A&R — artists and repertoire — is one of those music industry terms that sounds corporate until you see what it actually involves. At its core, A&R is about finding great music and helping it become the best version of itself. It's the most creatively rewarding part of running a label, and also one of the most misunderstood.
At Red Star Media, our A&R process has evolved over years of trial, error, and thousands of demos. We've refined how we find music, how we evaluate it, and how we work with artists to get tracks release-ready. This guide pulls back the curtain on all of it.
How Demos Arrive
Our demos come from three main channels, and each one has a different hit rate.
Email submissions — This is our primary intake. Artists send links to our demo email address, which is posted on our contact page. Volume is high, quality varies enormously, but some of our best signings have come from cold emails. We look at every single one.
Platform submissions — We use demo submission platforms that organize incoming tracks with basic metadata and make the listening workflow more efficient. These tend to have slightly higher average quality because the submission process itself filters out the most casual senders.
Referrals and network — Artists recommended by other producers, DJs, or industry contacts we trust. These tend to have the highest hit rate because someone we respect has already vetted the music. If a DJ we know says "you need to hear this," we prioritize it.
Social media and organic discovery — Sometimes we find music ourselves. We browse SoundCloud, follow emerging artists on social media, check out new releases on Beatport, and pay attention to what's bubbling up in the underground. When we hear something that fits, we reach out directly.
The Listening Process
Here's what actually happens when we sit down to review demos. It's not glamorous, but it's honest.
The First 30 Seconds
We start every demo the same way: press play and listen. Within the first 30 seconds, we're forming an initial impression based on:
- •Production quality — Is the mix clean? Are the sounds well-chosen? Does it sound like someone who knows their DAW, or someone still learning?
- •Sonic identity — Does this sound like a specific artist, or could it have been made by anyone? We're looking for a voice, even in instrumental electronic music.
- •Genre awareness — Does the producer understand the conventions of the genre they're working in? Are they operating within those conventions intentionally?
If the first 30 seconds don't grab us, we skip ahead to the drop or the main section. If that doesn't deliver either, we move on. That might sound harsh, but when you're listening to 50+ demos in a session, you develop an efficient filter. The demos that make us stop and rewind are the ones that have something — a sound, a feeling, a production choice — that we haven't heard before.
The Full Listen
Demos that pass the initial scan get a full listen — start to finish, at least twice. The first listen is for overall impression: does the track hold our attention? Does it build effectively? Is there a payoff?
The second listen is more analytical:
- •Arrangement — Does the structure make sense for the genre? Are the transitions smooth? Is there enough variation to keep a listener (or a dancefloor) engaged?
- •Mix balance — How does the low end sit? Are the mids cluttered? Is the high end harsh or sibilant?
- •Sound design — Are the synths, samples, and textures well-crafted, or do they sound like stock presets?
- •Emotional arc — Does the track take the listener somewhere? The best electronic music creates a journey, even in a 6-minute club track.
We listen on studio monitors and headphones. For tracks we're seriously considering, we'll also check them on earbuds and phone speakers to see how they translate.
Selection Criteria
Not every track that sounds good gets signed. We evaluate demos against several criteria, and a track usually needs to score well on most of them to move forward.
Production quality — Is the mix at a level where, with mastering and minor revisions, it can stand alongside other releases in the genre? A rough demo with incredible ideas gets more leeway than a polished but generic track.
Originality — Does this track bring something to the table that our existing catalog doesn't have? We're always looking to expand our sound, not duplicate what we've already released.
Label fit — Does it align with our genre focus and aesthetic? A brilliant hardstyle track might be objectively great, but if it doesn't fit our catalog, it's not the right home for it. We'll sometimes refer artists to labels that are a better fit.
Commercial potential — Can we realistically place this on playlists, pitch it to DJs, and find it an audience? This doesn't mean we only sign mainstream music — far from it. But we need to see a viable path to reaching listeners.
Artist trajectory — Is this a one-off track, or is the artist someone who's building a body of work? We prefer to work with artists who have a vision beyond a single release.
