MP 320 – MUSIC PRODUCTION FOR RECORDS
Instructor: M. Benoff, PC Alexander, A. Carbone, M. Walsh, A. Edelstein
Mailbox: MS 150-MPE Phone: 617.747.2400
Office: Room A-17, 150 Mass Ave. Office Hours: _______________________
Course Chair: Rob Jaczko
Description: A study of the creative and business aspects of producing records. Emphasis is placed on
the creative and aesthetic techniques of production. Topics include song choice; song analysis; lyrics
analysis; artist development and creative vision; scheduling, budgeting, and prioritization of tasks;
communication issues; compromise and flexibility with regard to artist’s vision; servicing the artist’s and
the record company’s needs; and tracking the development of the production process from demo to
master. A two-stage recording project is required, culminating in a Master Recording for release as a
Course Objective: Upon successful completion of this course, the student will have knowledge of the
principles presented sufficient to apply them to practical situations, and will have completed two record
• Studio Handbook and Facilities info, both of which now reside on the MP&E website
• The Art of Producing by David Gibson & Maestro Curtis (for PC Alexander’s sections only)
Homework, Projects, Out-of-Class Preparation: Class participation and projects will be required. In
order to maintain satisfactory standing in this class, approximately three to ten hours per week of out-of-
class preparation are recommended.
Pre-production Completed: Week of March 8 – March 12, 2010
Master Recording Project: Week of May 3 – May 7, 2010
Grading: General information on grading is contained in the Student Handbook. If an assignment,
quiz, or exam is missed, a grade of F will be entered and averaged. The mark “I” (Incomplete) will only
be available in emergency situations; see Student Handbook for policy.
A (93-100) C+ (77-79)
A- (90-92) C (73-76)
B+ (87-89) C- (70-72)
B (83-86) D (60-69)
B- (80-82) F (below 60)
MP 320 syllabus 1/15 SP 10
Final Grade Determination: Your final grade will be determined by an equitable consideration of the
• Attendance, class participation and attitude
• Weekly assignments, including proposals, budgets, and emotional timelines
• Timely in-class presentation of pre-mixes and producer’s reference mixes (see below)
• Production projects, including all paperwork
Attendance Policy: You are allowed one unexcused absence during the semester. If your 2nd unexcused
absence occurs after the "W" deadline (see below), a course grade of “F” may result. Withdrawal is not
automatic. It is your responsibility to initiate withdrawal proceedings prior to the "W" deadline.
Deadline for Course Withdrawal: 5:00 p.m. Friday, March 26, 2010.
You may withdraw from this class by completing a Student-Initiated Withdrawal from a Class form at
the Office of the Registrar. The withdrawal form must be submitted to the Office of the Registrar
before the end of the 9th week of classes in Fall and Spring semesters, or the end of the 8th week in
the 12-week Summer Session. If you submit the withdrawal form by the deadline, you will receive a
grade of “W” for the class. Withdrawing from a class cannot be done after thes deadline.
The instructor will not withdraw you from the class for any reason (including absence) or submit the
form for you. It is your responsibility to withdraw from the course.
If you withdraw from this class, you continue to be ﬁnancially responsible for the class and are not
eligible for a tuition refund or replacement course. Please be aware that withdrawing from a class
may affect scholarship, ﬁnancial aid, and/or international student visa status. If you receive ﬁnancial
aid or veterans’ beneﬁts, your eligibility for aid may be reduced by withdrawing. If you are an
international student, you may jeopardize your F-1 visa status.
In case of doubt about your status and options, ask the instructor, department chair and/or the
Counseling & Advising Center.
All official communication in the MP&E department will be conducted through your assigned berklee.net
email account. It is your responsibility to ensure that emails delivered to your Berklee student account
are received, read, and acted upon in a timely fashion. You may choose to forward your berklee.net email
address to another account, but you are still responsible for maintaining access to this account, checking it
and regularly keeping space available for new email deliveries. Please ensure that your berklee.net
account does not exceed its allotted storage space. The department is not responsible for your missing
communications delivered to berklee.net email accounts.
Class Start and End Time
All classes begin promptly on the hour, and end at ten minutes to the hour.
MP 320 syllabus 2/15 SP 10
TOPICAL COURSE OUTLINE
1. Course synopsis and goals: Assignment of ongoing production consisting of two multi-
2. Song selection and refinement: Arranging, song form, melodic, harmonic and lyric
3. Responsibilities of record producers: Creative and business aspects; the record company
and artist as clients. Analysis of different production approaches and styles, with attention to
artist relations and label goals.
