Do You Need a Manager for Your Music Biz

8/6/2019 Do You Need a Manager for Your Music Biz

http://slidepdf.com/reader/full/do-you-need-a-manager-for-your-music-biz 1/44

DO YOU NEED A MANAGER FOR YOUR MUSIC BIZ?By Larry Elliott Bussey

INTRODUCTION

It is common knowledge that your chances of landing a record deal without a managerare about the same as your chances of getting laid if you don't brush your teeth everyday. So, an aspiring band and / or artist first needs to find a manager. An agent will be auseful in-between steps to get more gigs.

The market for music is different to the way it was back in the 1960s and 1970s. Inthose days, there was very little structure for popular music marketing. If you want tomake money, to this day you have to be creative and invent ways of getting people tohear and pay for your music.

That means a successful manager would be an inventive, entrepreneurial character. Heor she should not be constrained by convention, but be experienced in seeking out newways to generate business.

That's how we got things like stadium rock, festivals, clubs and tours. Not so long ago,these things that are now part of the musical establishment just did not exist.But things have changed, or rather developed. From all the business enterprises thatwere tried and tested in the 1960s and 1970s, some were found to be successful,others did not prosper. But the successful models for doing the business of music has



[email protected] © N Vegas Group. Com

2

now become commonplace, popular, regulated, and are well-known and understood byeveryone in the industry. Hence the need for an entrepreneurial manager still applies.

What a band and / or artist needs now is someone who is creative in a business senseand also understands the way business is currently transacted; {like over the internet}can weave themselves into that environment, and manipulate and profit from businessmethods that have become standardized.And that type of person is...

A Good Manager.Doing the business of music today is all about approaching people who areestablished in their power and influence, persuading them that you have somethingto offer that will make them money, then negotiating a good deal.

A good manager is very well placed to do all of these things. Not only havingcreativity is necessary, but an understanding of legal matters and contracts, and anacute sense of how and where the money is flowing. And a good set of talons andhorns for attack and defense in the take-no-prisoners world of the music business.I think that good managers care about music.

To become a successful music business manager, you have to be passionate aboutwhat you do. That might be just the business side of music, but many managers aretrue lovers of music. Often managers are seen as 'the enemy', and they probably make more money out of the music business than even quite successful musicians. But youneed at least one of these able and powerful people working for you. When you choose

to do both, the musicians / artist talent takes a back seat any way you look at it.That is the route to success in the modern music business.

P.S. Before we knew it the indie market shot to the roof! "People in general are nolonger accepting abuse of talent and spirit! We as a whole along with technologyhave smartened up our ways of attack! We have all the necessary tools fromsoftware programs to marketing venues such as "My Space" - "iTunes" to mimicthe same thing the Major Labels are doing, accept with only one difference! Whenwe do it ourselves it's more so looked upon as self pleasure. This way if we aregetting sexed on the deal at least it’s the way we want it to be done!"

All those who believe in themselves will find all levels of success from its highest tolowest points. True soldiers on a quest will not die until the battle is won!Managers are necessary to represent your interests at the different departments of arecord company. They help to coordinate efforts and get maximum results at radio,retail, and publicity. Many labels will want an artist to have a high-poweredmanager before a record is released and will often recommend top managers.Managers can also help in shopping you for a record deal, but only if they have theconnections to get your music to the right people. It's not impossible, but friends,




3

family members, or acquaintances with no music industry experience usually aren'tgoing to be able to get through locked industry doors, and will probably be in over

their heads even if they can get through.

Good managers help the artist assemble a competent team of professionals tohandle various aspects of the artist's career, including an attorney, a business manager(for financial affairs), a booking agent (for live performances), a merchandisingcompany (for t-shirt sales, etc.) and more. Experience counts for a lot when it comesto choosing a manager.

Gotta be Patient - Please....Please do NOT send music/ DVD’s or any other pressinformation out if it isn't professional....especially to labels and agents. If you arenot ready, meaning you don't have a press kit, photo's and etc., please don't bother

people about helping you until you take care of your business.If you are an artist looking to submit demo material, please understand that recordlabels do not accept unsolicited material. They only accept submissions fromprofessional managers, lawyers, publishers and agents with whom they have or maywish to establish a business relationship with. They will destroy (or delete, asapplicable) unsolicited materials and neither review nor return them to the sender.

Talent ManagerA talent manager, also known as a personal manager, is an individual or companywho guides the professional career of artists in the entertainment industry. Theresponsibility of the talent manager is to oversee the day-to-day business affairs of

an artist; advise and counsel talent concerning professional matters, long-term plansand personal decisions which may affect their career.

The roles and responsibilities of a talent manager vary slightly from industry toindustry, as do the commissions to which the manager is entitled. For example, amusic manager’s duties differ from those managers who advise actors, writers, ordirectors. A manager can also help artists find an agent, or help them decide whento dump their current agent and identify who to select as a new agent. Talent agentshave the authority to make deals for their clients while managers usually can onlyinformally establish connections with producers and studios, but do not have theability to negotiate contracts.

Music ManagersA music manager (or band manager) handles many career issues for bands andsingers and, on occasion, even DJs. A music manager is hired by a musician or bandto help with determining decisions related to career moves, bookings, promotions,business deals, recording contracts, etc. The role of music managers is extensive andmay include similar duties to that of a press agent, promoter, booking agent,business manager (who are usually certified public accountants), tour managers,




4

and sometimes even a personal assistant. Responsibilities of a business manager areoften divided among many who manage various aspects of a musical career. With an

unsigned act, music managers have to assume multiple roles: booking agent, graphicdesigner, publicist, promoter, and accountant.

As an artist's career develops, responsibilities grow. A music manager becomesimportant to managing the many different pieces that make up a career in music.The manager can assist singers, songwriters, and instrumentalists in molding acareer, finding music producers, and developing relationships with recordcompanies, publishers, agents, and the music-loving public. The duties of an activemusic manager will focus on a developing a reputation for the musician(s) andbuilding a fan base, which may include mastering and launching a demo CD,developing and releasing press kits, planning promotional activities, and booking

shows.

A music manager will gain access to a recording studio, photographers, andpromotions. He or she will see that CD labels, posters, and promotional materialsappropriately represent the band or artist, and that press kits are released in atimely manner to appropriate media. Launching a CD with complementary venuesand dates is also a music manager’s responsibility.

Starting OffEarly on in an artist's career, the different facets of management and marketing fallupon either the band itself or, if they have one, their manager. Because the band or

artist is relatively unknown initially, promotion, booking, and touring are minimal.A new music manager begins by establishing a clear understanding of what theartist(s) want. This can be accomplished through either a written or verbal contract.A music manager's first task is usually focused around a CD launch.

CompensationStriking a tentative compensation agreement that can be renegotiated after three orfour months is recommended, and the rate of pay is generally based on commissionsof 20 percent of the net or 10 percent of the gross or more of performance andcommercial incomes, as stated in contracts. This amount obviously depends on thelevel of development the band or artist is at and the experience, networks and

resources of the manager (The less developed the artist and more experienced themanager, the higher the commission). The artist or band should never agree tocircumstances that can not be terminated or negotiated within a short period oftime.




5

GigsIt is important for a band to have experience performing in front of crowds.

Birthday parties, free shows (like basement shows), and talent shows are goodsources of experience and do not require a lot of commitment (in terms of fan pull)on the part of the artist. If an artist wants a gig in a bar or nightclub venue, themanager expects several conditions. The following is a list of some questionsfrequently asked by bar owners/managers (in no particular order):

*What genre of music is the artist affiliated with?*How many people are expected to attend the event?*Is a door cover required?*Can a door person be provided?*Will the band sell their demo tapes?

These are some of the main questions. In most cases a demo tape or CD will berequested. This can be any type of recording, featuring any number of songs(preferably the artist's better songs). The primary objective for the bar owner is tofill their floor on any given night.

To do this, the band should be as professional and as practiced as possible as to keepthe bar patrons and more importantly, the bar owner, interested. This will have apositive effect on their ability to get booked for another show in the future. Anothercritical factor is maximizing audience attendance by promoting and advertising.Although most bars and other entertainment venues prefer managers bring a good

number of attendees to their shows, this is not mandatory to do so every time. Invery rare situations for small bands, an entertainment venue could charge the banda fee for a certain number of people 'not' showing up to the show. This is a numberof people guaranteed to be present and would have been agreed upon between theowner and band before the show. If those people do not come, the band pays. Thisfee is to cover bar expenses and loss of money invested in setting up the show for theheadlining band, and is usually implemented in larger, more well-known venues.

PhotographyManagers usually secure the services of a professional photographer while the artistis recording. Different 8x10 pictures of the artist can be used for websites, CD

labels/jackets, posters, and the press kit. Cost for high quality rolls of film and theirprocessing could be upwards of $200 for 150 pictures (labour not included).Photographers are not expected to cover material cost. It is important that themanager obtains an agreement upfront confirming ownership of the copyrightsafter the shot, in addition to high resolution digital images on CD (with a copyrightrelease these photos can be printed at any major retailer). Managers are alsoadvised to have photographs taken before CD designs or artwork goes intoproduction.




