Active A&R

Introduction

As the CEO of a digital distributor for over 700 electronic music labels, I've spent countless hours in countless email threads discussing all the ways label managers might increase their sales, followers, artist roster, reputation, Beatport features, etc. And for so many managers, there are limitless "if onlys" that are blocking the path to success. If only my music wasn't pirated. If only Beatport featured my label. If only a radio station would give me a primetime slot. If only a big name artist would sign to my label. If only there wasn't so much bad music out there. If only… if only.

The long list of "if onlys" is a symptom of a passive label manager, one who decides someone else is responsible for the success of his or her label. After nearly a decade of running my own labels (Proton Music & Particles), I've identified key strategies that combat these "if only" excuses and reliably contribute to the success and growth of a label. By following these methods, my labels continue to be among the highest selling across the entire Proton roster.

I've categorized these ideas under the concept of "Active A&R". Without Active A&R you are at the mercy of others to take your label to the next level.

Running a digital music label these days is a pursuit of passion that requires considerable time and effort. It takes a lot of work for a manager to grow a label, requires a multitude of skills to execute successfully, and, more often than not, the label manager is going at it alone without a team to help. But success can be within your reach, if you want it. This guide will help.

Author's Note

Jondi & Spesh are the producers/DJs behind the Loöq music label and radio show. They've been residents on Proton Radio since 2003, releasing music on their label since 1998, and have hosted one of the longest running electronic music nights in San Francisco. I've had the privilege of their mentorship since moving to San Francisco in 2011.

Years into running Looq, Jondi & Spesh became aware that they had gradually become what they identified as "passive" label managers. They were only signing music that was sent to them, responding to emails that were sent to them and not actively steering their label forward.

Jondi & Spesh were passively responding to Loöq Records, not actively directing it.

After realizing this they developed a more pro-active strategy. They called it Active A&R.

When they shared this revelation with me, I was also working on how Proton's roster of labels could find more success in an increasingly difficult digital marketplace. Passive A&R was the problem. Active A&R is the solution. At last.

The concept of “Active A&R” and many of the terms & strategies described in this guide stem from conversations Jondi & Spesh and I have shared over the years, as they have continued to grow their label and I have continued to grow Proton. The concept of a “Release Cloud” is the brainchild of Jondi.

A Quick Checklist for Growing Labels

Until your label gains at least 300 Beatport followers and averages 50 sales per release, follow this checklist to grow your label before moving on to the bigger tasks in the guide.

1. Sign Music You Love (Chapter 1)
2. A Golden Rule for A&R (Chapter 2.5)
3. Seasonal Compilations (Chapter 6)
4. Release Weekly (Chapter 7)
5. Review Performance (Chapter 8)
6. Promo Pool (Chapter 13)

If you don’t see significant growth, get in touch with Proton and we can help.

Chapter 1: Sign Music You Love.

Only the music you absolutely love. Only the music you can't live without. Be as selective as possible and always sign music that is true to your sound and your passion. Establish a high standard of what your label should sound like and never compromise.

Saying No

At times, this might mean:

• Saying no to many of the demos you receive
• Saying no to demos from artists you've worked with in the past
• Saying no to artists whom are close friends and colleagues
• Sacrificing your intended release schedule
• Telling an artist you admire that their work doesn't fit the sound of your label

Saying no is never easy, but you have to get good at it. Otherwise, your label will be defined by the music sent to you, not music you seek out. You don't want the important time you have for your label to be filled with music that doesn't meet your highest standards. And the more time you spend on music you don't love, the less time you can spend on Active A&R, getting music you do love.

While it's important to listen to demos, it's best not to respond to music you don't like unless it's a friend or an artist you regularly make time for. Your time is limited and valuable and no one likes bad news in their inbox. Only respond to demos you want to sign.

Working With Your Artists

Don't spend time asking an artist to tweak or revise their sound. There are thousands of labels out there and artists should sign to labels where their music will fit. You have more important things to do than direct someone who will resist being directed. If you must send constructive feedback on a demo, Jondi & Spesh learned that "vague" feedback was more successful than concrete feedback, ex: "Can you make it 10% better?"

If a core artist submits a demo to your label that you don't love, should you sign it? Signs point to no. If it doesn't fit your vision for your label, then it serves neither your label nor the artist to sign tracks that don't work. You both want identifiable brands and the artist should find a better suited label for that demo. But whenever a core artist writes music in your label's style, ask them to think of you first.

