Label Submission Checklist

Labels reject low bitrate files immediately. If you're submitting WAV, ensure it's properly mastered and peaks at -3dB to -1dB. Send the final mix, not stems, unless explicitly requested.

Peak levels should sit between -6dB and -3dB on the master. This tells A&R the track is professionally finished. Clipping signals amateur mixing and kills credibility before they hear the song.

ID3 tags (artist name, track title, release date, label) must be present. Without this, your track looks unprofessional when imported into their systems.

Major labels need to see current momentum. If a track isn't on the main platforms, it signals either very new release or failed previous attempts. Some independent labels are more flexible here.

Capture month-on-month listener growth, monthly listener count, and playlist placements in your EPK. A&R wants to see trajectory, not just absolute numbers. Include screenshots from the last 30 days.

A&R receives dozens of submissions daily. Dense, multi-page EPKs get skimmed. Use clear hierarchy: bio, stats, art, links. Single-column layout works better on mobile.

Write in third person. Lead with what sets you apart musically and commercially. Avoid clichés like 'blends genres' or 'pushing boundaries'. State facts: release history, key collaborations, notable achievements.

Make it one click to listen. Include both artist profile and the specific track you're pitching. A&R will not dig for these links.

Email, phone, and manager contact. If A&R wants to move fast, they won't hunt through pages for a way to reach you.

Mention when the track is officially out or will be out. If you're pitching pre-release, state the release date clearly. A&R needs to know urgency and planning status.

Use: '[Artist Name] – [Track Title] – Submission'. Avoid vague lines like 'New Music' or 'Exciting Opportunity'. A&R sorts by sender and track name when managing volumes.

Opening: why you're pitching them specifically (reference a recent release they signed or their label ethos). Middle: one sentence on the track itself and current momentum. Close: call to action and EPK link.

Mention a recent artist they signed or a release that aligns with your sound. Generic pitches get binned. A&R can tell instantly if you've personalised or mass-mailed.

Avoid superlatives ('next big thing', 'chart-topper', 'viral potential'). Let streaming data and production quality speak. A&R's job is to assess; your job is to give them the information to do it.

A&R needs to know who they're talking to. If you have representation, they pitch on your behalf. If you're self-releasing, sign as the artist. Clarity on authority prevents delays.

Check the label's website, Instagram, and recent press releases. A&R names change frequently; use the most recent hire or person listed. If you can't find a name, contact the main submission email and ask for the appropriate A&R.

Use LinkedIn, recent interviews, or label social media to confirm the person is still there. Pitching to someone who left six months ago delays response or guarantees silence.

Pitch approach differs: majors (Universal, Sony, Warner) want proven radio/streaming potential and commercial viability. Indies prioritise artistic fit and fan engagement. Boutiques value relationship and artist development.

Listen to the last 3–5 releases they signed. Is your sound genuinely aligned or aspirational? If you sound nothing like them, don't pitch. Respect saves time for both parties.

Some labels specify file format, EPK requirements, or submission windows. Ignoring these signals you don't read or don't care. Non-compliant submissions go straight to spam.

A&R will ask immediately. If you're signed elsewhere, licensed to another label, or the producer holds master rights, you cannot pitch to a new label. Resolve this before submission.

Document who owns the song itself (composer, publisher). If multiple writers are involved, confirm all have signed off. A&R will investigate; discrepancies kill deals.

If the track contains samples, you must have clearances or explicit permission from rights holders. Labels will not touch tracks with potential copyright issues. This is non-negotiable.

Are you pitching for a record deal, distribution, licensing, or production feedback? State this clearly in your pitch. A&R cannot act without knowing what you want.

If emailing, keep file under 15MB. Prefer Google Drive link to avoid email spam filters. Test the link before sending to confirm it's accessible.

Send direct Spotify, Apple Music, or YouTube links that don't require login. A&R won't create accounts to preview your track. Broken links mean no listen.

Avoid SoundCloud private links, password-protected Dropbox folders, or custom platforms. A&R needs to click and listen instantly. Barriers to access mean they won't bother.

Errors suggest carelessness. A&R is evaluating professionalism across all touchpoints. One typo can undermine credibility.

Check URLs work, audio plays, and PDFs open. Send yourself the email first to see how it renders. Catch technical failures before the label sees them.

Repeated pitches before feedback is requested damage your reputation. Wait for a response or rejection before resubmitting a new track.

Pitching the same track to multiple labels simultaneously is acceptable, but if one has expressed serious interest, pause other pitches to avoid conflict.