6

CD Launch VenueOnce a production date is established the manager can begin searching for venues.CD launches are much more attractive to bar owners because they nearly guaranteean audience. Consequently, CD launch venues are relatively easy to land. Managersusually try booking a location where the crowd will feel comfortable. The venue’ssize should not exceed the projected crowd. If the place is too large, the artist maylook unimportant. A small venue can be a preferential, as long as the stage canaccommodate the band's gear.

Musician’s Press KitOnce a CD launch date is established it is customary for the manager to prepare apress kit (also known as a media kit). The press kit is a professional package ofmaterials used to contact record label executives, radio stations, newspapers and

A&R reps as a way of generating interest in the artist and their music. Additionally,many managers prefer using an electronic press kit (EPS), which is the same as aconventional press kit, except it is downloadable as an electronic file instead of ahard copy form which must be mailed.

By this stage in the artist's career their manager should possess an adequate graspof their level of talent. Expense is not important in the press kit, but flash is. Itshould catch the eye and interest of those to whom it is directed. A press kitnormally consists of the following:

Pamphlet with artist(s) biography, career highlights and promotional photos.*Quotes and/ or press clippings on the artist including Band Show Reviewsand CD Demo Reviews that the press can easily edit and submit into theirpublication. A good quote from a reputable source adds credibility and letsthe reader know the artist has already been reviewed and their material isworth listening to.*Gig sheet containing recent, current, and future gigs. The gig sheet shows theartist is growing in popularity with the community.∗A Demo CD featuring the artist’s latest music release. A minimum of threesongs is recommended. In some cases the entire CD is sent so the publicationor radio station can review the entire CD.∗Complimentary tickets to the CD launch event (if there is one).∗Contact Information.

Key Industry PlayersSome of the leading artist management companies include: Undertow Music,Gremlin UK, Triskele, Big Life Management, ATC Management, Shalet worldwide,Three Six Zero Group and London-based Wise Buddah. United Talent Agency is




7

another leader among the entertainment industry's talent and literary agencies.Founded in 1898, the William Morris Agency (WMA) is also included among the

largest and most diversified talent and literary agencies in the world.Music management refers to the business of managing music acts. Chiefly, thisinvolves acting as the talent manager to the artists, and negotiating with recordlabels, music promoters, and tour promoters, usually in return for a percentage ofthe artist's income.

Top music managers Don Arden (Black Sabbath, Electric Light Orchestra, The Small Faces) Jill Carrington (Pet Shop Boys) Simon Fuller (most commonly Spice Girls) Peter Grant (Led Zeppelin, The Yardbirds, Bad Company) John Hughes (The Corrs) Jimmy Lovine (Interscope Records)

Peter Jenner (many, including Marc Bolan, Billy Bragg, The Clash, IanDury, Pink Floyd)

Jon Landau (Bruce Springsteen) Nigel Martin-Smith (Take That) Paul McGuinness (U2) Malcolm McLaren (Sex Pistols) Steve O'Rourke (Pink Floyd) Andrew Loog Oldham (The Rolling Stones) Sharon Osbourne (Ozzy Osbourne, The Smashing Pumpkins) Lou Pearlman (Backstreet Boys, 'N Sync) Rod Smallwood (Iron Maiden) Tom Parker (Elvis Presley) Louis Walsh (Boyzone, Westlife, Girls Aloud) Tom Watkins (Bros, Pet Shop Boys, East 17) Robert Reynolds (The Killers) Russel Simmons (L.L. Cool J, Beastie Boys, Run-D.M.C.)

Do I Need a Music Producer?By Alex ReedThis article is meant to explain and clarify what you can expect, both creatively andfinancially, from hiring a producer to assist you in your goal.One of the ways a producer can be most useful to you is by providing an objectiveear. In the studio, it can be difficult to gain perspective as you create. A typicalexample is vocal performance. Your producer can recognize if you need to try itagain and guide you through phrasing, pitch, emotion, etc. A good producer willalso know to stop you when you've nailed it.




8

But don't think of a producer as some uninvolved bystander. They can be yourpartner in the studio, arriving at the ideal guitar sound, finding the right tempo,

choosing the sweetest harmonies. Involve them early in the process by inviting themdown to rehearsal. This gives you a chance to see if this is the right producer foryou. It also allows you to avoid certain problems later on. For example, the bandmight be convinced which three songs out of ten should be recorded for a demo. Atrehearsal a producer can bring a fresh perspective on which songs will work best.The organizational skills of the producer should also be considered, as even a simpledemo can present all sorts of logistical nightmares to the inexperienced artist.

Someone needs to find the right studio and engineer, assemble musicians, andnegotiate the rates for each. Whether you've secured a $20,000 loan from a wealthyfan or scraped up $1500 on your own, every penny counts. Someone needs to keep

one eye on the budget while keeping the other eye on the musical "big picture." Youmay have the talent and willingness to do all this yourself. One question to askyourself is, "Do I want to put all my energies into logistics to the possible detrimentof my songs?" For some artists, the answer is "yes, I'll do it myself." And I say allthe power to ya. But while I can't speak for other producers, much of the pleasure Iget out of a project is creating a situation where the artist can focus solely on themusic.

So maybe you like the idea of getting assistance, but don't know if you can afford it.Budgets are obviously less complicated for a self-financed recording than for amajor label record, (as discussed in the Mumbo Jumbo column), but you'll still want

to work out an agreement with your producer before you begin.In any scenario involving payment after the project is finished, I strongly urge youto put it in writing. This can be more complicated than it seems.

The trick is to arrive at a document that is neither overwhelming nor unnecessary(25 pages of legalese) nor flimsy and worthless (two paragraphs that would belaughed out of court by any serious attorney).A well written 1-3 page "deal memo" is sufficient; typically it is the producer'sresponsibility to present a first draft. The agreement is more for their protectionthan yours.

The main idea I want to leave you with is to be clear from the start about what youexpect from your producer and know what they want out of the project as well.Don't be afraid to ask pointed questions like, "How many days will the whole thingtake?" and "Why do you want to work with me?" If the relationship begins withelements of honesty and trust, the recording will be that much more successful.This Article Originally Published December 1998




9

How Record Companies Make MoneyBy Diane RapaportRecord companies make money by selling recordings. It is a high-risk business.According to the Recording Industry Association of America (RIAA),approximately 90% of the records that are released by major recording labels fail tomake a profit.Independent labels have to be more careful in their choices and in their allocation ofexpenses because they do not have the resources to cover many failures. However,they can make and promote records for far lower costs than major labels and beprofitable with far fewer sales.The budgets for making and selling recordings are tied to what labels estimate theywill sell. Knowing how many recordings might be sold makes it possible to budget

recording costs. Most profitable labels have histories of selling and promoting thatenable them to estimate gross income.

Recording CostsRecording costs are borne by artists, not record companies. Record companiescommonly make loans to artists (all-in advances) for these costs and recoup themfrom royalties.

With the exception of jazz and classical artists, new major label artists can spendbetween $100,000 and $500,000 to make a record, but recording budgets of onemillion dollars and more are not uncommon. Many independent artists will spend

less than $15,000.less than $15,000.

Manufacturing CostsManufacturing includes replicating recorded material and packaging. The costsdepend on the number to be manufactured. Manufacturing costs are generallyborne by recording labels, although labels try to deduct packaging costs from thebase price on which they pay royalties.

Major labels pay approximately $.50 to $.55 per CD. Independent labels that ordermore than 100,000 CDs a year pay approximately $.65 per CD. Labels that buy lessthan 10,000 CDs a year pay approximately $1.20 per CD. These costs include the

printing of 4-page package inserts and tray cards.

Royalty CostsRecord labels pay two royalties: The first is a record royalty to the performingartist(s); the second is a mechanical royalty to composers and publishers.Some companies pay record royalties on a percentage (8% to 16%) of the suggestedlist retail price (SLRP) less a packaging cost, generally 15% to 25% of the SLRP.Others base royalties on the wholesale price to distributors. For a CD with an SLRP




10

of $16.98, a common packaging deduction of 25% is $4.25 and the amount paid tothe artist will be calculated as a percentage of $12.73. Thus, at a 10% royalty, artists

will receive $1.27; at a 14% royalty rate, $1.78.

Record labels pay composers and publishers mechanical royalties. They try to capmechanical royalty budgets at ten songs payable at 75% of the statutory rate ($.80per song in 2002), which equals $.60 per song under the controlled compositionclauses of recording contracts.

Promotional CostsMajor labels budget approximately 20% of annual gross income for promotion andselectively allocate the funds according to sales projections for each artist.Independent labels generally budget 10% of projected gross sales of all recordings

annually and selectively allocate that budget.Promotional costs include designing and printing promotional and packagingmaterials for recordings; press kits and Web sites; and advertising, radiopromotion, videos, public relations and mailing costs. Some or all the costs forpackaging, video production and radio promotion may be recouped from artists’royalties, depending on contractual agreements.