4. The A&R Process: What producers, labels and audience members look for and various
criteria for judging potential new artists.
5. Production planning to show the best of the artist and material: Analysis of recordings
from various record releases to show the artist’s intentions, and the producer’s methods,
successes and failures.
6. Producing the successful master session: Goals, pre-production, learning from the demo,
refining the arrangement, honing the "sound", focusing the project, time allotment in and out of
7. Review of student pitches, pre-production and master recording projects: Projects are
evaluated at every stage of production. Students should bring in their projects-in-progress every
week for feedback.
MP 320 syllabus 3/15 SP 10
MP 320 MUSIC PRODUCTION FOR RECORDS
Supplementary Course Information
Two-stage Production Project: Each student must produce and hand in a pre-production demo,
and a master recording project for grading during the term. Each project must be proposed by
submitting a detailed description to their instructor. This project description should include
written goals, schedule, budget, instrumentation, style, and any other information required by the
Pre-Production – One to three song Artist/Song Demo – In the first weeks of the semester, the
producer will engage in pre-production with the artist in preparation for the project. This will
include work towards defining the artist’s identity, intention and vision, choosing, strengthening
and focusing the material to be recorded, and making demos of up to three songs under
In weeks two or three, the 320 producer must submit a written pre-production plan to their MP
320 professor, which should include written goals, schedule, budget, instrumentation, and any
other information required by the professor. See “Assignment #1 - Independent Producer A&R
Project” for more information.
Six hours of studio time are available for each 320 producer to use in this pro-production phase,
this time must be booked by the 320 producer by the announced date through standard booking
procedures. Each week, the producer must be prepared to report on, and play in class, the
current state of pre-production for their project.
This pre-production process will culminate it a demo, recorded by the 320 producer and artist, of
the material to be recorded for the Master Recording Project, and a written plan for the execution
of the project, including a schedule and budget.
Master Recording Project - 20 hours in-studio recording and mix time. With the knowledge
and experience gained in the pre-production stage, the producer will complete a Master Quality
recording of one of the songs demoed in the first half of the semester. MP 385 will record the
project in ten hours of studio time, MP 441 students will mix it in six hours of studio time, and
tweek/re-visit the mix.
The written plan for the execution of the project (see above), must include a detailed schedule
delineating all studio sessions with the goals of each session and the personnel involved to their
professor before they can book studio time for the project.
Musically, students are free to produce any song intended as prospective record releases, which
meet the approval of the professor. This project should consist of a substantial grouping of live
musicians. These projects will give the student experience in planning, rehearsing and executing
a complex production involving a high degree of coordination among many participants.
MP 320 syllabus 4/15 SP 10
For rules concerning project engineers, see the MP&E website, and the MP&E Handbook,
section 4.2. For rules concerning artist and repertoire, see the Handbook, section 4.3.
The week before the six-hour mix session with the MP 441 engineer, students will be required to
bring in their Pre-Mix and Producer’s Reference Mix for review in class. The Pre-Mix will
consist of the Pro Tools session on the class hard drive, with all editing, comping and other “pre-
mixing” tasks completed (see “Preparing for your MP 320 Mix Sessions” later in this document).
The Producer’s Reference Mix is the two-track culmination of the Pre-Mix, used to convey the
producer’s concept of the mix’s direction to the mix engineer. Failure to present the Pre-Mix /
Producer’s Reference Mix on time will negatively impact the student’s grade.
After the six-hour mix session, the producer and MP 441 mix engineer will have an opportunity
to revisit the mix in a four hour tweak/re-mix session.
Project Grading Requirements: The total package submitted must include:
1. A CD-R, fully LABELED.
2. A completed PC (Project Completion) form. This details the amount of studio time, tape,
and other resources actually used during the project and lists the names and I.D.s, and
appropriate AFM, AFTRA, or negotiated rates and payments for all creative participants in the
sessions. The PC must contain signatures of the AFM leader, AFTRA leader/singer or
contractor, and the student producer of the project.
3. A chart and lyrics, neatly and legibly written or printed.
4. A Invoice for your time, which includes a Production Log listing the dates, hours, and
a) All planned meetings with your artist, engineers, writers, arrangers, and performers.
b) All instrumental and vocal rehearsals for the sessions.
c) The actual tracking, overdubbing, editing, and mix down sessions.