Example: Kobana is a core artist on Proton Music and writes in a variety of styles ranging from trance to progressive house to deep, melodic techno. We established that Kobana's darker sound fits best on Proton Music and his other music fits best on Silk, another label. In this way, all of Kobana's music finds a good home without compromising Proton Music's style or our relationship with an important and talented artist.

So, if an artist you work with starts writing music outside the style of your label, consider helping them sign it to another label, potentially a Proton label so that their royalties and statements all come from the same place. They will likely appreciate the help, which makes your musical relationship stronger. Get in touch with Proton if you'd like help reaching out to other great labels for your artists.

QUICK TIPS: How to get the music you love:

• Ask for it. Write to your artists to see if they have anything new. Maintain those relationships.
• Monitor your roster's SoundClouds to see if they've posted anything new/unsigned.
• Monitor your artists' Facebook pages to see if they're talking about working in the studio.
• Expand your network: Make 1-to-1 connections with artists who make music you love.
• Invite new talent to your promo pool — they might like what you release and send you tracks.
• Try listening to the demo reel Proton sends out each week.
• Don't have time for demos? Consider hiring an intern or assistant for A&R.

Chapter 2: Establish an Artist Roster

As a label manager, your artists are your top priority. More time should be spent communicating with your artists than anything else, but we all know that time can easily be consumed by emailing, Facebooking, Tweeting, and Skyping with too many artists.

Make a list of the core artists on your label — your artist roster — and focus on them. The idea of an artist roster is to figure out how you, as label manager, will decide to devote your limited resources: your time, your money, your energy, and your connections. Focus on these core artists (and artists you want to be on this list) before you spend time on anything else.

Start with a short list of artists and keep these things in mind:

1. You should love their music, believe in the artist, and think they have a lot of potential.
2. You should be excited to see the artist's name on your label, especially on this list.
3. They should be a top performing artist in terms of sales, followers, or features.
4. They should be well respected by peers, fans, other artists and the global community.
5. They should be easy to work with and must respect you.
6. Take a chance on 1 or 2 new or unknown artists. Commit to their development.

Keep your list small enough to make sure you have time to regularly communicate with all of your artists. There are 30,000 labels out there for artists who don't fit on your roster. Don't worry if you have to leave some off your list. Your resources are finite, so your label roster can't be infinite. It's important that your core artists get the attention they deserve and the encouragement they need so you can sign their best music.

Get in touch with each artist at least once a month. If you can't do this, then make your roster smaller.

It's more important that you believe in an artist and see their potential than the artist already being a top performer. But if an artist has been on your roster for a significant period of time and success does not follow (no increased sales, followers or features), then it might be best for you and the artist if they release music elsewhere.

Keep in mind that these are all suggestions and you should do what's best for you. Sometimes just getting music from an artist you love without major sales is enough for a label manager. Sometimes spending a lot of time on an artist who commands the respect of her peers is more valuable to you and your label than the potential sales of the music, as long as you make sure the music is getting into the right hands.

Once you have a roster of artists you can begin to pursue Active A&R strategies.

Advanced: Making Sub-Rosters

If you work with a lot of artists, consider making some lists of sub-rosters.

On Proton Music, we have 3 sub-rosters: Original Artists, A-Side Remixers, and B-Side Remixers. Proton's list of Original Artists is our primary roster – most of our EPs and original material should be by these artists. For any remix release, we try to have at least one name from our A-Side Remixers sub-roster, which has some lesser-known names but also includes most of our Original Artists. B-Side Remixers are talented new artists who can add another distinct sound to a release and have the potential to rise in the ranks of our roster. The B-Side list for a particular release might be artists who are hoping to be in our core roster or were recommended by another artist on the release. B-Side Remixers can be a secret weapon. B-Side Remixers can also be a way to take risks but are always second to the importance and potential of an Original Artist or A-Side Remixer.

Chapter 2.5: A Golden Rule for A&R

In 2014 Proton introduced the Performance Tracker with Active A&R in mind.

Beyond reports on daily sales and artist followers, the Performance Tracker includes a powerful feature called Track Averages. To understand the fastest and most effective way to grow your label, you need to understand Track Averages and how to use them.

A Track Average is the average amount of sales per track that an Artist or Label has released.

A label has its own track average based on all of its releases. But the label also has a roster of artists, each with their own track average. As a label manager, you have access to all these Track Averages in Proton's Performance Tracker. So, here's a Golden Rule for A&R:

Focus on artists with a track average that is
higher than your own label's track average.

