Don’t treat them social media channels as ‘just there’ or think that it is enough to post one time that you’re in the studio and another time, when you’re releasing something. We all know how big a role Instagram and TikTok have taken in the last year so it is more than needed to work together with experts. Now, working for an indie label I would mostly depend on freelancers helping me out here, but within major labels its common that they have a promo department for the different outlets there are online/print, radio and nowadays even podcasts (sometimes covered by online promoters) and all new things online like social media & influencer relations. One group of people that do help a lot are publicists and promoters. Me as PM try to bring these ideas into life and find the right people to help me with this. If it’s not the same person there will be a kick-off call for the campaign, where artist and management will meet up with their label team to speak about their artist vision, what they love and what they want to express with their upcoming release. In some labels A&Rs and PMs can be the same person which makes sense, as it helps to translate the idea the artist had in mind about themselves translate into the campaign. They also know lots of different producers, songwriters and studios they can bring their artists in contact with to bring their songs to a next level.Īfter the act was signed and is clear about what they want to release the A&R brings them in contact with their product manager (PM), what my role would be. They also help with musical ‘orientation’ if an artist wants to try something new but isn’t sure what this shall mean, for example. They also have to be in touch with their roster and be like a guide within the label who speak to the artist when and where they want to record new music, when the partnership was agreed on to be long-term and the first record was released. But as said, there are many different ways to work together.īut an A&R does not just scout after new music. In these a band records their songs / albums (and pays for production) on their own and gets money from a label so they can license these recordings for a certain time. I’ll go over different contracts later on, but in todays music world ‘track purchase agreements’ are the most common. When they and you had the luck of being certain you want to work together, they are the ones negotiating your recording contracts with you. They will search and listen to music online, will be attending showcases and festivals and will have to have a network of people in different music studios, talent bookers and radio stations who will sometimes tip them off where the next big thing will be. A&R stands for “artist & repertoire” – these are the guys and girls who are ‘out there’ and scout new music they think would fit into their labels roster. The maybe first persons you as an artist would get in contact with would be A&Rs. I’ll try to explain what typical jobs within any label are and what “bonuses” a major can have, trying to go along a normal release timeline. Major labels do have more overheads, which means that a lot of jobs indie labels over via freelancers are included into the normal workforce within a major label structure. Until a few years back EMI was considered one of the ‘big four’ as well but after they went near bankrupt in 2011/12 they were sold to Universal Music / Vivendi and Sony/ATV (publishing) respectively. ‘Majors’ are the three big labels Warner, Sony and Universal. We have to differentiate beforehand though a bit between indie- and major labels. I did have lots of colleagues though to realise theses releases so today we want to put the spotlight on a few other roles within a label. Last time we’ve spoken about what a product managers job is and how I got it. I’m Thomas - a product manager who worked on projects with major and indie labels like Warner, Sony, Department Musik or Napalm Records.
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