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What Is An A&R? We Have Compiled The Most Extensive & Updated Music Contacts Directories In The United States; All Music Industry Contacts Plus Includes 12 Separate Directories & Is Over 1,000 + Pages! 400+ Pages Of A&R Reps & Scouts Alone. We Have A Team Of 4 Music Industry Veterans who confirm our music industry contact info. daily and dial over 800 confirmation calls a week, that's over 38,200 phone calls a year to make sure that you have the most precise information. possible! A lot of A&R Reps & Scouts use All Music Industry Contacts Plus to get in contact with each other. What Is An A&R?

What Is An A&R:

I know a lot of Record Company A&R that are also music producers and very capable sound engineers; it is good for a Record Label A&R to have an understanding of the whole artist development process. What is an A&R? Sometimes A&R records reps are musicians as well and can play or program instruments. What is an A&R? Being able to play music is not a prerequisite to becoming a Record Label A&R records; they are more like the link between you and the A&R records you are signed to so what is an A&R.

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A&R Record Company Reps. can play many roles from acting as a creative source to hiring musicians and financing a particular music project. The question is! What is an A&R? Usually, A&R Records Executives have knowledge of the overall recording process and help guide the artist or musicians through it. A&R Records will be able to get the best records possible out of the artist they are representing. What is an A&R job? It is to make sure that all the different departments at your record company A&R work together so that they can market and deliver your finished records. What is an A&R? They also work with you to make sure that you have at least a few solid songs that will be your records singles.

What Is An A&R?

The A&R (Artists and Repertoire) official's main center is finding new artists and building a label's repertoire, however, the full extension of their responsibilities are far greater. The A&R official must maintain the balance of art and business. The person ought to be an ally to the artist inside the record label, however, is a worker of the record company whose career is attached to the achievement or failure of the talent on their roster. Simultaneously working for the best interest of the artist and the record label can be troublesome, however rewarding to the individuals who have the proper aptitudes and motivation.

A&R Obligations:

It's also part of the activity to build up a budget and a recording plan and to try to get the band to stick to it. Keeping the project pushing ahead is a delicate and crucial task, which requires cosseting the band's artistic needs while keeping the accountants happy as well. When the completed album is approved by the president of the label, the A&R official works with the band to build up their live show for touring, coordinates with the marketing and promotions departments at the label to announce the artist, and constantly networks with radio, television, and other markets to further the exposure of the album and band. At that point, it's back to exploring: late evenings at clubs and days in the workplace playing demo derby.

The heart of an A&R executive's activity is exploring new talent. Going through demos and scouring the clubs for untapped talent is a daily (and daily) activity. After an artist is signed to a recording contract, it is the responsibility of the A&R official to oversee the recording process: picking and booking a studio; finding a producer, engineer, mixer, and mastering engineer; hiring additional studio musicians if necessary. The A&R official will take an active role in crafting the album by discovering songs for the artist to record or supervising the determination of songs written by the artist to be added to the completed product. Regularly this process requires numerous cycles of revision.

Abilities and Education of an A&R:

Be prepared for a struggle to arise between the artist and the label with regards to approving the album for release. Your main responsibility is to battle for the artist, while as yet delivering on what the company (your employer) demands. You should be a master of compromise and patience, tenacious and certain. Having the option to anticipate trends and understand where popular tastes are headed—or how to steer them—are invaluable abilities to have, and a need for you as an A&R official.

What to Expect From Your A&R:

Trend forecasting and a sharp eye for the potential in raw talent are the most important qualities of a decent A&R official. You are mining rough stones, not cleaned diamonds. Past that, you should be a jack-of-all-trades with the learning of music, marketing, advertising, merchandising, radio, film/TV, and recording innovation. Most major record companies prefer a professional education; taking courses in the aforementioned areas is a great start to a career in A&R. Additionally, many individuals working in this position have also had experience in music journalism or school radio, or are former working musicians or record producers. Therefore, you may discover classes in journalism, broadcasting, and audio engineering to be useful in your career. Yet, none of that means anything except if you live, breathe, rest, and eat music.

What exactly is an 'A&R' rep anyway? We hear the term all the time, and the majority of us have a certain picture in our brain. Be that as it may, it is correct? Here's a short set of working responsibilities. It is a 24-hour work that requires significant travel. You will go through four or five evenings per week trolling clubs and showcases exploring new talent. Your days will be gone through in the studio with your artist, in gatherings to promote your roster, or on the telephone making the following deal. Over that, you will tune in to demos, watch video reels, and surf the Internet for your next diamond in the rough. The ability to network and the relationship building abilities to get it done are crucial.