The math is easy: if you sign artists that are selling more than your label's average then your label's performance will increase. This strategy has been the key factor behind the success of my Proton Music and Particles labels, keeping them among the Top 10 best-selling Proton labels year after year. This is a proven & effective way to grow a label over time.

Chapter 3: Know your Artists

Good label managers should always be aware of who their core artists are, what they are working on for the label, and other music they might be making. Active A&R is essential if you want artists to be loyal and if you want your label to be recognized for the artists you represent. It's not easy. It takes time. But this is the most effective use of your time if you want to increase sales, exposure and brand power.

The premise of Active A&R is simple: don't wait for artists to send you music. Many managers do this because it's the easy way to run a label or because they're too busy. But passively signing music you are sent means your roster will become an undefined hodgepodge of changing artists that your fans will have trouble connecting with over time. Passively signing music also means your best artists will float away to other labels that give them more attention. Don't let this happen. Earn the loyalty of your artists by spending time communicating with them.

An Active A&R label manager knows their core artists well and establishes a relationship with them that extends beyond the music: friending them on Facebook, asking them about non-music things and being a part of their normal lives. If you can't get along well with an artist with this kind of relationship, then you might consider dropping him from your roster.

Consider emailing your core artists periodically just to say hello, checking in on something or another that you remember or wrote down, and fostering the relationship. By keeping communication open and friendly, when they finish tracks or are up for something new, they will likely tell you. And the better you get to know your artists, the more you know how and when to pitch new projects and which ones are a good fit. It takes real time, human time, but this is the most effective use of your time as a label manager. If you're not doing this, then anything else you're doing is not yet worth your time.

Example: A prominent artist from the early days of Proton Music retired after becoming discouraged with low sales and recognition. The passion was gone and encouragement from others was not enough to sustain their interest in writing new music. More than 2 years later, out of the blue, Proton Music received a full album from the artist. Why did they send the album to us? The artist said it was due to the relationship we had fostered on their last release.

Communicate with your artists in the medium of their choice. Some artists are more responsive on Facebook, others prefer Skype or good old fashioned e-mail. Be available.

A good label manager spends time on the things that matter to the artists on their roster. Find out what matters to them. Ask them about their goals. Then, spend time on these things by encouraging and helping them reach for their goals. Even if a goal isn't fully reached, just by trying you'll be making a big difference in their lives. By doing so you will inspire your artists, earn their loyalty, and be sent new music.

This could mean going after remixers an artist admires on their next single, potentially even paying a remix fee to do so. It could mean sharing their latest chart on your Facebook page. It might mean helping them get a gig somewhere. Get creative. Here are some ideas to start with:

• Hold a Remix Contest for the artist.
• Share something from the artist on your Facebook and Twitter.
• Get a remixer they admire to remix their work, or vice versa.
• Help them get a gig or introduce them to local promoters.
• Let them know when their music has been charted or featured.
• Send them the feedback their release received on your promo pool.
• Help them get featured or interviewed on blogs, podcasts, and anything distributed.
• Respond to their social media posts and re-tweet or share when they're important.
• Find a way to meet in person, maybe at a conference or festival.
• Be their friend.

Chapter 4: Involve your roster on every release

With a solid artist roster established, the next goal is to associate a core artist on each and every release on your label. This builds your label’s brand by establishing a family of talented and reputable artists. Over time, you want the artists themselves to become recognized as members of your label’s family on their own. This way the artists you showcase time and again on your releases become as symbolic of your label as your logo and covers.

Of course, this is ideal, so not easy to do.

An Active A&R manager has a project in development with every core artist. No artist wants to be hammered for music all the time, but there are different ways you can involve a core artist in a release:

Original EP or LP – Originals by your core artist
Remix – Your core artist remixing someone else
Derivative – Revisit an older track by your core artist with fresh remixes
Compilation – Selection of previously released work, maybe mixed by a core artist
Sampler – Your core artist helps you sign new tracks for a Various Artists collection
Guest Mix – Invite a core artist to your show or podcast to promote a release

Varying these options and opportunities should keep your artists excited and engaged. When an artist on your roster finishes one, start working on another.

Chapter 5: Derivatives - Singles & Remix EPs

Don't let the word "derivative" scare you. This isn't math class or Wall Street.

The last chapter listed 6 types of releases that you could be working on with your core artists. Originals and Remixes are straightforward: your core artist could have a release of new material or they might be working on a remix of another artist's track. But the third kind, a derivative, takes some explanation. It is one of the most important kinds of releases in the digital music business.