Distribution CostsThe record companies decide on the suggested list retail price (SLRP) of eachformat. The SLRP helps stores to determine the discount price they chargecustomers and helps performers determine the price to charge to fans at gigs and by

mail order.

The price at which distributors buy from recording companies (distributorwholesale price) is also set by the record companies. This is commonly 50% to 55%off the SLRP. If the volume is high enough, the discount can go to 60%.The price at which stores buy from record distributors (store wholesale price) isdetermined by the distributors. This is commonly 55% to 65% of the SLRP. Storesreturn unsold product at 100% of their cost.

The price at which record stores buy from record companies that own their owndistribution warehouses is approximately 75% of the SLRP.

Potential ProfitsHow do these costs relate to a million selling album?At common discounts, record companies receive approximately $10.00 per CD($16.95 SLRP). Thus, projected record company gross income is ten million dollars.Out of this the record company will spend approximately $625.000 inmanufacturing costs; approximately $1,000,000 in promotion (another $1,000,000will be charged against artist royalties); $1, 780, 00 in royalties to the artists




11

(At 14% of the SLRP of $16.95, less packaging); and $600,000 in publishingroyalties (at 75% of statutory).

After subtracting $4,005,000 from its ten million gross incomes, the record companyhas a gross profit of $5,995,000. It will recoup its million- dollar advance to the artistand its promotional costs.

His excerpt is from Diane Rapaport's new book, A Music Business Primer, published by Prentice Hall. Copyright 2003 by Diane Rapaport. The book is available on Amazon.com and at major book stores. http://www.dianerapaport.com

Learning Where the Money Comes From part 1By Jason BlumeMany developing songwriters resent having to be a businessperson. I've heard themlament, "I've written the songs--now let somebody else take care of the business."But the reality is that this is the music business. The greatest song in the world willnot become a hit if it's neither demoed nor brought to the attention of musicbusiness professionals. Although it's perfectly acceptable to write solely for your ownpleasure, if your goal is to be successful in the music business, you have to pay asmuch attention to the business as you do to the music.

For starters, it would be helpful to understand the difference between a music

publishing company and a record label. A publishing company's primary function isto generate income from songwriters' songs. This income typically results fromgetting these songs recorded by recording artists, or included in television shows orfilms. The term "publisher" is often used interchangeably to refer to an individualwho's employed by a publishing company to pitch songs, and to the company itself.

A record label is a company that's in the business of producing, distributing andselling albums. A record label signs recording artists. If these artists do not writetheir own songs, members of the label's A&R department will meet with publishersin the hopes of finding hit songs for their artists.

Songwriters' incomes come from a variety of sources. Songwriters earn moneyprimarily from mechanical royalties, performance royalties, print royalties,synchronization licenses and publisher advances. If a songwriter is also a recordingartist and/or producer, he will earn additional royalties, but those royalties aretotally separate from monies generated by the songs themselves.




12

Mechanical RoyaltiesMechanical Royalties is the name given to revenues paid for the "mechanical

reproduction" of musical compositions on sound recordings. It refers to theroyalties paid for the sale of a physical, tangible product containing music--audiocassettes, CDs, record albums, and videocassettes all generate mechanical royalties.In plain English, mechanical royalties are the monies you are paid for the copies ofyour songs that are sold.

In the United States, the mechanical royalty rate is established by Congress and iscalled the "Statutory Rate." With one exception (the 3/4 rate which we'll discussanother time), the Statutory Rate is not negotiable and applies equally to allsongwriters. Therefore, Michael Jackson, Diane Warren, Garth Brooks and you, allreceive the same mechanical royalty for each album or single sold.

Payment is made per unit. A "unit" refers to one recording of a song on anaudiocassette, CD, or record, whether it's an album or a single. Each song includedon an album is considered one unit. If you are lucky enough to have written 10 songson an album, you will be paid for 10 units for each album sold.

Occasionally, more than one version of a song may be included on an album orsingle--the radio mix, the dance mix, the urban mix, etc. In these instances, thewriter is paid for each version of the song, just as if it were a separate song.

For single releases, mechanical royalties are paid equally for the "A" Side (the song

that is sent to radio stations and marked as the probable hit) and the "B" Side (asong that the buyer is probably not familiar with). Therefore, the writer of the hitsong and the writer of the unknown song receive the same amount of money for thesale of each single. Although this may not seem fair, you should know that the writerof the hit will earn the bulk of his income from performance royalties. Next, we will takea look at exactly how much mechanical royalties actually pay, based on theCongressional chart which was negotiated through the year 2006.

Learning Where the Money Comes From part 2By Jason Blume

Previously we defined "Mechanical Royalties" and gave you several instancesregarding how those royalties are paid to writers. In this issue, we're gonna talkabout the actual rate of payment.




14

If you collaborate with a recording artist or producer, some of the record labels insistthat the artist, producer and his or her co-writers agree to accept the 3/4 rate.

Other instances in which the record label might feel justified to pay a 3/4 rateinclude the re-release of a product as part of a lower-priced catalog series, inclusionin a compilation, or inclusion in a box set that will be sold at a lower price. Whenthese situations occur, the songwriter may be consulted by the publisher, but it isthe publisher's decision as to whether to accept a reduced mechanical royalty rate.

From 6 Steps to Songwriting Success by Jason Blume. © 1999 by Jason Blume.Published by BillboardBooks, an imprint of Watson-Guptill Publications, New York, New York.

Making Money with Your Music Q&AHow do I get paid when other people record my songs?Contrary to popular belief, songs are not "sold" to the artists that record them. Infact, artists who record "outside" songs, pay nothing for the privilege — untilrecords are sold.

Songwriters earn money in two ways: a) When records are sold and b) when theirsongs are played on radio, TV and other public areas (restaurants, concerts, etc).

How do I get paid from record sales?

Payments from record sales are called 8. Mechanical royalty rate mechanicalroyalties and are paid by the record company to the publisher of the song throughthe Harry Fox Agency. The royalty rate is set by congress (the "statutory rate") andis at this writing set at 8 cents per song. Therefore if you had one song that waswritten and published solely by you on a million selling album, you would earn$80,000 in mechanical royalties.

How do I get paid from radio airplay?Performance royalties are collected from radio and TV broadcasters, etc. by thePerforming rights organizations ASCAP, BMI, or SESAC in the United States (eachcountry has its own P.R.O.). The P.R.O.s distributes these payments to their

member songwriters and publishers based on formulas that calculate how manypeople have been exposed to the song. A number one pop single might earn as muchas a million dollars in performance royalties in its biggest year.




15

How do I get paid from film and TV usages?That varies widely depending on the kind of show or film using your music. Money

is earned in two ways: the licensing fee, paid up front to the writer/artist, and theperformance royalty, which is distributed to the writer by a performing rightsorganization (ASCAP, BMI, or SESAC in the U.S.).

The license fee is determined by the overall music budget a music supervisor has towork with, and the negotiating power of the artist. Unknown artists get far lesslicense money than superstars, for example. TV shows and small films pay less thanmajor studio feature films. A prime-time network TV show might pay a license of$500 - $5000 for an unknown artist - same for the smaller films.

Major studio pictures pay well-known artists in the tens of thousands of dollars.

Performance income is determined by the number of people estimated to have seenthe show and therefore heard the music. The more popular the show - the moremoney you make on performance royalties. A network TV usage might pay in the$1000 - $2000 range for one broadcast.

You make new royalties every time the show is re-run, which is particularly goodnews if you've got music on a show that goes into syndication and airs frequently inmarkets around the world. Cable broadcasts generally pay less than broadcastnetworks (fewer viewers).

No performance royalties are generated on theatrical showings of films in the U.S.A.

(though they are paid in other countries), but when the film is aired on TV, youwould make your performance money.

You may also make money when videos or DVDs are sold, depending on the natureof your original license agreement.

Musicians JunctionFind and be found by other bands, artists, musicians,songwriters and more withthe Musicians Junction. It's free!

Music Magazines / E-zinesAlternate Music Press: an online music archive with news, interviews, reviews andLinks Bandit A&R Newsletter: ambitious bands, singers, songwriters and producers, allover the world, have been using The monthly Bandit A&R Newsletter for 17 yearsto target their demo's direct to Record Labels, Publishers, Managements andProducers World-wide which are CURRENTLY looking for new acts, songs ormasters, in all commercial genres.




16

BreakThru-Online.com: a bi-monthly magazine on how to make it in the music

business. Has legal advice, and an up-to-date music industry directory that's helpfulfor making contacts.

Damn Good Tunes: Damn Good Tunes is the original webzine for and about theartists, songwriters and bands - the studio producers, engineers, the marketing,management and sales professionals, the media and everyone on the indie team.

Entertainment Industry Online E-zine: for directors, producers, writers, film, video,recording, record producers, scenic artists, storyboard artists, animation, artdirectors, catering, musicians and more.

Film Music: the industry's source for information, education and communication.Includes a broad variety of resources for film music composers.