5. A Production Report addressing the following three questions:
a) What was your biggest challenge?
b) What did you do about it?
c) What did you learn from the process?
Grade Reductions: One letter grade will be deducted on any project:
MP 320 syllabus 5/15 SP 10
a) turned in without a Project Completion Form
b) turned in without a Production Report
c) turned in without an Invoice/Production Log
d) turned in without a chart and lyrics
e) whose CD-R is not properly labeled.
For penalties resulting from infractions of artist or repertoire rules, see the MP&E Handbook,
Project Regulations: No non-Berklee groups may be recorded for production projects. In rare
cases, a limited number of non-Berklee musicians may be used only with the instructor’s prior
approval. Ex. strings, harp. Violation of this policy will result in failing grade. Producers and
engineers may not record on or mix their own projects. The ONLY exception is students
enrolled in both MP 461 and MP 475 may mix their MP 461 project and use that as their MP 475
Due Dates: 5:00 PM on the dates below. Turn in PCs, media and associated paperwork at the
MP&E Office located in Room A-17 at 150 Mass. Ave. They will be stamped with the date
Pre-production Demo ___________________________
Project Recording Agreement Form ___________________________
Project Pre-Mix Week before mix session
Final CD and Paperwork ___________________________
Late Policy: No late projects will be accepted for grading. No incomplete will be given.
Booking Sessions: Online sign-ups and in-person booking will be done as per the procedures
outlined on the MP&E website.
Production students must complete a Recording Agreement and turn it in to the studio office
(Room B 8) by the posted due date for that project. It is not necessary to have the instructor’s
approval before students book time. A completed Recording Agreement must be on file in the
studio office in order for the student to be able to book studio time for each project. Students are
encouraged to hand in Recording Agreements as early as possible (before the due date) in order
to obtain the best selection of studio times for their session.
Section I (personnel): This part is just like the Letter of Commitment and is filled out in the
same manner; the producer must get the signature of the required engineer for that project before
the posted due date. Failure to do so will result in having an engineer assigned to you. Engineers
may sign only one Recording Agreement before the posted due date.
MP 320 syllabus 6/15 SP 10
Section II (studio hours needed):Designed to act as a booking guide, this part must also be filled
out prior to booking. It is a breakdown of intended hours for all types of sessions needed for the
project, as well as instrumentation.
Section III: This part will be filled out by the studio office staff when the student books time and
is a record of the dates and times booked. This form can be picked up at the studio office.
Practice versions are available. The project assignments are as follows:
Media: Students must use their own USB2 hard drives for all recording and overdubbing.
Students must supply their own CD-Rs for project grading. Data loss will be considered the fault
of the producer, and will not be grounds for extra studio time or leniency of any kind. Always
check drive allocation before recording, and keep three current copies of all of your sessions on
hard drives and/or DVD-Rs.
MP 320 syllabus 7/15 SP 10
Collaboration is central to your experience in MP&E. As producers, you will be acting both in a
leadership role, and in a service role.
As the person in charge, it’s up to you to make sure everything goes the way it is supposed to go;
studio time gets booked, engineers and assistants get hired and know what needs to get done and
when, musicians show up for rehearsals and sessions prepared and ready to play, sessions run
smoothly with a minimum of wasted time.
You are also providing a service to the artist, by helping them achieve their vision for the record.
It’s their record, after all.
Producers also provide service to record labels, and it can sometimes get tricky satisfying both
the artist and the label. In 320, your professor will be representing the interests of the theoretical
Excellent communication skills are essential. You are the pivotal figure who is bringing together
this project, and you need to get people on the same page musically, artistically, technologically
Motivating others to do their best work, team building, promoting comfortable interpersonal
communication, and setting the tone of the sessions will all make a difference, and they’re all
pretty much up to you. Develop a production style that fits your personality, or it will seem
forced, and will be hard to maintain.
Baseline Collaboration Requirements
1. You MUST use your Berklee engineer for all of your sessions at Berklee. You will be
evaluated on how well you utilize your engineer to make your record.
2. You MUST use ALL of your Berklee studio time for crucial aspects of your project.
You’re required to cut basics and mix in the studio. It’s up to you to choose what
overdubs will benefit most from access to a professional studio, and which overdubs (if
any) would be more appropriately done offline. You will be evaluated on how well you
utilize your studio time to make your record.