A derivative release is a release which features new remixes of previously released original material. It's not just a remix EP. There are two kinds of derivatives:

• Single - Take one track from an EP or LP and re-release it alongside fresh remixes
• Remix EP - Remixes of one or more tracks from an EP or LP without including originals

Don't feel obliged to include remixes on the initial release of your original tracks. Remixes can take a lot of time to develop, so separate remixes from the originals whenever possible.

You can create multiple derivatives from an original EP, whether a month later or 6 months later. It's a great way to keep a core original artist on your roster active in your ongoing release schedule when they're not in the studio writing new music for your label. If you have the good fortune of releasing a hit original, then revisiting that track later can generate a lot of interest: not just from your fans, but your own artist roster, too. Hold on to the remix packs your artists send you.

Derivatives are not cheesy re-releases: Many labels take successful tracks and re-release them over and over with nothing new. This is gimmicky and usually distasteful. But a derivative can be a fresh take that adds new value. In some cases you may be surprised – a derivative release, if done right, can sell as much or more than the original release.

Use your promo pool to discover potential remixers: When you release originals, either on an EP, LP or compilation, you can monitor which artists in your promo pool like the tracks the most. If an artist in your roster supports an original in your promo pool, then seriously consider speaking to them about headlining a derivative Single or Remix EP. This is frequently the most powerful and effective use of a promo pool.

Communication is important. Be sure to keep the original artist informed about the derivative releases you're planning, and if possible keep them engaged in the development process. If an artist seems uncertain about the idea of new remixes or a re-release, try to get them excited by asking them for a list of remixers they'd like to see on such a project – then see if you can get any of them. If an artist is opposed to derivatives, don't do them.

Derivatives help you earn back advances & fees. When you are looking to invest money in your label by paying a fee or advance to an artist, consider first paying the artist for original material rather than for a remix. You can develop as many derivative releases as you need of an original track to earn your money back. If you just pay for a remix, all you can do is re-release that remix.

Derivatives don't need to be just on your label: Bestselling or high profile tracks on your label have big potential for getting licensed to other labels, which earns you more money. As an active label manager, don't passively wait around for a licensing opportunity to come knocking. Take control. To help, Proton has developed the concept of an "Edition," wherein a top track from your Proton label can be licensed and developed as a derivative on another Proton label with fresh remixes from the other label's best artists. Unlike normal licensing deals, the cross-label contracts are simple and royalties are reliable since everyone is on the same system. Speak to your core artists and find out if they're interested, then get in touch with Proton.

Chapter 6: The Seasonal Compilation Series

The most common advice Proton gives to up-and-coming as well as established labels is to maintain a recurring compilation series that releases seasonally every quarter: winter, spring, summer, fall. This is not a compilation featuring music you've already released, but rather entirely new material.

There are several reasons to do this which all support the main goal of increasing sales:

Try new artists

If you have a brand new artist without a significant track record, these compilations help remove the risk of releasing their music by demanding far fewer of your resources than an individual single or EP. Keep track of which artists on the compilation sell the best then help them build their success on your label with more releases. Introduce new artists on your compilation series before adding them to your label's roster.

Break new sounds

Seasonal compilations are the best way to release great tracks you've signed that may not be ready yet for their own EPs, either because they explore a new sound or they come from artists who only submitted one track. By releasing these tracks together, you can find out which songs sell best and which deserve their own EPs, either bundled with new material or new remixes.

Expand your audience

Each of the artists on the compilation will promote your release to their own social network of fans and friends. This drives a lot of attention towards that specific release and your label overall. Plus the fans of each artist get notified via My Beatport letting them know the release is available.

Feature bonus material

An artist may deliver additional mixes of a track they are working on. Multiple mixes of the same track by the same artist on the same release can hurt sales and your chances of making it into the charts. Fans often only buy one mix of a track so the sales get spread out. But you can honor the efforts of your artist by including their extra remix as a bonus track on your seasonal compilation, which will also bring more attention to the original release.

Reinforce your brand

These compilations create a series that your fans and artists can be excited about, expect and support every quarter. Like a season premiere or finale of a TV show, it can be an expected culmination or launching point for a "new chapter" in your label's history. Make it a seasonal event to showcase fresh new sounds and celebrate the growth of your label.

Increase your sales

This all leads to generating more sales. If a particular track or artist on the compilation sells well or resonates with your promo pool, then you should begin derivative development of a full single release or remix EP for that track. This is a nearly foolproof way to increase sales and followers for your label. You've determined there is demand for that track amongst your label's following. It is now worth your time to work further with this artist. Add them to your roster and get them involved in new projects.

