industry is a tough place to be. There are many ups and downs, but as an A&R you need to understand all of these rules to keep your artists happy and to make sure that they stay on track.
Honesty is the foundation of any good working relationship, and it’s a rule that applies both to you and your artists. You should be honest about your own work and goals for the project, as well as about your strengths and limitations. If you’re not sure about something, say so—and don’t be afraid to ask questions! Honesty also means being able to express opinions honestly (and diplomatically). As an A&R person, it’s your job to help guide artists on their path toward success; if they trust you enough to tell them what they need to hear instead of what they want to hear, then they’ll be better prepared when success finally comes knocking at their door.
If you want to be successful in the A&R business, it is important that you be yourself. You should never try to be someone that you are not. This can lead to many problems later on in your career, as well as making it harder for people in the industry to trust you.
This is the most important rule of all. A&R people are busy, and they don’t always have time to get back to you right away. This is especially true if you’re sending in demos or following up on an email if you aren’t a big name with a huge career history and lots of hits under your belt, it’ll take some time for anyone to take notice of what you’re doing. Keep going! Don’t let yourself get discouraged when your emails go unanswered or no one at the label calls back as soon as they said they would (this happens sometimes). No matter what happens, keep believing in yourself and working hard until someone agrees that there’s something worth pursuing here—and even then, be patient for them to figure out how exactly they want to do it before getting overly excited about things moving too fast. If everything goes well, patience will pay off big time down the road; if something doesn’t work out right away like we’d hoped but there’s still interest from another label or manager (or whatever), don’t give up hope either: just keep pushing forward until everyone finds their place in this crazy business called music!
In short: don’t rush anything unless there’s some sort of deadline looming overhead—and even then I wouldn’t recommend panicking too much just yet because deadlines are often flexible enough that we can meet them later than originally planned while still making sure everything gets done correctly first rather than rushing through anything hastily so nobody misses out on sleep 
You should be respectful of others. It’s just a way of being nice. You don’t have to be a pushover or anything, but you can still be nice even if you disagree with someone or something they’re saying.
It doesn’t matter what religion you are, or if you have one at all you should never bully anyone for their beliefs. There’s no excuse for that kind of behavior, and nobody will respect you if you do it. Don’t make fun of people either; it’s not funny and only makes things worse for everyone involved (including yourself).
Make sure to keep your personal biases out of the workplace; don’t let them affect how much effort you put into your job or how much criticism is given during meetings/critiques with other A&R staff members or artists themselves when they’re working on new material together online as well as professionally in person every day long term projects require long-term planning, not just short term goals like trying hard enough but winning awards–which are meaningless unless there’s integrity behind them too–and having good relationships built over time where trust builds up between people who know each other well enough not just strangers passing through life together briefly without knowing each other very well at all
If you need help, ask for it.
Don’t be afraid to ask for advice or a second opinion. The more people who are involved in the creative process, the better the result is likely to be, and the more fun everyone will have in the process. If you don’t know what something means and it’s not clear from your collaborator’s explanation, ask questions until you understand fully. Don’t assume that because someone agrees with an idea it must be good—ask them if they like it too!
So, in closing, I hope you’ve learned a few things about the ins and outs of A&R. As a reminder, my advice would be to keep these rules in mind whenever you’re making decisions about what music gets signed or produced. And remember that even though I’ve given them numbers here, they aren’t meant to be strictly followed – rather than having rigid guidelines for how an A&R should behave, our goal is to help guide your decision-making process so that it becomes more natural and instinctive over time!
Having a lawyer on your side as an A&R is a good idea. So, why is that? I will let you know about its importance here in this blog by highlighting some of the excerpts:
As an A&R (or any other member of a record label), you will likely be exposed to thousands of pieces of music every month. You will want to make sure that everything you are working with is legally cleared and that your company has the ability to use it freely.
To do this, you need to make sure that you have a lawyer on hand who understands how the music industry works. Here are some examples:
As an A&R, you will likely be exposed to thousands of pieces of music every month. You will want to make sure that everything you are working with is legally cleared and that your company has the ability to use it freely.
You must understand what it means when a piece of music is “legally clear” or “cleared”. This simply means that the rights have been obtained in order for your company to use it commercially without receiving any legal backlash from any individuals or organizations who own rights to the piece (e.g., the actual musician/band who created it). It also means knowing who owns those rights so you can contact them directly if needed. In other words, this step prevents any legal action against your company for copyright infringement which could result in expensive litigation fees and/or penalties being imposed on you personally as well as on your employer should they choose not to take adequate precautions before using someone else’s creative work (music) within their business operations (recording studios).
What is the most important thing to remember when you are working on a contract?
A contract is a legal document, and as such, it should be clear and concise. The contract should also be fair to both parties involved in the deal. A good contract will specify exactly what you’re agreeing to do, by when, and for how much. It should also specify which party will pay for what costs (for example, if someone wants you to travel somewhere for a meeting or performance, who’s paying for your flight?)