3. You MUST mix your project with your Berklee mix engineer during your Berklee studio
mix time. No other mixes will be considered for grading.
4. You may NOT play an instrument or sing on the project. You will be allowed to do both
in MP 461, but in MP 320, you are to develop your coaching skills, and you will be
evaluated on how well you bring out the best performances in others.
MP 320 syllabus 8/15 SP 10
5. You may NOT record a song that you have written. You will be allowed to do this in MP
461 if you prefer, but this class is about production skills, divorced from skills you may
posses as a songwriter or an artist. You will almost certainly want to work with your
songwriter to strengthen the material and the arrangement. You are welcome to do as
much arranging as your artist is up for, the key being that you need to sell your ideas to
your artist. If you are a songwriter, you may find this experience will help you become
more objective about your own material in the future.
MP&E Departmental Mission Statement
The mission of the MP&E Department at Berklee College of Music is to educate and train
students in the art and craft of Music Production and Engineering. Within a collaborative,
project-oriented environment, we prepare students for a meaningful career in the music industry.
It is our belief that success in the highly competitive and rapidly evolving field of music
technology begins with a solid musical foundation comprised of strong musicianship, musical
sensitivity, versatility, and the ability to listen critically. Also paramount to this endeavor are the
development of strong communication and interpersonal skills informed by professional
standards, practice, and etiquette.
To this end, we have designed a curriculum that focuses on critical thinking, problem solving,
the development of strong listening skills, and collaboration. Time management, organizational
skills with attention to detail, and proper documentation are also integral parts of the experience.
Collaboration is the cornerstone of MP&E. Being dependent on others and having others
depend on you cultivates the acquisition of all of the above skills and traits. This interdependence
also fosters the development of relationships toward career network support. Student
collaborators of today become music industry peers tomorrow.
The MP&E engineering curriculum is built on the notion that one's ability to absorb and adapt to
ever-changing technology is dependent not only on the capacity to think critically, but also on a
foundational understanding of analog and digital audio systems from an acoustical, electrical,
and signal flow perspective, balancing historical context with state of the art.
Further, reinforcing this understanding with substantial hands-on project time using professional
equipment is the only way to attain the technical facility necessary for a real career in music
technology. We therefore emphasize small class sizes and hands-on production projects in a
professional recording environment.
This is the MP&E experience at Berklee College of Music.
MP 320 syllabus 9/15 SP 10
Advice and Counsel
As the producer, the buck stops with you. If your engineer is late, drunk, or just does a lousy
job, it’s your fault. If your bass player is confused and misses the session, it’s your fault.
Responsibility lies with you in all aspects of this project, so you need to determine what it is
going to take for all aspects of this project to be successful.
The old adage, “An ounce of prevention is worth a pound of cure,” is especially true in the
recording studio, so heading off potential problems in pre-production, and having a back-up plan
for every foreseeable issue is key.
Care and Feeding of Your Engineer
At best, your engineer will be a valued, accommodating partner who will be interested in getting
inside of your head and sonically interpreting your vision, just as you are getting inside of the
artist’s head and interpreting their vision, musically and sonically.
At worst, your engineer will be uncooperative and second-guess your decisions, hyper-focus on
issues you deem to be not important in the overall scheme of the project, and waste valuable
time. In practice, you may feel like your engineer is some combination of both.
Here are some suggestions:
Choose an engineer before one is assigned to you. Ask around for recommendations. If you
don’t know anyone on the engineering list who isn’t already booked, cold call engineers from the
studio list, interview them, see if you hit it off, tell them about your project and see how they
respond. Rapport is important.
If you’re assigned an engineer you don’t know, don’t panic. Many of the most successful
producer/engineer teams in MP&E were born this way.
Either way, get to know your engineer once you have one. Listen to music together. Exchange
play lists. Have lunch or dinner together and discuss the project. If your engineer is not familiar
with the style of music you are producing, you have some educating to do.
You also need to educate yourself on who your engineer is and what their strengths and
weaknesses are. You’re out to create synergy, and you need to determine how to utilize your
engineer’s unique skills and background to make the record better than it would have been
without their involvement.
Get into a studio with your engineer and artist to lay down a simple piano or guitar/vocal version
of your song during practice time.
MP 320 syllabus 10/15 SP 10
Notice your engineers’ skill level, and delegate as much of the moment-to-moment sonic
responsibility of the record to your engineer as they can handle. You have musical decisions to
make, artists to keep happy, and musicians to manage, so the more you can trust your engineer to
do his or her job, the better.