Indie Journal: a home for the independent artist, musician, writer, producer andlover of the arts. Features interviews, reviews, artist features, poetry, short stories,and a variety of interesting commentary.

IndieMusicStop.Com: they cover all styles of Indie music with band features,interviews, news and CD reviews.

In The Basement Magazine: UK-based quarterly dedicated to real soul music,

principally 60s through 80s and the relevant music of today. Brimful of features, cd,book and dvd reviews, news, views and much more.

Mary 4 Music: Since 1998, the Internet's Complete Blues and Indie Music Resource.

Music Business Journal: the Internet publication for the global music business.

Musicfolio.com: a music critic site with a focus on dark wave, darksynth, goth rock,gothic metal, ethereal, synthpop, new-wave, post-punk, EBM and industrial music.In addition to the reviews, the site posts music news, compiles yearly album charts,and weekly song-of-the-week picks.

New Music Weekly: covers the radio and music industry with its 32+ page weeklymagazine, Web site, NMWmail, NMW Awards and syndicated radio shows. Built byradio stations that "break" the hits first, has become the standard for trackingradio airplay nationwide.




17

Premier Guitar Magazine: the true gear head’s resource, focusing on the besthighend, boutique and custom shop gear available today. Featuring interviews with the

biggest gear heads in the industry, an interactive Gear Search, product reviews andinformative tech and educational columns you can't find anywhere else.

RockOnTheWeb.Co.Uk: is a rock music zine providing you with all the latestimportant rock news, reviews of bands - big and small! Competitions, unsigned andupcoming bands and a lot lot more! Take a look around and pay a visit to ourforums!

South bounders: movie about hiking the Appalachian Trail in the Great SmokyMountains.

Promoting Your Music on MySpace: Making Friends and GettingThem to Your Shows

Larry Busseyhttp://www.myspace.com/larrynvegashttp://twitter.com/StimulusGuru

We All Need FriendsMySpace is designed as a networking site, and because of this, many resources existon the site that allow you to search for people all over the world. When you first create

your MySpace account, you should start by adding your friends - people that you knoware already on MySpace. These people will tell their friends about your MySpace pageand they will tell their friends, and so on. When you decide to start exposing yourmusic to a larger online audience, you can approach this task using numeroustechniques.

The Browse and Search features found on the MySpace menu bar are ideal places forfinding fans to befriend and expose to your music. For those unaware, gaining friendson MySpace is achieved by sending a person a “Friend Request” message. Thismessage comes up on the user’s admin page and displays your picture and the optionto accept or deny your request. The person you are befriending has the ability to click

on your picture, view your profile, and decide whether they want to be your friend.

Many people consider the number of friends a band has on MySpace to be directlyrelated to their level of popularity and success. Because of this relationship, manybands put a lot of effort into adding friends to boost their friend count. In orderto ensure that people you are befriending will actually enjoy your music, it’s best totarget suitable audiences.




18

MySpace’s “Browse” feature, also found on the menu bar, allows you to do anextremely detailed search for MySpace users based on information such as gender,

age, relationship status, location, ethnicity, background, lifestyle, etc. As you canimagine, searching within these specific details can be very beneficial in reaching yourtarget audience.

MySpace’s “Search” feature, found right next to Browse on the menu bar, is a bit morelimited in its search options but can still yield excellent results. The Search page allowsyou to find one specific person by searching for their name, display, or emailaddress. This page also has a Classmate Finder, which allows you to search by peopleat a certain school and a Networking search, which allows you to search by people’sgeneral interests. If you are looking to add friends from certain age groups, locations,interests, etc., these tools can be extremely helpful.

Finding Your Niche and Keeping ItThere are many more inventive ways to search for and add friends on MySpace. Thesetechniques include adding friends who listen to bands that sound like your group,friends who like local bands you play with, friends that are friends with a certain venue,etc. All of these resources will yield a variety of fans and aid you in exposing your musicto groups of people that will be interested in your band.

When doing anything on MySpace, especially something like adding friends, always beprofessional and polite. There is no difference in the way you choose to communicatewith a fan, band, or club owner in person compared to communicating over MySpace.

Be thankful to the people who support your music, no matter who they are. If a personor friend requests you, don’t just accept the request, take that extra step and send thema comment or message saying thank you.

I often try to take a look at the person’s profile and then leave a comment about theirinterests, in hopes of establishing a relationship with them and ensuring their support.When you are adding many friends at a time, consider sending each individual amessage saying you hope they like your music and you’d be grateful if they took afew seconds to check it out.

A lot of companies advertise on MySpace and send out billions of friend requests;

sending a message along with your friend request can help avoid losing a potential fanthat may ignore your request just like a friend request from a company lookingfor advertising.




19

The main idea in adding friends is to be considerate and professional and alwaysencourage communication. Establishing relationships with your fans can only help your

career and get more and more people talking about you.

You’re Nothing without Your FansOnce you’ve added a considerable number of friends and you have a large group ofdedicated supporters, there are several different ways to assemble your fans onMySpace. One way is to create a MySpace Group for your fans. The Group feature isfound on the MySpace menu bar. Once a group dedicated to your band is created, yourgroup page hosts a forum for your fans to talk about your band and the option of postingnews bulletins on this page. Two other tools to get your fans together include creating a

MySpace page for your Street Team and a Fan Club MySpace page for your band. Both

of these pages increase your online presence and increase promotion and support foryour band.

MySpace, I Love You.One amazing promotional tool MySpace has created for your friends is the ability to addyour song to their profile. On your MySpace player there is an “Add” button under eachtrack. Users can click this button to add your song to their profile and your song willstream from their page with your band name, the song name, a link to your page, andan option for other users to add the song to their page.

Users are only allowed one song for their page and the song play immediately when

their page loads. I can’t get over this feature. It makes me so happy to see fans thathave one of my band’s songs in their profile.

I know that all of their friends go to their profile and they all hear the song automatically;as a result our exposure spreads. If your fans begin putting your songs in their profiles,you are definitely doing something right. Be sure to thank them for their support.

These types of opportunities should also motivate you to post quality recordings of yoursongs on line. No one wants a poorly recorded song playing on their personal profile.Gaining and communicating with fans is a crucial part of the MySpace networkingexperience and there are certainly right and wrong ways to go about approaching new

fans and friends.

Always be sure to be professional and thoughtful in your efforts. One last importantpoint is to make sure you have a quality “product” before you expose it to thousands ofpeople on MySpace. Wait until you’re getting a good response from fans on a locallevel, and then take your marketing campaign into cyberspace.




20

Informing Your Fans About Your Upcoming ShowsMy favorite way to inform fans about an upcoming show is to post bulletins about the

show and make the show flyer the default picture on our MySpace profile. A MySpacebulletin is a message you send to all your friends.

I include the show flyer in the bulletin message along with text encouraging our fans toattend. When your friends log into their MySpace accounts, there is a list on the lefthand side displaying all the recent bulletins posted by their friends. So, if you post abulletin titled “Upcoming Shows!” or “We are coming to California!” – Your fans thathave an interest in these shows can click on the bulletin, read it, and reply backwith questions and comments.

In addition, if you make a show flyer your default profile picture – that flyer will show up

everywhere your name is posted.

For example, everywhere you’ve left a comment, all of the Top Friends lists in whichyour band appears, all of the inbox’s you’ve left messages, and so on. This results inyour flyer showing up in a lot of places making all of your friends as well as peoplewho’ve never heard of you, aware of your upcoming show. This also serves as aninspiration to make eye-catching flyers that people will want to check out.

You’re invited! MySpace also offers a built-in event announcement creator. If you go to Events in theMySpace Menu bar you can click on Create an Event. This feature enables you to fill

out all the information about your upcoming show and then send the invite to all of yourfriends. This is a great way to contact friends who may not pay attention to bulletins ormaybe some folks you haven’t spoken with in awhile.

Tour Promotion TipsI have also developed techniques for getting the word out about shows while touring orplaying a specific college date. While on tour, bands may be traveling to states they’venever even been to before. Luckily, due to the diversified number of people onMySpace, they may already have fans in that state!

There are many ways to access these fans including: using the Browse feature on

MySpace to search and message people by their location and age, message friends ofthe venue where you’re playing (assuming the venue has a MySpace page), messagethe friends of local bands on the show, etc.




21

Any one of these tools will put you in contact with people in the area you’ll be playingand these new relationships will give you a greater chance of having a bigger crowd in a

state you’ve never played before - that is an incredible advantage.

College Shows = $$$Many bands play college shows because a lot of colleges have a budget for eventssuch as concerts. Depending on the budget and the popularity of the band, an artist canmake a decent amount of money from a college show compared to a Tuesdaynight at a local venue.

With the use of the MySpace Search feature, you can search for current students at acertain college and let them know all about your upcoming show. The student body atmany colleges can be very supportive of campus events. Thus, MySpace messaging

college students is an excellent way to spread the word about an upcomingperformance at their school.

Oh My God! We’re Opening Up for Aerosmith!One last recommendation regards playing on the same bill as a very popular band. If aband is super popular, they’re going to have a MySpace. One way you can contact kidsattending this show and convince them to show up earlier for your set is to monitor thecomments that the popular band you are playing with has on their page.