Once all of this has been agreed upon in writing, make sure that both parties sign the document!
As an A&R, you know how difficult it can be to make money in the music industry. Royalty collection is no different. In fact, it may be even more difficult because there are so many entities that are entitled to royalties for your artists’ work. You need to know how to collect royalties from:
You must know how to collect royalties from all sources.
streaming services, digital downloads, physical sales, and sync licensing are the main ways that artists make money from their music these days. If you’re not collecting from these sources then you’re missing out on a huge chunk of your income.
The foundation of any record label is its talent and its legal rights to the talent’s music.
Make sure you know how to collect from all possible sources. The last thing you want to do is sign yourself or your company into a bad deal that may cost you money, power, or time down the road.
If you’re working with music and talent, it’s critical that you have legal representation. A good lawyer will help ensure that you are protected from mistakes and theft, as well as make sure that your label is able to collect royalties and monetize its talent. This is an investment well worth making!
Signing a record deal is normally a very complex experience so here are some critical elements you should consider when trying to make it happen.
So you’ve been working hard on your music, and now a record label is interested in signing you. That’s great! But before you sign anything, make sure you know what kind of contract they’re offering and exactly who will be able to use your songs. Here are six rules to follow when signing your first music contract:
Reading the contract carefully is the most important step. Look for clauses that you don’t understand, are vague, or are ambiguous. Also, look out for any unfair clauses and make sure you understand what they mean before signing your name on the dotted line.
If you are a singer/songwriter and have recently signed a record contract with an artiste agency, there are some things that you need to know. When signing your first contract as a new artiste, it is important not to assume anything. There are several common mistakes that first-time signees make when they enter the music industry. Below are six rules that you should follow when signing your first record deal:
Be sure to know your options. There are different types of contracts you can sign, and each one comes with certain pros and cons. You’ll want to weigh them all carefully before signing on the dotted line.
You can find out more about each option by talking with an entertainment lawyer or a manager or even a friend who’s been through it before but if you’re looking for unbiased advice, Wikipedia is a great place to start!
If you are not getting a response from companies, it is important to ask them why. If you do not get a response, then it is time to start asking what they are going to do about it.
If they cannot explain why they can’t or won’t sign your record contract as an artiste and what they intend on doing about the matter, then chances are that this record label has no intention of signing you.
Never sign a new contract without reading and understanding it first. The best time to read the contract is before you sign it, not after. If you don’t understand the terms or conditions of the contract, ask questions until you do before signing on the dotted line. Even if your lawyer says that everything is fine, ask yourself whether he/she would be willing to stake his/her reputation on something he/she didn’t completely understand.
The bottom line is that you need to be prepared when you sign your recording contract. Do your homework, read the contract carefully, and don’t rush into it. If something doesn’t seem right or you’re unsure about something then ask for advice from someone who knows what they’re doing like a lawyer or an industry expert!
An Electronic Press Kit (EPK) is an important tool in the music industry. An EPK contains everything that people need to know about your band or artist, such as where you are located and how long it would take for you to travel if you were touring or playing at multiple venues. Some of the key components of an EPK include:
The Electronic Press Kit, or EPK, is a collection of information about you and your music that is used to market yourself and promote your music. It is also used to get gigs for you as an artist.
An EPK can be better than a regular press kit because you can include media such as audio clips, video clips, and song lyrics. This is a great way to showcase your music and give journalists something to sink their teeth into. You should also include information on related artists or bands that you are similar to, as well as influences or styles of music that you incorporate in your songs.
As for the actual content itself, try to keep it brief (i.e., no more than 10 pages). This will make it easier for journalists and bloggers who are looking through hundreds of pieces of material at one time — they don’t want to read long blocks of text!
Remember, your EPK is made up of the things that you can attach to an email. You don’t want to send out an email without these things. That way, if someone who reads your EPK wants more information about you, they can easily look it up in your EPK and then follow up with you on their own time.
Include a short bio for each member of the group (if applicable).
You should also include a map of your location, as well as a list of venues you have played at in the past, and venues you would like to play at in the future. This will help your booking agent find you easily.
Additionally, it is important that your EPK states exactly where you are located and how long it would take for you to travel to various places if you were touring or playing at multiple venues.
The bio section is important because it allows people who are interested in hearing your music to get a better idea of who they are listening to. It should be short and to the point, but also include personal information such as age, education, hobbies, and so forth. You should also include a photo of each band member and any awards or accomplishments that you may have achieved as part of the band. Finally, we recommend including references from other artists/bands who have worked with you.
So, you’ve made a song and you’re ready to share it with the world.
You want to get publicity for your music and land some gigs.
An EPK is the best way for people to learn about you and what makes your music different from all the other stuff out there. And if they like what they see, maybe they’ll write about it or play it on the radio or at a party or something like that.