The below examples of seasonal compilations were the #1 best-selling releases of the quarter on their respective labels. Seasonal compilations aren't just an A&R tool, they sell great too!

Mixed & Unmixed

A seasonal compilation doesn't have to be mixed. In fact, pulling together a DJ mix can delay a release or make featuring a track on the compilation difficult. A mix also doesn't help sales. So instead, include all the tracks you want on the release (even if they wouldn't mix well together), then mix a podcast or radio show featuring as many of them as fit together. Perhaps invite an artist on the compilation to do the mix for you.

If you're looking for new artists and tracks for your series, Proton's weekly pack of demos is a great place to start. You can also ask artists already on your label if they have any friends or suggestions for artists to work with.

Chapter 7: Release Every Week

Releasing music weekly keeps your label at the forefront of your fans' attention. DJs shop for music weekly. Listeners shop for music weekly. Release music weekly and they get to know you better.

On Proton there have only been a few labels to hold the #1 best-seller position across our entire roster. Labels like Proton Music, Particles, Lowbit, Intricate, and Dear Deer. These labels share something in common: they were releasing new music every week.

Quality and Quantity

The modern electronic music label must master quality and quantity. A majority of successful labels release weekly without compromising the quality or integrity of their products. It's not easy, but you can, too. Releasing music weekly will not guarantee high sales, but it's something most successful labels do for a reason. Releasing less frequently does not make your individual releases more noteworthy. If every release is a good release, they are all noteworthy and recognition increases week after week.

If you don't have enough music you love to release weekly, consider expanding your artist roster or A&R team to find more talent consistent with your label's sound.

In some cases, labels that release frequently like Spinnin', Anjuna, Proton Music, and Silk Digital will release more than once per week, but they do so via sub labels. Releasing weekly is the ideal threshold for a label due to market demand. Releasing more than once per week on the same label decreases per-release sales. Do not release more frequently than once per week!

Please your fans and stores

If your label lands features at Beatport, maintains quality, and begins releasing weekly, chances are Beatport may feature you every week. This happens to many of the high profile labels on Proton. The editors of the store and fans expect to see regular content from who they like. It's incredibly valuable for your brand if you're getting featured more than once a month on Beatport.

Support your back catalog

A common misconception of releasing music weekly is that it decreases the sales of individual releases. Not true. Weekly releases increase sales, not only because of the exposure and fans' expectations, but because each weekly release highlights your back catalog. If your music is good, fans will dig deeper and see what else you've got. Any time you release new music, sales of your back catalog will likely sell as much as your new release each day, and sometimes even more. A DJ might buy one track from a new release and 3 or 4 or more from the back catalog if she's a new fan.

Optimize your workflow

The most challenging aspect of releasing weekly is the sheer difficulty and amount of time it takes to pull a release together. If you can't release weekly, then release every other week. At the very least, release once a month. If you can't release once a month, then you are a niché label and thanks to the fast-paced digital landscape, sales numbers should probably not be your top priority.

Identify and eliminate roadblocks that could be preventing you from releasing weekly. Here are some common bottlenecks & solutions we'll explore in the next chapters:

• Cover Art
  Unless you have a significant budget for cover art, you should have a strong and beautiful template designed where you can easily change the color & text for each release.
  
  
• Release Cloud
  Have plenty of releases in development at any given time.
  
  
• Liner Notes
  Don't bother with liner notes unless someone can do them well. If you can't do that, try to at least include credits so people can find your releases better (producers, remixers, writers, vocalists, engineers, designers.) If you can't do that, just place your label's website and social media links as your liner notes.
  
  
• Promo
  Question any time you spend on promotion beyond SoundCloud, Facebook, Twitter, and your promo pool. The benefits of releasing weekly will likely have more of an impact than any additional promotion you spend time on. Unorganized marketing has less successful results compared to releasing music from established names on a weekly basis. Market major releases far and wide as your budget permits, but hire experts. Spend your time on the music.

Chapter 8: Review Performance

Building a business based on tracked performance and analytical data is essential for major success. Likewise, when a record label decides to feature artists based on their statistical performance, this can lead to a dramatic increase in sales and recognition.

Once your label is releasing weekly and you've begun quarterly compilations, it's time to start doing performance reviews. Look at your label's stats every week and find trends. Who were the top performing artists on your compilations or releases this week? What new projects can you work on with them?