If your band is from New Jersey and you see a person who comments on the popularband’s page saying, “can’t wait to see you in Jersey!” you can then send a message to

this person asking them to check out your music and consider coming to the show onthe early side to check out your band as well.

If a touring band is popular enough, they’ll receive a lot of comments like this and you’llbe able to contact a number of potential fans for your group’s show.

As you can see, there are many ways to inform the MySpace community about yourupcoming shows. One thing to keep in mind is to start sending messages well beforethe show date.

Some people don’t check their MySpace accounts every day and people often have

plans ahead of time for evening activities. In order to ensure you have a good chance ofreaching people before your show date, start promoting your upcoming shows severalweeks in advance. This time frame should give people enough time to read yourmessage, check out your songs, and plan to come to your show.




22

Internet Music Distribution & DownloadsOverviewCompanies that distribute downloadable music over the Internet in digital format.

Most Viewed Internet Music Distribution & Downloads Companies Yahoo! Inc. Apple Inc. MSN Sony Corporation of America MySpace.com Warner Music Group Corp. Vivendi Volcom, Inc. Napster, Inc. Bebo, Inc.

Other Industries Related to Internet Music Distribution & Downloads Internet Content Providers Multimedia, Graphics & Publishing Software Radio Broadcasting & Programming

Featured Music ManagementSPONSOR LINKSNeed to Sell Your Songs? Market Your Music to Labels and Publisherslooking right now!http://www.TAXI.com/

Local Search ResultsSPONSOR LINKSMusic Industry Contacts Get industry overviews, financials, exec bios, news andcompetitor infohttp://www.Hoovers.com/

Music Manager Record Label A&Rs, Producers, Music Manager, Publishers,Agents.http://www.allmusicindustrycontacts.com/ music industry contacts Huge list of record label contacts Get your bandsigned.Save over 25%http://TheIndustryBuzz.com/




24

What Jobs Should an Artist Manager Do?The jobs a manager does depends very much on the band and where they are in

their careers. For an unsigned band, a manager should:

∗ Send out demos to labels, radio stations, local print media, and onlinepublications

∗ Book gigs and invite labels and the media to the shows∗ Network and talk to people about the band∗ Help book studio time and practice sessions∗ Explore funding opportunities for the band

For signed artists, managers should:∗ Negotiate financial deals with the label for expenses like touring and

recording∗ Oversee other people working for the band, like accountants, agents, and

merchandisers.

For a signed artist, the manager should be the mouthpiece of the band, and theirgreatest ally, making sure that everyone else involved in the band's career is doingtheir job and working hard to promote the band's success. For instance, themanager should be on the phone with the label, asking about advertising campaignsand then on the phone with agent asking about upcoming show opportunities.

What is the Pay Like?

Managers are generally paid a percentage of the band's income: 15% to 20% is theindustry norm. In addition to their percentage, managers should not have to coverany expenses out of their own pocket.

There are some things a manager should NOT get a cut of. These are:∗ Songwriting Royalties ∗ Merchandise

Additionally, managers should not get a cut of any deal they were not a part of.That doesn't mean bands should make deals behind their manager's back to keep the

cash; a good faith relationship with a manager dictates that the manager isincluded in all band business related decisions.




25

Do Managers Need a Contract?

In a word, YES. Even if you're managing an unsigned band made up of personalfriends and there is no money involved for now, you need to write up an agreement.It doesn't have to be fancy or even supervised by a lawyer. Just jot down what isexpected of both manager and band, what the percentage of income for the managerwill be if any money should come in, and what happens if band and manager decideto part ways. Many new bands don't want to make their friends sign contracts. Putthat out of your mind. When you're entering into a business relationship with afriend, a contract keeps the friendship safe.

How Do I Become a Manager?If you think management might be a good fit for you, take a look around you. Do

you know any musicians who could use someone to help organize shows or managetheir websites? Volunteer to help bands you know, even if it means working for freewhile you're learning the ropes.

You could also approach a management company and see if they have anyinternship opportunities available. Like most music careers, if you keep your headdown and work hard, the right people will eventually notice.

What percentage does a Music Manager get?Make sure that your manager is a legit music manager & not just some tireddreamer without a work ethic. The music industry is a tough nut to crack &

everyone is not capable of dealing with the trials & tribulations. There is a set rateof 15-20% that managers should receive in exchange for their services. Thispercentage is deducted from your gross income. Management contracts are usuallyno longer than two years with an option to extend that time if the manager gets youa record deal & is exceptional at taking care of business.

There should be anagreement that at any time either party can terminate theirrelationship. Music managers can and will sometimes act as an investor if he/she reallybelieves in you. If your package is not up to par they will do the things necessary tobring your package to a certain level of professionalism. This includes photography,recording, mastering & biography. It is your business Managers job to handle anything

administrative and financial including publishing deals, royalties, recording, publicrelations, publicity and promotion.

Remember it is your business Managers obligation to get you work. This is nowherenear a perfect world, so you need to acquire enough information about the musicindustry so that you do not put all of your trust in your manager. You shoulddefinitely research and discuss things together.




26

Since you will be doing business worldwide make sure that your Manager only getscommission for the deals that he makes in the country that he does business in.

When you expand to over seas you will need to hire co-managers to help yourmanager in that region. The contract that you have with your manager should alsostate if they are your management for other areas of the entertainment industry aswell.

It is not unlikely for musicians to become actors and vice a versa. It will also be yourManagers job to keep accurate accounting records to ensure that no one is being rippedoff. Music Managers role is some what sophisticated these days so it would not be abad idea to make sure that they have taken a course in Music Management. Musicmanagers have a lot of responsibility including development, getting a booking agent fortours, developing a great promotional package, creating the artists image including

wardrobe & stage presence, getting the artist a web site, songs, producers, studio time,publishing, publicity, etc.

Suggested ReadingBefore You Sign a Management Contract How to Send Your Demo to a RecordLabel How to Record a Demo

Suggested ReadingMusic Promoter Music Agent Door Split Deals

Suggested ReadingPromotion Contracts Booking a Gig - Step by Step Music Business Terms

Related Articles∗Talent Manager - http://en.wikipedia.org/wiki/Talent_manager ∗Before You Sign a Music Manager Contract - http://tinyurl.com/qrrvvm ∗ Motivation and a Profitable Business Are All About the Managers...Duh!∗ Q&A with Francis Macdonald - http://tinyurl.com/74be9r

∗ What To Do When You Don't Get Paid for a Freelance JobHeather McDonald - Music Careers Guide. http://tinyurl.com/dkwtbf

∗ My Myspace Blog: - http://tinyurl.com/ydknuwr




27

Sponsored LinksLearn Audio Recording music production, mixing, Pro Tools & live sound fromindustry leaders.www.cras.org Music Production Schools Find a Music Production school & start an excitingcareer. Get info. www.College Surfing.com

Want a Record Deal? I’ve helped lots of artists get signed: do you have what ittakes? www.TheMusicBroker.net Major in Music Business College Degrees, Internships, and Jobs we’re all AboutMusic. Learn More! www.McNallySmith.edu Music Producer Career Want to Work in Music Production? Train with a Pro at aLocal Studio! www.GetAMentor.org/Career

Planning Your Music Career,One Step at a TimeArticle by David Nevue

The Music Biz AcademyIt's not that difficult to figure out what and when to write a new article on a particulartopic. Usually, I'm prompted to do it when two or three visitors to the Music Biz Academyask a similar question. Sometimes it's just easier to put my thoughts down in an articlefor everyone's benefit. Such is the case with this article.

How to you begin planning for a serious career in the music business? What are thesteps you need to take to 'make it?'

Getting SignedBefore answering the question let me share with you some of my own thoughts on thebusiness. First, a lot of musicians are looking to be signed by a major record label(duh!). You, the reader of this article, may yourself have aspirations of ‘making it big.’However, if there is one thing that I’ve learned over the years, it’s that these days recordlabels aren’t looking for fly-by-night musicians they can turn into stars.

What 'Labels' Are Looking For

What they are looking for are musicians that are already doing the work. They arelooking for artists that have proven they can create a huge fan base, sell thousands ofCDs and sell out shows all on their own. They are searching for musicians who arealready ‘stars’ in their own region. What I’m saying, in a round-about way, is this; if youwant to ‘make it big’ and get signed to a major label, the best way to do that is to forgetabout being signed to a major label and do the work yourself.




28

Get out there, play your music, build your fan base, and sell CDs. Your goal should notbe to ‘get signed’, but to bring yourself to a point to where you don’t really need the

backing of a record label anymore. Once you’ve reached this point, and you have amarketable name and product, then you might find some A&R people knocking on yourdoor. Maybe.

My intent with these comments isn’t to discourage you, but to empower you. You reallydon’t need a major label deal to have a successful music career. If you are seeking onlyfame , then yes, you need the backing of big money. But, if you just want to do music fulltime and be the quintessential artist (as I now do), that’s something you can do all onyour own. But it takes a lot of hard work.

