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Education » Video Tutorials
Pro Studio Live Artist development and A and R TUTORiAL screenshot
FANTASTiC | 09 April 2019 | 5.96 GB
In this episode, A&R guru and record producer Mark Mazzetti discusses all things related to artist development.

Tune in to this episode for some valuable artist development and production knowledge from Mark Mazzetti, A&R guru, record producer, and expert on all things related to artist development. In this episode, Mark discusses the process of making a record, from the perspective of both the artist and as an A&R exec. Watch this episode to learn about the different members of a good music production team, and how to fit yourself into a good production team. The episode starts with Mark’s background and with a definition and discussion of what his current job and role entails. He talks us through different perspectives on the discovery process, pitching a demo, and the artist development process. You’ll learn about the A&R process, including extensive detail and valuable advice on the pre-production and arranging processes. Throughout the episode, we use a couple of tracks by the band, Black Tie Stereo, as examples for our discussion. For added perspective, we are joined in studio by two of the band members, as well as the engineer for their current record, Brian Scheuble. Sprinkled throughout, you’ll hear stories from Mark’s experience with artists like The Police, Janet Jackson, and Sting. This episode covers everything from details on engineering the Black Tie Stereo tracks with Brian, to valuable information for musicians on how to get their music out there. There’s so much valuable information in this episode; you won’t want to miss it!

In this episode you will see:

Episode 1

1.1 Intro
Introducing Mark
1.2: Mark’s Background
How Mark got his start in the industry
Mark’s musical background and education
1.3: Defining Mark’s Job & His Current Work
Mark defines what service he provides to the artist
What Mark is currently doing
1.4: Discovery
Tips and advice for finding the talent and/or finding someone like Mark
How technology and access for discovery has changed over the years
Advice for artists before they even try to be discovered
When an artist should reach out
Ways to improve your odds of discovery as an artist
A discussion of the 30 second rule
How to filter through all the information out there, to get good information
Strategy advice for developing your talent
1.5 Artist Development
First steps when working with an artist
Different types of artists, and how Mark works with them differently
How he guides artists through their development phase: studying that he recommends, etc
Using example and direct critiques to guide and develop an artist
How to submit a song to Mark
What an A&R person does during studio sessions
How he guides an artist’s writing
Different levels of success
How he gets involved with artists in terms of writing and composing
Breaking the ice with nervous artists
How to be honest with an artist: the line between brutally honest and more tactful
Qualities found in artists that he continues to work with
Stories from working with artists like Janet Jackson and Sting

Episode 2


2.1 Pitching a Demo
Best way to pitch a demo to a big artist
2.2 A & R
Definition of A & R
A&R as an art
Being there to make sure the artist doesn’t miss their own vision
The role of intuition in the job
Working with Fleetwood Mac and Paul McCartney
Looking at an artist’s past to plan their future
Evaluating songs and artists with their future plan in mind
Lending another perspective
Dealing with writer’s block
When to decide to shift from writing to making a record
Age and working with artists
Dealing with band dynamics and the importance of being sociable
What licensing agencies tend to look for
2.3 Pre-Production and Arranging
Advice on pre-production and arranging phases
Focusing on performance and feel over technical
Tempo and timing considerations
A discussion on orchestration
Mark’s musical experiences over the years: instruments that he’s played, how he got into A&R
The importance of assembling your team
The complex relationships in a band
More stories from working with artists like The Police, Janet Jackson, Sting, etc
Trusting what the artist wants to do: the balance of giving feedback without trampling the artist
Advice for playing live during pre-production

Episode 3

3.1 Introducing Brian Scheuble
We welcome engineer Brian Scheuble into the studio for the engineer’s perspective
3.2 Audience Questions
Common misconceptions made by artists
How Mark and Brian tend to charge: pricing structures and considerations
3.3 Black Tie Stereo Track
Discussion of this episode’s featured track by Black Tie Stereo
Some considerations Brian Scheuble made while tracking this
Brian’s opinions on some mixing consoles
A general discussion of the tracking process
Listening to the track
Isolation of some microphones within the song, while Brian explains what each track is
What Brian looks to get captured going into the studio, and their experience with this band
Discussion with Brian Scheuble about Tracking with specifics on this track in particular
Value of making room for others to contribute: deferring to the experts
3.4 The Tracking Process
Tracking a band live vs separated
Brian talks about recording Bono and The Edge
Brian tells us about working with Don Henley
Studio musicians vs bands, and working with each
Educating your clients
3.5 Return to Black Tie Stereo Track
Characteristics of bands that become successful
A discussion of working with Black Tie Stereo
Listening to the track as a whole
Discussing the elements of the track
How Brian got started
3.6 Mastering
Brian and Mark’s take on mastering
Mastering your own mix
What Brian does on his master bus
3.7 How They Met
How Brian and Mark met
What makes people recommend you to others
Talking about A&M
3.8 How to Prepare for the Studio
Advice for bands coming to record in a studio like Signature Sound
What to prepare in terms of orchestration
Things to bring to the studio
3.9 Audience Questions
Brian’s opinion on Summing Tools
Brian answers an audience question about in the box vs outboard summing, differences that he’s noticed
A discussion of when Brian and Mark disagree, how they handle it, etc
Working with others in the studio

Episode 4

4.1 Introduction
We bring two members from the band, Black Tie Stereo, into the studio with us
4.2 Track Discussion
We listen to a different track
Discussion of how the song came about in terms of arrangement
Specific sounds that the band wanted starting out on this track
Combining live with programmed sounds
What they struggled with with this track
4.3 Audience Questions
Working remotely vs in person
Advice for working with a mixing engineer
Communicating with your team
Forging relationships with venues
The importance of being diverse as a band
Lyrics and writing advice
4.4 Advice for Bands: Getting Your Music Out There
Next steps for a band like Black Tie Stereo
How to send a track to an A&R person
Number of streams and plays on social media and how it affects discovery
Key indicators that promotion people look for
Doing commercials for branding
Advice for reinvesting in yourself as a band
Getting your name out there as a band


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comments

  Resident 3.01.2016 310
+58
A&R secrets hardly discussed fully on platforms like this. This is helpful.

Thank you Fantastic.
  Member 9.07.2014 394
+84
What artists has this guy handled? Lawrence Welk? Bing Crosby? Perry Como?

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