You may notice that an artist who releases regularly and sells consistently in moderate numbers can be more valuable than an artist who releases rarely and sells a bit more. Compared to a traditional headliner, you can rely on a "high average" artist to boost sales for any release on which he is included. The top-selling, high profile artists on your label are valuable, but don't underestimate your label's ability to grow by focusing on the artists who sell most on average.

The daily data Proton provides - song sales, artist followers and computed stats - gives you a near real time view of your label's performance that you can use to your advantage.

If you are releasing weekly along with quarterly compilations, check in with Proton to request an assisted performance review. We can work with you to develop your strategy further.

---

Implementing the quarterly compilation series (Chapter 6), weekly release schedule (Chapter 7) and performance reviews (Chapter 8) is as close as you can get to a guaranteed successful strategy for growing your label.

One of Proton's labels became the #1 best-selling label of the year with this 3-step strategy, and it didn't require big name artists or any artist advances to make it happen. It took hard work and patience. Your label won't be successful overnight, but it can be over time.

Now, we'll look into some of the challenges and opportunities of a weekly release schedule - the most difficult aspect of this 3-step strategy.

Chapter 9: Strength in Numbers

There is a formula for the number of artists and tracks that should be included on your weekly releases to make them successful. In this chapter, we’ll look at how best to program each release to maximize the benefits of releasing weekly.

# of Artists

Having several artists appear across releases each month gives you the best and most consistent data for your performance reviews. The more artists involved in each release as you grow your label, the more information you have to determine whom to work with next.

Including more artists also means a combined fan base giving more attention to the releases. When all the artists share their tracks on social media, it builds buzz for the whole release, which could mean more followers and fans for your label.

As you grow your label into higher echelons you will include fewer but bigger impact tracks on each release. Even then, quarterly compilation series are still effective for attracting wide attention and identifying who is going to be big next. It’s one of the main reasons compilations sell so well in general.

When putting together a remix EP, consider involving several remixers with different fan bases to remix multiple original tracks. A remix EP where multiple originals are remixed will be more successful than a single where only one original is remixed. Keep in mind that fans generally just buy one remix of a track, so including remixes of different tracks will increases sales as well as attention.

# of Tracks

So how many tracks should you have on each release? That depends on how well each artist’s tracks sell on average. Choose a goal for the number of tracks you want to sell on a release, then structure a single or EP with enough tracks or remixes from well-selling artists that you will hit that goal. This is where you can use your performance reviews. Depending on whether your artist averages are higher or lower, your track count will vary accordingly.

Eventually you will encounter a tipping point: The more successful your label gets, the fewer tracks you need on each release because of how well your star artists sell.

As your label grows up (as sales increase, as you work with higher profile artists, as your songs have the potential to break into the charts) then it’s time to start releasing fewer tracks on each release. Usually around 3 or 4, but sometimes just 2 or 1. If you have a lot of attention/sales on each release due to your label’s status, focusing on fewer tracks will vastly increase the chances of these tracks hitting and staying in the charts. Most people only buy their favorite track from a release, whether it’s out of 6 or out of 2. If your goal is the charts and you have what it takes, consolidate each release to fewer tracks.

Chapter 10: Cover Art

Your logo and your cover art are the crucial visual connection between your label and your audience. Second only to the music you sign, the brand you present is the most important factor to the success of your label. There are 30,000 record labels. When a buyer is looking for something new in the store, they click on what looks best.

Depending on your label’s budget, there are ways to scale the quality of your cover art from good to amazing. Having exceptional cover art each week can be challenging, but there’s a sustainable way to make it work as your label grows.

First, invest in a great logo. Not a good logo. A great logo. One that perfectly represents your label and stands out against competitors. You can begin using just that as a cover for your first releases. A great logo can stand on its own and build brand recognition as your label gains momentum. And your release information is usually displayed next to it in stores.

When you’re ready for a jump to the next level of cover art, consider hiring a designer to create a cover template with your logo featured along with text and colors that can be changed for each release. You are probably familiar with this method from labels like Anjuna and Spinnin’. It’s a method that has been around for ages and works. It reinforces your brand while giving each release its own look. Interchangeable photography and other elements can be incorporated as well. Ask your designer for ideas.

Finally, when you’re ready, it’s time for unique, custom cover art for each release. If the design is good, this takes your label’s brand to the top level. Not only in buyers’ eyes, but in artists’ eyes. There is a prestige associated with presenting your label in its best possible light every single time by uniquely tailoring your art to each release. It shows you care about every detail. You attract the best artists and the most buyers if you look your best every time they see you.