Planning Your Music Career

Now to the topic of this article. In regards to planning your career, you need to treat it(your career) just like a business. That means, you need to think about where you arenow, and plot out where you want to be a year from now, two years from now, and thenfive years from now. You might even break this down, plotting your 'life' out in six monthincrements, giving yourself small goals to aim for. That way as you progress you cansee how well you are doing on achieving your goals.

Here are some steps you'll need to take if you're serious about your business. This isintended to be a very high-level summary overview. For a more detailed look at some ofthese points, please see Chris Knab's excellent three-part guide to Career Planning, which I have summarized (and added my own thoughts to) below.

1) Write the Business PlanIt's just something you gotta do. If you don't plan and just take each day as it comes,improvising along the way, well, sometimes the 'day' you're dreaming for never comes.Take control of your future, and sit down and put together a business plan. PeterSpellman has a great article on this topic which includes a music business plantemplate called

Writing a Music Business Plan That Works.2) A Band AgreementPut together a band agreement covering such issues as copyright ownership, sharing of

profit (and loss), the band name (who owns it), rules around hiring and firing members,who pays expenses, what rights ex-members have, and whether you are going tooperate as a solo proprietorship, partnership or corporation. Once you've decided on thelatter, register your business name with your state government (you can usually get theforms from your bank) and you can open up a checking account.




29

3) Publicity PhotosFind a professional photographer with experience in the music industry to create some

publicity shots. You will also need to determine (in your band contract) who in the bandowns those photos and the negatives. Whatever you do, don't use cheesy K-Martphotos for your press kit! You're not posing for your high school yearbook here. Hire apro to make your image one worth marketing.

4) Local GigsLocal shows will likely be your first source of income. You'll need to put together a 45-60minute set of music. Once you have that, contact and start sending your press kit tolocal venues and follow up with them via telephone and in person. Write out a writtenperformance agreement that both you (representing the band) and the venue will sign.Get all the details on paper so everyone's expectations are set, and then sit down and

go over each point with the hiring manager.

5) Make Your Own CD When you start booking shows, consider recording a CD to be sold during your shows,distributed to local and regional record stores, and marketed via mail order, your fanmailing list, and via the Internet. Research local studios, find which studios are popularwith other local bands, and interview bands who have already released a CD about theirexperience. Learn from their mistakes, and ask them what they would do different if theycould start all over again.

6) Local Radio Promotion

Which local radio stations support independent music? Start by calling college anduniversity stations in your region. Ask for a program schedule and find out where yourstyle of music would fit in. College radio is where you are going to build your following.Most 'commercial' stations have no say over what they play and aren't going to be ableto offer you much in the way of radio support. Kenny Love has written an excellentarticle which includes some tips on promoting to college radio called Greed:

The Diarrhea of the Music Industry.7) Tell a Story / Benefit Concertsto create a sensation you need a story. Why should people, who have never heard ofyour music, care about you or your music? Find a story, something unique about your

music, something you can stand up for and use that to promote yourself to the localpress. You might get involved in a local cause, support a benefit, or find a communityservice/event you can team up with. Read your local news, figure out what yourcommunity is emotional about right now , and find a way to get your music involved.

8) Maximize the InternetUse the Internet as a tool to enlarge your fan base, both locally and abroad. This is ahuge topic. Let me recommend my book, How to Promote Your Music Successfully on




30

the Internet, considered by many to be the essential guide to web promotion formusicians.

Also see my other articles dealing more specifically with online promotion.

9) Booking AgentYou don't need an agent to help you book your local and regional shows. That'ssomething you can do all by yourself. However, if you decide to tour nationally at anypoint, you'll want the help of an established agent. How do you know when to get abooking agent? If you create enough buzz locally and are selling out venues, they willcome to you. But don't think touring is all fun and games. Check out this prototype tourschedule to get an idea of the kind of grueling hours you can expect to put in.

10) Research Publishing CompaniesSigning with a publisher has a lot of benefits; they can promote your songs, shopdemos, issue and negotiate contracts for you and much more. But, as a result of signingyou also lose a big part of your copyright.

For questions about publishing, let me recommend viewing Nancy Reese's excellentCopyright & Publishing Q&A Column.

11) Join a Performance Rights OrganizationPerformance Rights Organizations (ASCAP, BMI, SESAC) collect royalties. If someoneplays your music on the radio or uses it in film or television, it's the user’s responsibilityto report that to your P.R.O., who distributes your income generated from mechanicaland performance royalties... Decide on one and sign up.

12) Get an Entertainment Attorneyeventually; you'll want someone to look over your contracts that know how to protectyour long-term interests. Don't enter into any major agreement without counsel. See thisgreat article from Entertainment Attorney, Bart Day.

13) Educate YourselfLearn everything you can about the music business. Understand how it works from theinside out. There are a ton of articles here at The Academy to help you get a grip on therealities of this business. Read them, absorb them, and know your business. Music is Your Business by Chris Knab, is an excellent resource.

14) Work, Work, Work.Now you're starting to get the picture. It's hard work, and this is just the beginning. Witheverything there is to do, you can see the importance of sitting down and plotting outyour strategy on paper. The music business really isn't just for anyone. Playing musicfor fun? Sure, anyone can do that, but to make it your business? Well, it's a long, hardroad, full of unexpected twists, turns, and hair-pulling frustration. But, if you can endure,if you can persevere, if you can work and not grow weary, if you're both obsessed andtalented, well, you might have a shot.




31

Again, for more details on planning your music career, let me recommend Chris Knab's

three-part article which goes into more detail of some of the things covered here. Also amust-read is Kenny Love's article, Are You Really Ready? -----David Nevue is the founder of The Music Biz Academy . He is also a professional pianist, recording artist, full-time Internet musician, and author of the book, "How to Promote Your Music Successfully on the Internet."

Getting Your Music Management Team Together by John P StrohmJohn P. Strohm is a transactional entertainment and intellectual property attorney with the firm Johnston Barton Proctor & Rose LLP . John’spractice focuses on the representation of musicians, songwriters and

independent record labels.

Prior to becoming an attorney, John was a professional musician and producer for overa decade. He performed and recorded as a member of several notable alternativepop/rock acts, including The Lemonheads and Blake Babies.

I get a lot of calls from bands I’ve never heard of, and there’s a recurringconversation I’ve been having ever since I started practicing entertainment law. Itgenerally goes something like this: Band dude: “I got your number [from a friend, froman industry resource, off the bathroom wall, etc.], and I want to talk to you about hiringyou to be my lawyer.” Me: “Great. Why do you feel that you need a lawyer?”

B.D.: “Because we’re getting our team together.”

Me: “Well, that’s fantastic; but what exactly do you need a lawyer for? Do youhave a contract to negotiate/a dispute to resolve/ product to shop?” B.D.: “Right nowwe’re just getting my team together because big things are about to happen. We have30,000 My Space friends, a tight set, and a great image. We’re doing you a big favor ,because I can feel it – we’re going to be huuuuuge .”

One of the most difficult aspects of working with musicians is managingexpectations, which is especially true of young bands. Pretty much every bandbelieves they are going to be huge, which raises all sorts of issues – not the least of

which is artists’ tendency to perceive any business opportunity as a potential “bigbreak.”




32

But what do they mean by the “team,” and when should a band or soloartist worry about assembling a team? This article provides a quick introduction of

the members of the typical business team (which should be distinguished from thecreative team, e.g. producers, choreographers, lighting directors, makeup artists,etc.), along with some guidance regarding when these advisors may becomenecessary or desirable.

Attorney: Please feel free to take this with a grain of salt: an attorney isoften the first professional an artist will require to assist him with his career. In myopinion, an artist should consult with a competent (i.e. knowledgeable about themusic business) attorney whenever he is asked to sign a document with respect to hiscareer or even to enter into a verbal agreement (which may be binding). I’ve oftenbeen retained to get an artist out of a lousy agreement that the artist signed without

the benefit of an attorney’s review.

You should regard signing any legal document with respect to your career withoutconsulting an attorney as very risky. Other than reviewing legal documents and in theabsence of a lawsuit or potential lawsuit, when does an artist need an attorney on histeam?

First off, attorneys are by no means uniquely qualified to shop product to labels andpublishers. Historically, attorneys have played a big part in shopping deals forartists; however, their role has diminished in recent years. These days labels areprimarily interested in artists who have already done a great deal of work in terms

of self-development; as such, even a fantastic demo tape will beg the question, Whathas the artist done to establish a career?

Rarely do labels actually sign artists who don’t have a sales history, a significant touringfootprint, and/or a significant online presence. If an attorney does shop an artist,generally the attorney will require a contingent fee, i.e. the artist must pay the attorney apercentage of their advance money, sometimes in addition to a percentage of grossincome and/or hourly billing for certain services. In short, it is generally far lessexpensive to find your own deal or have your manager (who gets paid a percentageregardless) shop for you.

If you bring an attorney a deal that’s already on the table, then you should be able topay the attorney by the hour, rather than a percentage of the deal. But beware: if youaccept an informal offer of business terms (even delivered via email or My Space), youmight lose the opportunity to have your attorney negotiate the terms later.