A good artist/producer relationship is built on trust. Find an artist whose’ talent and vision you
trust in to make a record that is going to move people emotionally. Set about building a
relationship with your artist where they trust you enough to try your ideas. When it’s over, you
want your artist to feel as though they made a stronger record with you at the helm than they
could have made on their own, or with another producer.
If your artist doesn’t feel like you have their best interest at heart, or if they feel like you don’t
trust in their talent or share their vision, they may seem inflexible. Listen to what they have to
say. Listen to the records they listen to. Go to see them play live. Educate yourself on their
If it seems appropriate, walk through the Museum of Fine Arts together and get to know what
makes them tick artistically.
You may sometimes find yourself frustrated with your artist. Their vision may be foggy, or not
Artists are often insecure about their vision, their lyrics, or some aspect of their musical ability,
and this can sometime manifest itself as a rigid refusal to look at things in critical ways.
Your charge is to help them make the best record they can make. Sometimes this means just
getting out of the way, while at other times it may mean gently employing psychology to save
them (musically speaking) from themselves.
Balancing Label and Artist Interests
Kyle Lehning contends that as a record company head and producer, he often feels like “the
traffic cop at the corner of Art and Commerce.”
The label wants to sell records, and they want you to turn in a project that “sounds like a record”;
preferably a “hit” record. Artists also want to sell records, but they are less likely to claim that as
their primary goal. Artists want to express themselves, and they especially don’t want to feel as
though they are “selling out”.
Your vocabulary can help in your conversations with your artist.
Words that could turn your artist off: commercial, simple, hook, slick, repetition.
Words that are more artist friendly: accessible, focused, motif, tight, motivic.
MP 320 syllabus 11/15 SP 10
Just as in 318, you have to do a great deal of pre-production to get to the place where you
actually get the chance to “produce” in the studio.
You must take care of all of the mechanics of your sessions: booking studio time, and rehearsals,
lining up musicians, artists, engineers and assistants, getting charts and lyric sheets made, sorting
out logistics and having realistic back-up plans for any problems you see coming.
It doesn’t matter how good your musical ideas are, or how great a vocal coach you can be, if
people don’t show up in the right place at the right time, you can’t produce them.
Become an organization juggernaut:
• Type up a schedule and include everyone’s contact information.
• Email this to everyone.
• Give hard copies to everyone, every time you see them.
• Call everyone the day before AND the day of every session, meeting or rehearsal.
• Follow up every session with a rough mix to your artist and a list of what’s next on the
Preparing for the MP 320 Demo
The demo is your opportunity to assemble your team and take things out for a spin. Consider this
your pre-season exhibition game. Try things out. Be creative. Create an atmosphere of discovery
and experimentation. One of the best ways to encourage your artist to try new things is to
actually be open-minded yourself.
Just as important as what actually gets recorded on your demo is the groundwork you are laying
with your team, especially in terms of your relationship with your artist. The producer/artist
relationship can be pretty intense and complex. Pace yourself through the demo process---you
don’t want to have spent all your personal capital with your artist before you even begin
recording the actual record.
If you have ideas your artist is resisting, don’t push too hard too soon. Make a rough mix of the
demo with the idea on it, and let your artist slowly get used to it. If they’ve already performed
the song another way dozens of times, it may take them awhile to warm to new ideas.
Preparing for your MP 320 Mix Sessions
Six hours may seem like a luxurious amount of time to mix a four minute song, but it will go by
way too fast if you haven’t done everything you need to do before your studio time begins. Many
(if not most) records made for commercial release take considerably more than six hours to mix.
MP 320 syllabus 12/15 SP 10
Fortunately, you can utilize your laptop and ProTools LE outside of the studio to prepare for
your mix. One might call this “pre-mixing” in the box. Involve your mix engineer in this process
as much as possible; the fewer surprises you spring on your mix engineer the day of the session,
You may NOT use your studio mix time for anything other than mixing; this is not fair to your
mix engineer and shows bad time management on the part of the producer.
You MUST mix your project with your Berklee mix engineer during your Berklee studio mix
time. No other mixes will be considered for grading.
When you bring your PT session to your studio mix session:
• All tracks should be edited, comped, and consolidated.