An A&R Reps Primary Job Is Looking For Talent:

Auditioning demo tapes (requested, as well as spontaneous, contingent upon record label approach.) If interested, ask to see the artist perform live. Attending live shows at clubs, showcases, concerts, and other settings. Also visiting artist/band website and social networking destinations like MySpace and Facebook. Following leads from any 'buzz' created by artists. Checking industry insiders (managers, agents, attorneys, concert promoters, label promo reps, retail contacts, trade and consumer press tips, regional 'scenes', or other sources.)

Watching for talent on other record labels, contracts' identity's expiring. Other Responsibilities Evaluate talent and match with potential audience tastes. Sign talent to label with officials approval. Search for new songs for existing talent on the label. Coordinate label relationships for an artist, when they are signed to the label. Provide creative information and direction on the artist's material. Find suitable producers and recording studios.  Plan the recording budget with the business affairs department.

WHAT IS A&R AND HOW DO BANDS GET SIGNED?

With the ability of musicians to interface directly with fans via the web, A&R role has lessened from its heyday. However, A&R in today's music industry comprises a broader extent of activities than it used to. While the old-school model of A&R Reps matching artists with songs and labels has largely disappeared, there are as yet relevant roles in the modern music industry for A&R Reps. This will probably proceed in the future. Since the major labels aren't marking as many artists as they used to, many A&R Reps will in general work autonomously, partnering with artists, bands, and smaller labels to recognize and sign talent, create and refine their music, and market directly to their fans.

The line has turned out to be blurred between A&R, live and studio production, management, artist improvement, publishing, and music marketing. The A&R of today should wear many hats. At the same time, the traditional A&R model still exists. The major labels have retained their A&R departments, however in a lessened role, and rely on the services of talented A&R Reps. There are only fewer of them since fewer acts are being signed.

Who Does A&R Do?

A&R stands for "Artist and Repertoire" and was originally a role inside record labels tasked with distinguishing, attracting and building up the talent for the record companies. A&R roles have developed as the music industry has changed drastically since the adoption of the internet, document sharing, and streaming services. While A&R occupations do in any case exist, the modern A&R Representative does not necessarily work solely for the record company. They may also manage bands, promote clubs, or run small record labels.

Most A&R Reps venture into the role of musicians. While not absolutely required, it is desirable to have at least some background and direct experience in music so as to understand the artistic process and the business of music. A&R work at different dimensions in a label, contingent upon the span of the company. Entry level reps may be responsible for initial exploring of talent and then making recommendations to management. Higher dimension managers in A&R may be tasked with making the initial contact with the artist or band, and may also be authorized to sign them to the label. Frequently, signings must be approved by higher-ups in the company. Whether you are an unsigned band searching for a label, or a musician wanting to work in A&R, it will be valuable to gain an understanding of the particular roles played by A&R Reps and get to know their identity.

You are probably working in some facet of A&R on the off chance that you wind up actively creating talent, helping them associate with their fan base, getting them signed to a label, getting their music distributed, discovering them music placements, or engaged in similar kinds of activities. Many individuals working in A&R have backgrounds as either artists or Songwriters and have specialized information and experience with artist improvement and the creative musical process. Aside from the music, components of style must be communicated adequately so they resonate with the target group. There should be a back-story to the artist and a branding strategy to attract and maintain the engagement of fans.

The Roles of an A&R: Finding Talent and More!

There can be more cash in publishing and permitting than in live performance or streaming sales, so labels will regularly try to stake a claim to an artist's publishing rights. Publishing A&R work to sign Songwriters and then get their songs placed for authorizing or recording. An artist ought to always hire a qualified Entertainment Attorney to represent them in any recording contract negotiation, and the A&R will be the liaison between the business affairs department of the record company or Publisher and the artist's Attorney.

The traditional A&R is the gatekeeper of the industry for the unsigned musicians. They are the purpose of contact with the label during contract negotiations. Their main responsibility is to discover marketable music for the company. Exploring new talent includes going to clubs and concerts, networking with studios and Producers, and getting to know various music "scenes," whether local, school oriented, subject or style based, or on the web. Exploring usually also incorporates reading industry publications and tuning in to demo entries. They also get to work directly with the artist. Since exploring talent is usually fun and you get to meet interesting individuals, it makes the activity of an A&R appear to be glamorous and desirable. Other than record companies, Publishers also utilize A&R Reps to discover and sign talent in publishing deals.