33

In short, any successful artist must retain an attorney or attorneys to deal with themyriad legal issues that arise with regard to their many contractual relationships. Less

successful or newer artists generally only need an attorney when their businessdealings expose them to risk, such as when they are faced with legally bindingagreements, or for business planning purposes.

Such artists should generally retain attorneys as needed by the hour, as opposed toretaining attorneys who require payment of a percentage of the artist’s gross income.Most music attorneys charge between $200 and $400 per hour, though somecharge upwards of $500.00 per hour. Keep in mind that many music attorneys arewilling to negotiate flat fees or fee caps to work with a limited budget – though don’tbe offended if an attorney requires a percentage of the projected fees as a retainer.Personal Manager:

The personal manager is the artist’s principal advisor and agent with regard to both day-to-day and long-term matters relating to the artist’s career. The personal manager (oftenreferred to simply as the “manager”) generally acts as a conduit and communicatorbetween the artist, the other team members, the record company and publisher, and allother parties involved in the artist’s career (including the creative team and partiesproviding specific services, such as publicists and licensing agents).

The personal manager generally commissions a percentage of the artist’s grossearnings – which can range from 10% on the very low end to 20% or more onthe high end. Established managers usually don’t get interested in artists until the

artist has consistently shown the ability to earn income. Management contractsoften have rather long exclusive terms (generally measured in album cycles ratherthan years), and contracts generally entitle the manager to at least some incomeeven after the term has expired.

When it makes sense for an artist to enter into an agreement with a personal managershould be analyzed on a case-by-case basis. It’s almost never a good idea for an artistto enter into a long-term agreement with a less established personal manager withoutfirst determining whether the manager will be a good “fit” with the artist. Many youngermanagers will work on a handshake basis for a period of time to allow the artist (andmanager) to make an educated decision as to whether there is such a fit.

Most protections in management agreements benefit the manager, though there areusually some protections for the artist as well. If a manager is not consistentlygenerating enough of an increase in income to cover their commission, then they areprobably not doing a good job (that is to say they are costing you money).




34

Unlike lawyers, agents and (generally) business managers, personalmanagers are not required to be licensed. As such, be aware that you should do

plenty of research with respect to a prospective manager. Researching a lawyer isfar easier – you can simply call the state bar to confirm that the lawyer is in goodstanding. With a manager, you should take the time to follow up with references. Ifthe manager won’t give you references, that should be regarded as a bad sign.Business Manager: The business manager’s role is generally limited to managing anartist’s finances: including receiving income, paying bills, preparing tax returns, andgeneral investment/financial planning. If a business manager is not a CPA, you shouldprobably regard that as a red flag.

Business managers generally charge a fee in the amount of 5% of an artist’sgross income for their services. An artist generally doesn’t need a business manager

until he earns substantial income (i.e. six figures annually), and similarly goodentertainment business managers generally aren’t interested in clients who are notearning substantial income. Most services provided by business managers, such astax preparation, can be obtained by accountants who will bill at an hourly rate.

Often personal management agreements require even newer artists to retaina business manager. Such a requirement clearly benefits the personal manager,who wants to ensure payment of his commissions; however, it’s not always in theartist’s interest to give up an additional 5% of gross income to the business managerprimarily for the manager’s benefit. Assuming the artist has good money managementskills and habits and delegates some important financial duties to an accountant, a

music business manager sometimes constitutes an unnecessary expense, even formoderately successful artists.

Agent: The role of the agent varies from one entertainment industry (e.g. film, literarypublishing, television) to another (e.g. music). Nevertheless, in every entertainmentindustry agents are subject to strict licensure requirements by statute in certain statessuch as New York and California. The role of agents in the musicindustry is generally limited to booking live engagements, for which agents aregenerally paid 10% of the gross income generated by such engagements.Unless your state does not have licensure laws and bookings will be limited toyour state, it is important to confirm that a booking agent or agency is licensed in

the relevant states. Another important matter to keep in mind is that personalmanagers are prohibited from booking engagements in states with licensurerequirements.




35

If managers violate state licensure laws and is sued by the artist, a possible remedyis that the management contract (regardless of the term) is void. It’s a buyer’s market

for booking agents, because there are relatively few agents that have sufficient contactsand experience (and interest) to book less established acts. As with other potential teammembers, agents rarely become interested in artists until the artist is able to generatesignificant income from live performances.

Most artists must book their own engagements until they establish a significant touringbase, at which time agents are likely to pursue the artist. If your band becomesfinancially successful, it will probably become clear which of these advisors you needand when. Keep an eye out for conflicts of interest among your advisors – especiallylawyers and managers. It’s probably a good idea to seek a lawyer referral fromsomeone other than your manager, since the first order of business with your manager

may be negotiating the terms of a management agreement.

Attorneys are bound by ethical rules that prohibit representing clients when suchconflicts exist, but that doesn’t mean that all attorneys abide by the rules. In sum, takeyour time and ask a lot of questions when forging professional relationships. Althoughthere is a documented history of dishonest or incompetent music industry professionals,I have met many solid, honest and respectable lawyers, managers, business managersand agents. Make sure that you end up with good people that make sense for yourunique needs and circumstances.

Are You Following Up Properly with Your Music Biz Contacts

By Jeri Goldstein © 2006 The New Music Times, Inc.

Persistent and consistent follow-up is one of the key elements to a successful touringcareer. This holds true whether you are trying to book a gig, land an interview witha local or major paper, get a record deal or find an agent or a manager. Those whosimply send out their promotional packets and wait for a response may as welldisconnect their phones and save on the monthly bill--you won't get a return call.

This business is filled with very busy people trying to handle all of the thousands ofincoming requests for gigs, articles, record deals and management deals. If you are

serious about what you do, then nothing could be more important than follow-up onevery contact. If you are the one selling your act, you need to be the one making thefollow-up calls without expecting calls from your prospective buyers in return.You are not the first and last thought on their mind, but they must be the first and lastthought on yours if you want the gig, the interview, or the deal.




36

Follow-up should be done professionally. While speaking to your contact the firsttime, after promising to send your promotional packet, indicate that you will check

on the packet's arrival in a few days. Make a note to yourself to follow-up with thatperson in four days and mark the date in your calendar. If you send somethingovernight, call the next day to make sure it arrived and the mailing service to whomyou paid big bucks, delivered on their overnight guarantee. If you send them a linkto your online press kit, you can call the next day or discuss it with them whileyou're on the first call right then. Your first follow-up call is simply to make surethat either the packet arrived or they reviewed the website or online presskit. If atall possible try to speak with your original contact in order to get this information.

This gives you a second chance to build your relationship with the main contact.You should also ask when they intend to review your packet if they hadn't already

so you can make another appointment to follow-up and get their comments orperhaps begin negotiations. Make the appointment for the third follow-up call forno more than two weeks into the future unless they suggest something else. If it isvery far off, get them to schedule a sooner date. If they are unsure of a time bywhich they will have reviewed the material, suggest a time approximately two weeksout when you will call back to check on their progress. They are alerted to the factyou will be checking back so that when you do call, it won't seem too soon or feellike you are hounding them.

There is an art to follow-up. You want to keep yourself pleasantly in the forefront oftheir mind, yet you don't want to become a pest. This is why it is so important to

establish an enjoyable, conversational relationship with your contact from thebeginning. As each subsequent follow-up call is made, your contact will lookforward to speaking with you and perhaps even move the process along morerapidly. Always ask your contact when you should check back to get them tocommit to an upcoming date in the very near future. Since these dates are at yourcontact's suggestion, you can always open your next conversation with, "Yousuggested that I call you today to discuss..." With this kind of opening, you willnever seem to be a pest.

Why is follow-up so important? If you don't follow-up on promotional packets thatyou mailed, you could be wasting lots of money. Promoters, reviewers, editors,

agents, labels all receive many thousands of packets each week. They get piled incorners of back rooms and often remain unopened. If you want your packet to moveto the top of the pile and get reviewed, you need to check on its arrival andsubsequently its status. Your follow-up can make that happen. It jars your contactinto action, eventually.




37

I have heard such sad stories of artists who sent packet to labels and they haven'theard back from the label. When I ask, "How long ago did you send your packet?"

They reply, "Oh, it must be three or four months now." When I ask them if theyhad called to follow-up and they hadn't, I just wanted to shake them. Instead, Iremind them that theirs was not the only packet sent to their contact during theselast four months and they should probably send another and then call a few dayslater. Their original packet has probably been lost in a black hole or at least it isburied at the bottom of one of the many piles of promotional packets sent morerecently.

Now that you can send a link to your online press kit, it is no less important that youfollow-up with your contacts to make sure they reviewed it. Just as import, is theaccompanying email letter you send with the link? First, having the contacts name

and direct email will speed things along and make your email more personal andless likely to be deleted as spam. State the reason for your email and what yourintended goals are; i.e. have them review the packet for a potential gig, inclusion ontheir agency roster or label. So often, emails are sent simply asking the person tocheck out our band and a link is provided.