• Your session should be to the point where once you assign tracks to appropriate
outputs, pull them up through the console and pan them, things already sound
Your mix engineer can then utilize the studio to refine your track through a variety of monitors,
warm up the mix by summing in analogue, use outboard gear to improve the sound of your track
and replace plug-ins (where appropriate).
To accomplish this:
Duplicate tracks that have lots of edits (vocal comps, for instance). Turn off the voice and hide
the original track. Consolidate the copy and keep it in the edit window.
On tracks that need a lot of time consuming, nuanced automation (lead vocal volume rides, for
instance), have your mix engineer accomplish a good deal of this work before your studio mix
session. If your mix engineer is unavailable, or doesn’t want to do this before the studio date, do
Print the automation by re-recording these tracks as audio files back into ProTools, or bouncing
them to disc. This way, your mix engineer can start the studio mix with a clean slate on the
track’s automation. Make the track inactive and hide the original track, so it is available if
On tracks where specific effects, EQ and/or compression are required, experiment with plug-ins
before your studio mix date. With your engineer, make a list of which plug-ins you plan to
replace with outboard gear, and prioritize this list.
MP 320 syllabus 13/15 SP 10
Bring commercially released reference CD’s to your mix session, and A-B your mix with the
reference mixes. You may even want to import a couple stereo mixes of great sounding records
into your ProTools session, making it very easy to monitor these mixes through the same
converters as your mix. Just mute them when they’re not in use. Make sure you and your
engineer are on the same page with what CD’s to use as reference mixes before your mix date.
Make a schedule of the mix session with your engineer before the session:
Example Mix Schedule:
12:00 Check-in, security log, set up drives and outboard gear.
12:15 Assign outputs, get tracks coming up through the console.
Quickly reference CD mixes.
12:30 Engineer works on their own, producer saves their ears.
3:00 Engineer plays mix for Producer, producer makes notes.
The two work together to address Producer’s issues.
4:00 Producer and Engineer play mix for Artist.
All work to address Artist’s issues.
5:00 Begin printing mix versions.
5:45 Tear down.
6:00 Out of studio.
Many labels ask to receive the following mixes:
• Master Mix
• Vocal Up Mix
• Instrumental Only Mix
• Vocal Only Mix (includes vocal FX)
This reflects the reality that often, one of the hardest things to nail in the mix session is the vocal
level. With an instrumental only version and a vocal only version, it is possible to tweak the
vocal level of the mix without recalling everything you did in the studio, which can be
While it may sometimes be appropriate to mix “stems” while you’re in the studio (drum stems,
guitar stems, background vocal stems, etc.), it’s easy to get distracted and not get to the more
appropriate use of the studio as the environment in which to make final decisions and finish the
mix. If you have time, you may also print a stereo drum stem, a stem of instruments and their
effects, and a stem of BG vocals and effects. This will give you more latitude to tweak IF your
stems represent a completed mix. So, print a whole mix first, then you can mute just the things
that won’t be in the stem. This is detail work, so only try it if you have time. Don’t sacrifice the
mix for the stems. Your priority should be all about the mix, with stems done after, time
MP 320 syllabus 14/15 SP 10
Independent Producer A&R Project
You have a fledgling relationship with the head of A&R for a major record label, and you have
an appointment to bring in a project for consideration. For some reason they remind you of your
Music Production for Records professor at Berklee.
Bring in a demo of an artist you’ve been developing a relationship with, along with a concise
“elevator description” of this artist. Also bring in supporting materials, including lyrics for the
song(s) you are going to play, and photos of the artist. Be advised that if you are going to rely on
the artist’s MySpace page to play assets, questions may arise about your level of personal
connection with the artist, and you may be vulnerable to the label or another A&R person
‘scooping’ your artist out from under you.
You must do the following when you present your song and artist:
1.) Generate genuine enthusiasm for your song and artist.
2.) Articulate why this material is so moving to you.
3.) Articulate a plan to make an effective, successful record with this artist.
4.) Be able to knowledgeably and accurately talk about the market, scene, or radio format of this
record, and about other artists and records in this genre. Bring examples.
If you are successful in pitching your artist and repertoire, the head of A&R will say:
“Bring me a plan with a schedule and a budget to do pre-production for making a single
with this artist.” If not, you must:
1.) Still come off as someone the record company would like to deal with.
2.) Use your “unsuccessful” meeting to find out what the label would actually respond to.
3.) Scramble to find a better project and bring it in next week.
MP 320 syllabus 15/15 SP 10