Record Company/Label A&R Music Producers:

If you want to become a Record label A&R you must be able to communicate with artists and musicians, you will also need to have a good hear for great a&r music. Most A&R records know what kind of sound they are looking to hear from the artist or group that they get signed. I feel that should definitely have knowledge of analog and digital recording equipment so that they can give the sound engineer their input.

What is an A&R? Most Record Company A&R are musicians as well and can help the music producer with the overall musicianship, song structure and desired sound. As a music producer, I like using sound engineers that get into the project technically and creatively. When I was eighteen I went to citrus college for audio engineering. They had a very extensive two-year program that I learned a lot from. I knew that if I wanted to be a great music producer I had to also have a background in audio engineering. What is an A&R? I think that it is extremely important to go to school and take audio engineering and music, production classes.

Since I am a Rock/ Hip-hop/ R&B producer it is my sole responsibility to come up with and play most of the music I record. Occasionally I am working with a band that has all their music written and don’t need to change a thing. Usually, bands welcome music producers input because they want the recording to be great. What is an A&R? I would never change a band’s music but I will give them ideas. When I am creating Hip Hop beats I usually a program and play all the parts myself. I also like to hire musicians to play a part or two to give the song a fuller feel. The most important thing for a music producer to learn these days is pro-tools because you will be able to do many things like TV, Radio, Imaging and Film projects.
At first, it is not as much about the money as it is about your reputation and experience.

The music industry Contacts do not pay right away so people usually take jobs as interns and work their way up. The music industry is all about word of mouth. If you produce great songs and create a good buzz there will be a lot of work coming your way. Record Company A&R records, artists and musicians like working with reliable music producers. If anything, don’t be known for being lazy, too expensive, or flaky.

A great way to start off making a living being a music producer is to get connected with a music publisher and placed in TV and Film projects. You can do this by contacting and Music Supervisors. As you start making money as a music producer you will want to record and produce as many great bands as possible for a small fee.

What is an A&R?

It is extremely important to build strong and lasting relationships with Music Contacts like Record Label A&R people, Music Managers, and Music Publishers. This part goes along with what I said earlier, it’s all about your reputation. You want to be known for creating great songs in a timely fashion. A&R reps like contacting producers that they know have a great talent for finding and producing exceptional acts.

What is an A&R? Make contact with successful A&R executives, Music Managers, Music Publishers, and Music producers because these people will want to hear what you have. These music industry professionals will have the capabilities to shop your product in exchange for an advance and royalties. As a Music Producer, you can have your artists sign a contract stating that you have exclusive rights to produce their material. If you are planning on jumping ship to sign with another record label this is not a good idea. Most record labels will not sign a band that is under an exclusive contract with a Music Producer or Manager.

I know you have heard this a million times “Do what you love and the money will follow”. I love being a sound engineer because it is a lot easier to get paying clients right off the bat. What is an A&R? An A&R and a Music Producer has similar roles and have to work together to get music projects ready for marketing and distribution. Record Label/Company A&R have to work closely with the Producer to make sure that your records are coming along and you're making progress towards your album release date. You can offer artists a deal, for instance, if they pay for studio time you will make their beats and produce them for free.

A record label A&R may only want the artists and not the baggage that has to come along with them. A Record label doesn't like to buy out contracts and will avoid this procedure at all costs. I like to think of myself as one of those music producers that started out producing music for the love and everything eventually started paying off. If you Google my name Ryan Clement my music website is number 1 in the search results and my website gets over 2,000 page views a week and its only three pages.

I suggest buying a Pro-Tools system like the M-Box 2 or if you can afford it Pro-Tools HD if you don't have much money you can get the M-Box Mini which is only $299 to start with. These systems are great for beginners or professionals and can create great sounding mixes/songs. They are extremely easy to set up! All you need is a computer PC or Mac. Plug the audio interface into your PC using USB or fire wire. Install your Pro-Tools software and your set. I have been recommending Pro-Tools to anyone that is interested in becoming a music producer because it is both professional and affordable. In this digital world a music producers best friends are always going to be his computer, A/D, D/A Converters. guitar, midi keyboard and recording software.