For the uninitiated, EPK (electronic press kit) is a package of promotional material you can send to journalists, bloggers and influencers to help them promote your new release. They will find it at the end of your music video’s credits.
If you’re trying to get your band signed, or book shows at venues, then an EPK is essential. An EPK is a digital resume for bands, musicians, and filmmakers that usually contains a biography, discography, photos, and occasionally a music video or other materials like a radio-ready song. If those emails contain an EPK then the recipient can easily scroll through all the information about the band and make a quick decision as to whether or not to book them or sign them.
EPK stands for Electronic Press Kit, which is a digital resume for bands and musicians to showcase their work. EPKs can also be used by filmmakers to promote their work.
Electronic press kit stands for Electronic Press Kit. It’s a digital resume for musicians, bands, and filmmakers that usually contains a biography, discography, photos, and occasionally a music video or other materials like a radio-ready song.
The name Electronic press kit comes from the term “electronic press kit”, which was coined to describe the CD-ROMs sent to members of the press by Hollywood studios promoting new films in theaters. The term has since been shortened to simply “press kit” or “Electronic press kit”.
If you are trying to get your band signed to a label or booking gigs then you need an EPK. Most record labels and venues receive dozens if not hundreds of emails every week from bands and acts they have never heard of before asking to be booked. If those emails contain an EPK then the recipient can easily scroll through all the information about the band and make a quick decision as to whether or not to book them or sign them.
An EPK is a digital resume for bands, musicians, and filmmakers. It usually contains a biography, discography, photos, and occasionally a music video or other materials like a radio-ready song.
It’s essentially an introduction to yourself as an artist. The purpose of an Electronic press kit is to allow record labels and venues to make quick decisions about whether or not they want to give you the time of day.
An Electronic press kit is a promotional video, usually less than 10 minutes long. It should include footage from your latest performances and other relevant content (e.g.: pictures, documents) that gives potential clients an idea of what you do. The purpose of an EPK is to introduce yourself or your band/business/service to potential customers before they have even heard about it.
An Electronic press kit can be used as a stand-alone product or as part of a larger marketing campaign where it’s accompanied by press releases, social media posts, etc. An Electronic press kit should always be accompanied by some sort of social media strategy because that will help you reach more people who might otherwise not find out about it otherwise!
The music industry is one of the most demanding and stressful jobs. Many artists struggle to make it in this industry because of a lack of support and patronage from the upper hand. However, these issues have been responsible for a lot of artists not getting paid or not getting what they truly deserve for their hard work and effort
So, you have been in the game and working hard but have not been able to get what you deserve. You are frustrated and angry about it. You feel like people think that your work isn’t good enough because they don’t pay for it. This can cause a lot of emotional problems for the artist if he or she is not careful in dealing with this issue.
In Nigeria, there is a total lack of support from the government. The government uses the entertainment industry as a means to make money and nothing else. There is no real incentive for them to help in any way or form because they are not benefiting from it directly.
The same can be said about the entertainment industry which has no real interest in improving the situation of A&Rs as they do not see them as important figures within their field. Most music producers simply hire A&Rs on a contractual basis but do not give them any other form of recognition or appreciation for their work.
In addition to this, most artists don’t even know who their A&R is and what role he plays in helping them get signed by record labels or studios so there’s also no real support from them either! In fact, many artists will tell you that “the label” does all the work when really it’s mostly done by your own people.”
The A&R does not get motivation from the upper hand. When you are in a company, there is always a head that you report to or at least someone who has more power than you. In music, this can be your record label or management team. If they don’t give you any guidance and direction on what they want to achieve with your project, then it is hard to motivate yourself when you have no clue where things are going or what needs to happen.
You cannot see the vision because you are not part of the team. In order for an artist to be motivated and excited about their career, they need to know that there is a clear vision for their projects and how those projects can help them reach their goals as an artist. Without this knowledge, it will be difficult for anyone on any level of production (from A&R all the way down)
The first reason Nigeria A&R don’t get paid or doesn’t get what they truly deserve is that there is a lack of knowledge. The music industry in Nigeria has been around for a long time, but you still see people who don’t know how the business works. There are so many things that happen in this industry, and if you don’t have the right knowledge about them then you’re not going to be able to survive or make any money.
To start off with, when an artist signs with a record label, he/she is supposed to sign some kind of contract with them. This contract should contain everything that both parties agreed on before signing the document; like how much the artist will be paid for each song sold and whether he/she will get royalties from sales etc… When people sign these contracts without understanding them well enough then they end up losing out on their earnings at some point because they didn’t read what was written down clearly enough during the negotiation period before finalizing terms between themselves and management which could lead to legal issues later on down the line when no one wants any problems but it’s too late now! One thing leads to another until eventually, we have a situation like this where somebody needs more than just music production skills alone:
you need to have good business skills and knowledge of how the music industry works in order to make money from it. You can’t just sign a contract with someone and expect them to pay you what they promised; there needs to be some kind of proof that you are actually getting paid for all the work you’ve done.