Feedback Loops With Artists
When we decide to move forward with a track, the real work begins. The feedback process is collaborative and iterative.
Initial feedback call or email — We share our honest assessment of the track. What we love, what we think could be stronger, and what we'd like to see changed. We try to be specific: "the sub-bass is competing with the kick between 40-60Hz" is more useful than "the low end needs work."
Revision rounds — Most tracks go through 1-3 rounds of revisions. We send detailed notes, the artist makes adjustments, and we review the new version. This is a dialogue — if an artist pushes back on a suggestion and has a good reason, we listen.
What we never do:
- •Demand changes that fundamentally alter the track's identity
- •Ask an artist to copy another artist's sound
- •Make ultimatums — it's always a conversation
The feedback process typically takes 2-3 weeks, though we've had tracks that were release-ready on the first listen and others that took a month of back-and-forth to get right.
Working on the Final Version
Once revisions are done and everyone's happy with the production, we lock the mix and move into the final preparation phase.
Mix sign-off — Both the artist and our A&R team confirm that the current version is the final mix. No more changes after this point (unless something critical is discovered during mastering).
Stems delivery — For some releases, we request stems (individual track groups) in case we need them for remixes, sync licensing, or marketing content.
Pre-mastering check — We do a final technical review before sending to mastering: checking for clicks, clipping, phase issues, or any artifacts that might have been introduced during revisions.
Quality Control and Mastering Review
Mastering is the final sonic step, and we treat it as a quality control checkpoint as much as a creative one.
Our mastering process:
- •We send the final mix to our mastering engineer with reference tracks and genre context
- •The engineer delivers a mastered version, usually within 3-5 business days
- •We review the master against the original mix — did it enhance the track without changing its character?
- •The artist gets to hear the master and approve it
- •If anyone has concerns, we request revisions from the mastering engineer
What we check in mastering QC:
- •Loudness levels are appropriate for the genre and streaming platforms
- •The low end translates well on different systems
- •No artifacts, distortion, or unwanted coloration were introduced
- •The stereo image is intact and mono-compatible
- •The track flows well in the context of an EP or compilation, if applicable
Genre Positioning and Release Timing
The final A&R decisions are about context: when to release the track and how to position it.
Genre positioning — We carefully choose genre and subgenre tags that will put the track in front of the right listeners. This affects playlist pitching, algorithmic recommendations, and Beatport categorization. Getting this right is part science, part instinct.
Release timing — We consider several factors:
- •What else is releasing that week in the genre? We avoid dropping a track the same day as a major release that would dominate the conversation
- •What's happening seasonally? Festival-ready tracks perform better in spring and summer; deeper, more introspective tracks can work well in autumn and winter
- •What's our own release schedule? We space releases to give each one room to breathe and get proper attention
- •Is there a cultural moment or event we can tie into?
Catalog context — We think about how each release fits into the broader story of our label. Does it complement recent releases? Does it introduce a new sound to our catalog? Does it strengthen our position in a particular genre?
What We Wish More Artists Knew
After years of A&R, here are the things we wish every artist understood before submitting:
- •Rejection isn't personal. A pass doesn't mean your music is bad. It might just not fit our catalog, our schedule, or our current direction.
- •Feedback is a gift. If we take the time to tell you why we're passing, that's valuable information. Use it.
- •Patience matters. We listen to everything, but volume means it takes time. Don't follow up after 48 hours.
- •One great track beats ten decent ones. Send us your best, not your most recent.
- •Know our catalog. Before submitting, listen to what we've released. If your music sounds nothing like anything in our discography, it's probably not the right fit.
Ready to Submit?
If this behind-the-scenes look gives you confidence that your music is ready for our A&R process, we'd love to hear it. Send us your demo — and know that on the other end, there's a team that genuinely loves finding new music and helping it reach its potential.
For more on the label's perspective, explore our full hub of articles covering everything from demo submissions to release timelines and starting your own label.