How Does An A&R Find Talent:

The A&R division of a record label is responsible for finding new recording artists and bringing those artists to the record company. Personnel in the A&R division are expected to understand the current tastes of the market and to be able to find artists that will be commercially successful. For this reason, A&R people are often young and many are musicians, music journalists or record producers. A&R executives rely mostly on the word of mouth of trusted associates, critics and business contacts, rather than on unsolicited demo tapes. They also tend to favor the bands that play in the same city as the record label's offices.

An A&R executive is authorized to offer a record contract, often in the form of a "deal memo": a short informal document that establishes a business relationship between the recording artist and the record company. The actual contract negotiations will typically be carried out by rival entertainment lawyers hired by the musician's manager and the record company.

Overseeing the recording process:

The A&R division of a record label oversees the recording and format process. This includes helping the artist to find the right record producer, scheduling time in a recording studio and advising the artist on all aspects of making a high-quality recording. They work with the artist to choose the best songs (i.e. repertoire) to record. For artists who do not write their own music, the A&R person will assist in finding songs and songwriters. A&R executives maintain contact with their counterparts at music publishing companies to get new songs and material from songwriters and producers.

As the record nears completion, the A&R department works closely with the artist to determine whether the record is acceptable to the record company. This process may include suggesting that new songs need to be written or that some album tracks need to be re-recorded. A key issue is whether the album has a single: a particular track which can be used to market the record on the radio. Assisting with marketing and promotion. Once the record is completed, the A&R department consults with marketing, promotion, the artist and their management to choose one or more singles to help promote the record.

History and influence of A&R:

The tastes of particular A&R executives have influenced the course of music history. A&R man John H. Hammond discovered Billie Holiday, Bob Dylan, Aretha Franklin, and Bruce Springsteen. Hammond's colleagues were initially skeptical of these artists because none of them appeared to be creating "commercial" music. Hammond's instincts proved to be correct, and these artists went on to sell hundreds of millions of records. George Daly, Hammond's colleague at Columbia Records, proved the same instinct with bands as varied as outliers as The Tubes and Tool during his career. Geffen Records' Gary Gersh signed the band Nirvana at a time when alternative rock music was not considered commercial. Gersh was able to convince his co-workers to push the record in spite of their misgivings. In cases like these, A&R people have radically changed the direction of popular musical tastes and introduced large numbers of people to new sounds.

This kind of prescience is, however, the exception rather than the rule. Historically, A&R executives have tended to sign new artists that fit into recent trends and who resemble acts that are currently successful. For example, Columbia Records' A&R man in the 1950s, Mitch Miller, favored traditional pop singers like Guy Mitchell and Patti Page and rejected early rock-'n'-rollers Elvis Presley and Buddy Holly. This "trend following" mindset has generated several waves of narrowly defined genres, leading to a perception of triteness, including teen pop (1998–2001), alternative rock (1993–1996), glam metal (1986–1991) and disco (1976–1978). Trend following can be counter-productive since it has often led to a backlash.

What you've got now are huge multinational companies where most of their A&R staff are businessmen. They’re people who look at music from the standpoint of marketing, not from the standpoint of music and talent. They will say, "Go out and get me anything that's popular now." Hip hop group Wu-Tang Clan referenced this stereotype of the business-minded A&R executive in their single "Protect Ya Neck", metaphorically comparing them to "mountain climbers". What you've got now are huge multinational companies where most of their A&R staff are businessmen. They’re people who look at music from the standpoint of marketing, not from the standpoint of music and talent. They will say, "Go out and get me anything that's popular now." Hip hop group Wu-Tang Clan referenced this stereotype of the business-minded A&R executive in their single "Protect Ya Neck", metaphorically likening them to "mountain climbers".

Towards the end of the life of each wave, record companies have found themselves faced with enormous losses, as consumers' tastes changed. For example, at the end of the disco boom in 1978, millions of records were returned by record retailers, causing a deep recession in the music business that lasted until 1982, when Michael Jackson's Thriller finally brought the public back into record stores in large numbers. The general move towards more conservative and business-minded signings from the 1980s onwards is seen to be symptomatic of an industry where the most powerful figures are no longer music fans or people with musical backgrounds, but business people. Traditionally A&R executives were composers, arrangers, and producers – Atlantic Records' heads Jerry Wexler and Ahmet Ertegun were producers and composers respectively – but an A&R with musical ability and knowledge has become a rarity, with Ron Fair and Martin Kierszenbaum being notable recent exceptions. The composer and arranger Richard Niles has said.

 

 

 
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