Does anyone ever wonder what process goes behind the making of their favorite items? Take Jordans for example. For the most part everyone that slips their feet into a pair of the most cherished and recognized sneakers on the planet has a clue that they’re manufactured overseas, shipped in a box, and then sent to your local sneaker spot. But most people don’t think about the concept and the design of the shoe, as long as their size is still in stock, that’s all the information they need.

Now before you spend one half of your paycheck on a pair of Jordans, and the other half on an outfit to match them for the weekend, take a second to look at what really goes on behind the scenes of one of the most prized possessions in history. Questions like “Why did they use this design?” and “Who’s Mike’s right-hand-man helping him out with ideas?” should come to mind.

But the majority of people don’t care, they just want to look “crispy” for the weekend while they’re getting dressed in front of the mirror, repeatedly looking over themselves, singing along to whatever song they have playing in the background to compliment the mood they’re in. Singing? Ah yes, another over looked form of production in the world.

 The difference between clothes and music is that a lot of people actually do know where their music comes from. It comes straight from the artist right? Well that’s not always the case. It’s true the artists provides the finished product, by what you buy in the stores, and what you hear on the radio, but they didn’t do it all alone. There’s also producers that provide the track, and that’s just how far some people’s knowledge of the process goes. Some think it goes from artist to producer and you throw some plastic on it, and ship it out for Tuesday morning releases.

But next you’re waiting for that CD to burn into your library, so you can add it to your ipod , take the time to carefully read the inside credits of the CD’s lining. You’ll see things like “Art Direction and Design by…” “Album Mastering by…” “Photography By…” and “A&R Direction by…” A lot of those things are pretty self-explanatory. But when it comes to an A&R, what exactly does that mean? What do they do, and what does it stand for? If anyone is interested in the first lesson of “Industry 101”, A&R stands for Artists and Repertoire.

Their soul responsibility is to make sure the project their assigned to has nothing but smooth sailing ahead, i.e. looking over production, lyrics, and handling contracts just to name a few. And if the CD you’re burning into your library right now happens to be from a Bad Boy artist, then you’re reading the name of Conrad Dimanche in that section. And it should look a little like this; “A&R Direction by Conrad “Rad” Dimanche.”

This 10-year veteran of the industry first got his start by interning at then, a young Bad Boy Records. Working without pay for a whole year eating $1.00 hotdogs and drinking free hot chocolate is basically what lead him to finally gaining an entry-level position with a salary. What followed was his name being credited on such projects like The Notorious B.I.G.’s Born Again, Bad Boys 2 movie soundtrack, to Carl Thomas’ albums and more.

In association with Bad Boy he also heads up his own company title Big Bang Music Incorporated that deals with the day-to-day affairs of his own artists in his stable. So what goes on in the mind of a man born from Haitian immigrants who also happens to work directly with one of the most powerful men in Hip-Hop? Read and find out.

What exactly is your role as Senior Director of A&R?

I handle all aspects of album production for all the artists on the roster. So for the most part 90% of the time, I’m in the studio working closely with the artists and producers, and helping to find the direction of the album, and also micromanaging the music. Just from being behind the boards to recording, and when the record is being mixed. And I make sure the producers get paid and I negotiate with them. 

Starting from your internship, what other positions did you hold before you received the position of Senior Director of A&R?

Actually I was doing management. Like local producers and DJ’s. I was also shopping beats to various labels, and that was like the first industry job that I had.

What would you say are some of the things an artist does wrong when he or she are trying to get discovered/and or signed?

For one I think it’s very important for an artist to develop a strong team. Right now it’s more difficult than ever to get a record deal, so now artists have to work if they were their own label before getting a deal, and it’s hard to do that on your own. So you need a strong team.

 People like a manger, people on the streets working your record for you, and people at clubs helping with the promotion because you can’t be everywhere all the time. I think that’s very important. And as far as the music is concerned, you need an experienced person to help you with the music, and you have to take advantage of everything.

You can’t wait for someone to promote your song; you have to get on the Internet. But it really comes down to music at the end of the day you gotta have good music. One of the biggest mistakes I think artists do is that they don’t take the time to find their niche, and thinking about whether there is a place for them in the game. And then there’s perfecting your craft.

Everyone wants to get signed now, but you might not be ready to get signed now. Like you might stop me in the street and say; “Listen to my CD.” And if it’s trash, then you’ll probably never get that chance again, or have a meeting in my office. So a lot of artists have to take their time to perfect their craft and find their niche so they really know what good music is.

Everyone has his or her own idea of what a hit record is. In your opinion how do you achieve that?

It’s just how the people react to it. Sometimes I like to throw a record on in the studio just to be playing it, so I can see what people’s reactions are to it. If I feel it in my heart that it’s a good record, then that will be the first test. Then I might take it out to the clubs, and the record is good, if I get a good reaction while people are hearing it for the first time.

Sometimes when I’m the car, I’ll play it for my kids. And if my daughter is singing the chorus the second time it comes around, then right away I know that the chorus is going to catch you, know what I’m saying. And kids are like that. So there is different ways. 

How hands on are you with the artists that you work with?

I’m very hands on. But I can’t be everywhere, so a lot of the times it’s over the phone. But as far as being in New York or just being there, yes I’m very hands on with the artists and the producers. Just trying to give them direction. Like telling them what melodies are hot or not hot, what subject matter they should stay away from. And in regards to the producer, what sounds good, or what needs to be added to the track.

Do you and the artists usually share the same vision when working on a project together?

Well we don’t bump heads a lot. I think it’s definitely a team effort as far as making music. As far as me and Puff we definitely stay close with the artist to work on the vision. From what the album is supposed to be, and what the movement is supposed to be. So there is a mutual respect there. And you have to give an artist a chance to try something. So if you have a mutual understanding, you’re not really going to bumps heads.  

A lot of people think being an A&R is glamorous. What’s the biggest misconception about it?

I think this is where The Mad Rapper came into play. Like if you don’t take a chance on rappers, a lot of them will get mad at you. Rappers are always like; “Take a chance on me, take a chance on me!” And it doesn’t really work like that, especially today. That’s what I would say. A lot of A&R’s are scared to take a chance, because they’re scared they might lose their jobs. So that’s why A&R’s have to feel it in their hearts if an artist is worth taking a chance on, before they invest hundreds of thousands of dollars into an artist, because this is a business. This is a business, and a lot of people don’t get that. Like at the end of the day, if I sign you, then you have to turn around and make money for the company.

You and Sean Combs have a long history together. What are some of the things you learned from him work-wise?

As far as Puff and Harve [Pierre] I would say their work ethics. Like they’re beats as far as how they work, and the hours that they put in. As well as being smart and knowing how to deal with people in certain situations.

Are Sean Combs and Harve Pierre hard to work with?

Well we have our disagreements, but we’ve been together for so long so we all know each and how it goes. It’s pretty smooth. The hardest part was just keeping up with each other.  We keep each other on our toes.

What’s the whole idea behind your company, Big Bang Music Incorporated?

Big Bang Music is a production company, and also have a consultant company also. So I manage producers, writers, and I also have artists of my own, that I’m developing and working on. As for Hit Makers Incorporated we do consultations for artists that are more seasoned, and looking for more musical direction, marketing, and promoting themselves.     

How do you find the time to run your own company with all the other things on your plate? Don’t you ever get tired?

Oh absolutely! Absolutely! I’m exhausted! [Laughing] But I take care of myself, and I take a lot of vitamins, and I take a break every now and then when I need it. It’s not easy, but I definitely get it done. And it’s a stamina that you build up over time, know what I saying.

So its just second nature to you right now?

Definitely second nature to me right now.