Now you can really get the most out of your art. When you’ve reached the level of having unique covers, you can maximize that value by modifying the art for derivative releases. When you have a standout cover, you can use variations on the art as covers for remix releases. For example, have your designer change some colors, add new title text, and add the remixer names. If the design is strong and the designer is good, it will increase the value of the art you paid a premium for many times over while you also gain more value from the album itself by releasing remixes.

IMPORTANT: Do not make your own cover art unless you, yourself are a trained or established designer. An unfortunately common practice for label managers is to design their own art to cut corners. Don’t do that. A successful label never cuts corners to save on costs; it works efficiently. Among many options, you can hire an inexpensive young designer on a royalty basis or you can recruit an established designer for industry-standard fees that can later be reduced for derivative covers. Proton can help you with both. If you need guidance to find the right designer for your label, ask us.

Chapter 11: The Release Cloud

You need a lot of releases in development in order to release weekly, but that can be difficult to manage. So you need a system to keep track of everything you’re working on. To be a successful label manager that releases weekly, you’ll need to become a successful project manager as well.

For Proton’s own managers, our method is the Release Cloud.

The Release Cloud is a single spreadsheet packed with all the information for every release in development, including when each track has been worked on last, what has been delivered, and notes for next steps. A Google Docs spreadsheet is perfect for this so everyone on your team can say updated or collaborate.

Most releases share a common workflow: Originals are signed, remixers are chosen and sent remix packs, tracks are delivered and mastered, cover art is commissioned, then everything is uploaded to SoundSystem. Your single spreadsheet can easily keep track of everything.

One of the most important fields in your Release Cloud is the “Bump Date.” This is the date when you last spent any time developing a track or release, whether it was communicating with the artists or processing any files. If a Bump Date is more than a few weeks old, think about doing what you can to move that project forward. And be sure to update the Bump Date once you’ve taken action.

Ideally you should have enough releases in development that artists are emailing you and initiating a new bump date on their own. Never let development on a release stagnate though, especially if one of the remixes is already completed.

If no one is emailing you, then sweep through your Release Cloud once a week and make sure your releases are progressing as they should. This way you can keep up with your artists while giving them uninterrupted time between email chains to do their best work. Always update the touch dates whenever corresponding with your artists.

This system helps you schedule efficiently, keep track of tasks you assign to other members of your team, and make sure no releases get left behind.

If you’re interested in learning more about the Release Cloud or getting a copy of Proton’s templates, let us know.

Thanks goes to Jondi & Spesh of Looq Records for inspiring the Release Cloud

Chapter 12: Schedule Only When Done

Do not schedule a release date until the release is actually complete on SoundSystem.

100%. Finished. Done.

This may seem counter-intuitive, but it avoids some of the most common problems label managers face and reduces a lot of stress. Set a goal calendar to make sure you are working on enough to fill your weekly schedule, but keep it to yourself or your team. Be flexible.

This means not giving artists a projected release date until their release is scheduled in SoundSystem. When they ask, tell them that it will be scheduled once it’s complete. If they owe you something that is holding up the release date, this is a great way to get it.

Chapter 13: Your Promo Pool is a Powerful A&R Tool

Label managers know that a promo pool can be an important component of electronic music label management to get tracks into charts and radio playlists, which can help to land Beatport features, but your pool can also be a critical tool for A&R, particularly if you’re using a service with social features like Promo Push, Mjoozik, or VIP Ultima. You can use the feedback on releases to find future remixers and to strengthen your label’s relationships with the artists you care most about.

To begin, make sure every artist on your roster has been invited to your promo pool and keep your contact list up-to-date with each new artist you sign. Sending your label’s releases to your roster not only builds loyalty, but you can get important insights by asking for their feedback.

Next, invite artists to your promo pool that you would like to have on your label but haven’t signed yet.  Instead of asking these “wish list” artists for an original track or remix right away, first see how they respond to the music on your label.

To maximize the promo pool’s benefit to A&R, consider releasing original material without any remixes on the first outing. EPs, albums, samplers, etc. Then use the positive feedback to identify artists you can ask for remixes. You’ll find artists are much more likely to say yes when you ask them to remix a track you know they already like! And you may be pleasantly surprised to find which artists support your track and reveal themselves as candidate remixers.

This method is much more efficient and effective than starting remix development from scratch. Original material comes out first, when it’s fresh, and remixes can come later to help fill out your weekly schedule. The originals build awareness for the remixes, then the remixes help drive sales of the original release.

