| Who Are A&R Reps? | | | | contact you see, you have to answer 2 big questions |
| A&R representatives (an acronym for Artists | | | | first: |
| and Repertoire) are record company personnel | | | | Does my band's music fit with this label's style of |
| whose job it is to discover new talent and help | | | | bands? |
| develop careers. The further A&R reps can | | | | Assuming that you like your band's music, if you like |
| climb up the corporate ladder and the bigger their | | | | the bands on the label then chances are the music is |
| salary, the more stressful their job, and also the | | | | similar enough. Yes, labels are looking for bands that |
| more fearful they become of losing it. They have a | | | | are different than what they already have, but not |
| great responsibility to make money for their | | | | radically different. If you've never heard of the label, |
| companies and to justify their career positions. For | | | | make sure you listen to some songs of the bands on |
| this reason, A&R reps often follow trends, look | | | | the label first. You don't have to take too much time |
| for "sure things" or wait to see what | | | | on this, but enough to know if you're a good fit or |
| A&R reps at other labels are pursuing. Contrary | | | | not. |
| to popular belief, most A&R personnel do not | | | | Is this label accepting unsolicited demo packages and |
| have "signing power." Once an A&R | | | | press kits? |
| representative finds a potential artist, they have the | | | | If the answer is yes, then call to confirm. Simply tell |
| difficult task of getting the approval of their record | | | | them you're sending a press kit and ask who you |
| company presidents-and getting approval is often the | | | | should put it attention to. (You don't want half your |
| hardest part of the job! The average life-span of an | | | | press kits trashed because the directory or website |
| A&R rep at a label is three years. | | | | you got your initial information from is now |
| A&R is the department of a record company | | | | outdated.) If the answer is no, then try another label. |
| that finds and or develops bands, songwriters, or | | | | Or try and make a face-to-face connection with a |
| musicians. More often than not A&R reps help | | | | rep on the label. Even if your band isn't playing, |
| out with a bands artistic and commercial marketability. | | | | festivals (and other music industry events) are still a |
| Think of the A&R Department as the middleman | | | | good place to make some contacts. Ideally you'll find |
| between the band and record label. | | | | one or two reps that you can get the go ahead to |
| A & R Department Responsibilities may include | | | | send a kit directly to their attention. |
| some or all of the following: | | | | 2. Play Showcases |
| - Locating bands, songwriters, and musicians for their | | | | The big music festivals such as South By Southwest |
| record label | | | | (SXSW), North By Northeast (NXNE), CMJ, etc.are a |
| - Negotiating contracts for a band or artist | | | | great way to show off your band and talk to a lot |
| - Finding producers for recording the band | | | | of people. And you need to do quite a bit of meeting |
| - Locating recording engineers | | | | and greeting. You want to try and get as many |
| - Scheduling time to record the band | | | | people as possible interested in your band before you |
| - Locating songs for a band from music publishers | | | | play. That way you aren't just hoping they happen to |
| with whom they have relationships | | | | see you when you're on stage. Of course, don't go |
| - Listen to demos from bands | | | | overboard. Don't be obnoxious. Be professional, but |
| A&R Reps from major or larger record | | | | market your band before, during, and after your set. |
| companies usually only listen to solicited demo | | | | Know ahead of time what results you want, and |
| submissions from musicians. A solicited submission is | | | | then do everything you can to make that happen. |
| one that a music company only accepts from known | | | | Your chances of success will be substantially greater. |
| or reputable contacts with whom they've networked | | | | 3. Follow up |
| in the past. Smaller record labels may accept both | | | | If you haven't heard anything yet, call back the |
| solicited and unsolicited (anyone can send demo) | | | | people and labels you sent press kits to and ask if |
| demo submissions. A great resource to tell what | | | | they had a chance to review your material (wait 4-8 |
| record companies accept unsolicited and solicited | | | | weeks after you send your kit before calling). If they |
| submissions are the Songwriter's Market books. They | | | | say 'Yes, we want to sign you' then start celebrating. |
| give you information on what record companies may | | | | If they say 'No, we haven't reviewed it yet' then ask |
| need with a demo submission and how to submit | | | | when would be a good time to call back. And if they |
| your band demos. | | | | say 'Yes we reviewed it, we're not interested' then |
| How to Find an A&R Rep | | | | ask them the hard question. Ask if they can give a |
| Finding a Record Label for Your Band | | | | little more specific feedback. You can't get better |
| OK, by now you should have read and taken the | | | | results if you don't know what to improve upon. If |
| appropriate steps for How to Get Signed. Your band | | | | several people are telling you the same thing, then |
| is prepped and ready to go. Now you just need to | | | | you'll know what you need to fix, change, or |
| connect your unsigned band with the label and | | | | approach differently. |
| A&R Rep ready to sign you. How do you find | | | | Your line of attack when approaching A&R |
| this mysterious A&R Rep and perfect label? | | | | needs to be planned out and to the point. Give or |
| | | | play your demo and invite them to a gig. Make sure |
| 1. Send a Press Kit | | | | that demo is impeccable because more than likely |
| Search the web for appropriate labels and use | | | | they are only going to listen to a very tiny portion of |
| contact directories such as CMJ Directory, The | | | | it. If they liked it, then they just might show up at |
| Musician's Atlas, or the Musicians' Guide To Touring | | | | the performance. Keep in mind that this gig needs to |
| and Promoting The directories contain lists of record | | | | be an impressive one. Make sure you have a fan |
| labels, clubs, radio stations, and press outlets for you | | | | base there and a good vibe going with the crowd. |
| to send your band's press kit. But before you start | | | | This is crucial because you not only want to sound |
| sending your demo package (press kit) to every | | | | good, you want the crowd to be into you as well. |