Tip for VIP Ultima

Feedback from a major DJ or respected artist can make a big impression on fans and promo pool subscribers, so you want feedback from big names listed first. This gives everyone a favorable view of your release before they even hear it! There’s an easy way to do this at VIP Ultima.

Assign a “tier” to each of the contacts in your promo pool. At VIP Ultima, there are 4 tiers: Platinum, Gold, Silver, and Bronze. This is valuable because feedback is sorted by tier. Platinum-level comments are displayed first, then Gold-level, etc.  Tiers can be assigned in the “Contact” tab or by clicking the “e” directly on the feedback of an individual DJ on one of your releases.  

Another benefit is the ability to send promos to your different tiers at different times. You may want to send hugely influential DJs promos several months in advance, but lesser-known DJs only a few weeks early. This way the big DJs have exclusives but eventually all your artists will be able to support your tracks before the release date.

Tip for Promo Push

Pay attention to when your promos get the best response rate, then send your promos out at this time. For Proton Music, we found sending during the week around 2pm UTC is particularly effective.

Promo Push lets you schedule the exact time your promos get mailed, so they can automatically go out at the best time, even if you’re not around. You’ll get a lot more feedback this way.

And never send promos out on the weekend. You might have time to do it, but no one is at their computer listening to promos during the weekend and your email will get buried. This is true for corresponding with your artists, too. Wait until Monday to send that email.

Chapter 14: Radio Show

At some point, consider starting a podcast or radio show to grow your fanbase beyond word of mouth and DJ support. Start with a monthly show, and as it grows more popular, consider finding an intern or artist on your roster to handle taking the show weekly. You don’t need to be the host, and you may not want to be. A core artist on your label can be a great resident and other team members can be good producers.

Your show can also be a way to grow relationships with your artists:

• Invite artists featured on your new releases to do a guest mix.
• Invite artists you’d like to reconnect with to do a guest mix.
• Invite artists you’d like to have on the label but haven’t signed yet.

Syndicate the show as wide and as far as you can. iTunes, SoundCloud, etc.

And don’t wait to get a show on Proton because invitations aren’t sent out often. Start on your own and start growing your fanbase now. If you have questions, get in touch and we’ll help out.

Chapter 15: Stop Ineffective Promo

Don’t waste valuable time on generic, ineffective promotion. There are 30,000+ labels on Beatport spamming the internet with ads and posts for their latest releases. Until you’re already doing everything in this guide, you probably shouldn’t spend time or money to promote your release any further than the ways listed here.

Traditional advertising looks sparkly but rarely gets results. Incessant posting on social networks with tags and calls to action quickly gets ignored or worse: you’ll be unfollowed.

If you’re acting on what you've already read in this guide, you will likely be busy succeeding without needing extra promotion. Plenty of opportunities for exposure will be coming your way, even if there is a temporary lull.

If you’re not getting the exposure and recognition you feel your label deserves, revisit chapters in this guide and see if you can better implement their ideas.

Your artists are one of your most valuable assets when it comes to marketing, exposure and reach: talk to them, connect with them, and if you’re still not getting the growth you feel your label deserves, then you may need to sign talent with a bigger profile.

Note: Innovative, unique, non-traditional promotional efforts can truly be effective, from interacting with fans directly in a creative way to strategic partnerships. But monitor the results very closely. Time is not a luxury for record label promotion, so stop something immediately if it’s not working. But if it is working, double down and act quickly!

Chapter 16: Remember Why You’re Doing This

Running your own record label can be incredibly rewarding. It offers you unique artistic opportunities potentially unavailable any other way.

Expression - Your label is a creative outlet with no restrictions, no limits, and no one telling you what to do. You have full control of the creative process from beginning to end, make your own decisions, and can express your unique sound and vision to thousands, maybe millions of fans.

Independence - If you’re an artist in your own right, then your own label means the freedom to release your music on your own terms. Decide how it sounds, who remixes it, and how it’s promoted exactly as you want it done.

Prestige - Raise your profile and gain recognition amongst your peers and fans by releasing great music your way, showing people you mean business, and that you’re a professional. When your label looks good, you look good.

Community - Recruit strong musicians and good people to create a like-minded crew. Promote each other, work together, and have more fun. You can make a lot of great new friends when you’re releasing music together.

Of course, through experience and from reading this guide, you know managing a label is not easy. Making your label great demands enthusiasm and relentless dedication.

It can be a great journey, a satisfying achievement, and bring a lot of people a lot of happiness, but it all depends on you. Are you ready?