Why do I need to check out your band? What exactly to want the outcome to beonce I've checked it out? Make sure you are specific and give the person somereason to go further with this email invitation. Let them know you know somethingabout the venue, agency, and label. Let them know that you've done your researchand they are not just another email from a database list.

One of the reasons that follow-up can become a daunting process is that too oftenartists attempt to contact too many prospects at once decreasing their chances foreffectively following-up in a timely manner. Set realistic goals for contacting buyers,media and industry professionals. Don't attempt those mass mailings to thousands,even hundreds when you know that the only way to reap any benefit is by directlycontacting each one. Send out five or ten at a time. You can make five or ten followupcalls much more easily than attempting hundreds. Keep yourself concerned withonly five or ten at a time. Be consistent with each one and keep track of each one.Five or ten is very manageable. When you keep the numbers low, the rewards aremuch greater.

I'll leave you with some food for thought. When was the last time you made aninitial contact and then neglected to follow-up? What is stopping you frommaintaining the connection? What is hampering you from completing the process?When you answer these questions and really consider the problem, you may be ableto find new enthusiasm for the follow-up process and add to your success. Until nexttime, keep in touch with your contacts!




38

Jeri Goldstein is the author of, How To Be Your Own Booking Agent The Musician's &Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been

an agent and artist's manager for 20 years. Currently she consults with artists, agentsand managers through her consultation program Manager-In-A-Box and presents ThePerforming Biz, seminars and workshops at conferences, universities, for arts councilsand to organizations. Jeri has released a 3-hour seminar on CD-ROM, Marketing YourAct.

The Seminar is set up in 5 modules with information about Marketing, Creating EffectivePromotional Materials, How To Access the Media, A Marketing Template and NicheMarketing.

No expensive conferences to attend-learn at your convenience to boost your career.

Her book, CD-ROM and information about her other programs are available at areavailable at Performingbiz.com.

Resource LinksCool Sites For Independent Musicians : Artistopia - The Ultimate Music Artist Resource Band Register − http://brand.com CD Baby.Com - http://cdbaby.com Clarion Musical Instrument Insurance - http://clarionmusicalinstrumentinsurance.com Getsigned.Com - http://getsigned.com Indie-Music.Com – http://indie-Music.com Jewish Entertainment Resources Music Books Plus Music Registry MusesMuse.Com – http://musesmuse.com MySongStore.com – http://mysongstory.com New Music Label - A one-stop solution for seeking, finding, and managing alltypes of Music careers. Online gigs - BOOK~PROMOTE~MANAGE~TOUR: Online Rock - Empowering Musicians PowerGig.com - http://powergig.com Call it Radio-media.com - How to get airplay on Your Own http://Radio-media.com Sonicbids.com – http://sonicbids.com

Organizations TAXI Association of Performing Arts Presenters Folk Alliance IBMA (International Bluegrass Musicians Association) Canada Council for the Arts




39

NACA NAPAMA AFM local 1000 Americans for the Arts National Assembly of State Arts AgenciesPerforming Rights Organizations ASCAP BMI SEASAC SOCANOnline Road Maps Map Quest Map Blast Google MapsComputer Supply Mail Order Catalogs Mac Mall PC Mall CDW.com

Booking Resources AustralAsia Music Industry Directories Borders Books And Music Canadian Folk Festivals North American Music Festival Database

Folk Biz Folk DJ-L Folk Music Digest Folk Venues Musician's Atlas Musician's Guide to Touring & Promotion Musi-Cal The Music Review Data Bases Now Available Metropolitan Opera Guild Opera AmericaCD Manufacturers

Oasis CD & Cassette Duplication Disk Makers Groove House Records CopyCatsMedia




41

4. Which brings me to another tip...Do some research on the music biz YOURSELF.This is just as important as putting in the hours of practice time on your

performance. You need to take on the initiative to learn some minor business jargonand techniques, even if you despise the word "business". The harsh reality is thatYOU are the business entity put up for sale on the market.Business people see and hear your talent and want to help you generate PROFITwhile compensating their own percentages...hey, they have to put food on the tabletoo. Business knowledge will also aid you in constructing your own solid financialkeeping habits.

5. Get your name out there! Get your name out there! Get your name out there!Build a web site. This is a no-brainer, its easy cheap advertising that can list all your

tour dates and new releases to MILLIONS of viewers...Just do it! Model your siteafter some of your favorite performers' web sites and get it posted A.S.A.P.

6. Then...After you have been performing solid and nearly flawless gigs for a goodchunk of time, maybe you will have caught someone's eye. (Hopefully through thehelp of your manager, being that this is a large responsibility within his/her jobdescription) This is where a possible record deal could be born.

7. Believe in yourself. Your talent is not garbage unless you treat it like garbage. Donot listen to dream-breakers that often say, "You will never make it in the musicindustry, get a real job!" Man, those people truly do suck and therefore are the real

suckers working their glamorous desk jobs to make... well, less money than you.There will always be critics as long as there is air in the world. You can't alwayslisten to these people, because they don't have the slightest clue as to how you feltwhen you wrote your songs.

Just keep on keeping on with your writing and performing abilities, and you will beguaranteed to reach a fan base. It gets much more complicated as your career unfolds,you may change record labels, producers, managers frequently or not at all. Most of thetime it is a good combination of chemistry and connections that make a successfulcareer environment for you. These "important" people are the people that will get youinto a music video...If that is your ultimate goal.




42

Trust

Trustworthiness is an incredibly important attribute to look for in a manager.Think about it, you’ve worked for so many years learning how to play yourinstrument and write your songs, and your band has been rehearsing andpromoting its shows for years—AND NOW YOU’RE GOING TO TURN OVER AGREAT DEAL OF RESPONSIBILITY TO SOMEONE YOU BARELY KNOW!Sounds scary doesn’t it? Trust must be earned over time, but if a manager doesn’tat least show an initial caring, enthusiasm, and commitment for your dreams andpassions, you may not have the right guy. Is your manager just interested in makinga quick buck off of you—or perhaps just interested in having a romanticrelationship? Seriously! You really need to follow your gut instinct on both theseissues from day one.

I remember one very famous manager firmly saying to a group that he didn’t needto like or be passionate about their music in order to do business with them. Soundsrather insensitive, but because of his power and clout, the band decided to go aheadand work with him. As it turns out, the relationship ended in disaster. The banddrove all the way across country in a van to perform a showcase, and the managerdidn’t even show up—nor did any industry people!

True story. Coincidently, after that, the manager didn’t even return the band’s phonecalls. Nice! Perhaps he realized there was no quick buck to be made from therelationship? Who knows? In similar situations, so many bands are promised thatthere’s a big tour or recordcontract right around the corner and that the labels are ready to ink the deal. Oneor two years later, the band is still playing the same dive clubs and are unsigned.

A manager can’t lie to his artists as some ploy to keep them under control, feelpowerful, or to perhaps manipulate into a romantic relationship. Again, an initialfeeling of genuine caring, enthusiasm, commitment, and over all trust is a majorquality to look for in a personal manager. Without these traits, no matter howpowerful and well connected the manager may be, you may end up with nothingmore than a lot of broken promises.

RespectA manager must also be someone that you can respect. We’re not just talking aboutthe number of successful bands this individual has managed or how many gold andplatinum records he has on the wall, we’re talking about morality and ethics. Whatdoes your manager really stand for?




43

Is he/she well educated? Well groomed? Does he show a genuine loyalty to otherbusiness partners and associates? Does he show an interest in win-win relationships in

other business ventures? Is he family oriented?

Does he do anything to give back to the community?

Or is your manager all about making money and flash—big houses, expensive cars,and arm-piece girl friends at any expense? Is he a spoiled rich-kid or businessmanwho got into management to fulfill some show-biz fantasy? Is he a former drugdealer or dubious business person? Does he hang out and party twice as hard asyou? Is he a bully?

Hey, I’m not making these examples up! Surely, it’s not like you’re an angel looking for a

saint, but overall a manager must maintain a level of authority and respect and perhapseven be somewhat of a father figure to you. Many bands, not that they’ll always admit it,want someone they know they can look up to and feel protected by.

They want both someone who’s going to take them under their wing and keepeverything under control—a super hero who can do no wrong, and someone who knowshow to be down to earth and admit that they don’t have an answer to a particularsituation.

Of course, you may initially be impressed with someone who makes a lot of noise,blows a lot of smoke, wines and dines you, and flexes a lot of muscle—but are you

really going to trust your whole career to guy like this?




A manager must be secure, grounded, firm, confident, educated, and well respected—

far above all the bells and whistles and shallow surface stuff discussed above. Withoutthese positive and respectful attributes, your only building a relationship in a personalmanager that is doomed to eventually fail!

Keep that in mind as you pursue your dreams.

SINCERELY,

LARRY BUSSEY, President / CEON Vegas Group Inc.

http://nvegasgroup.com

http://larrybussey.com

Email:[email protected]

Do You Need a Manager for Your Music Biz

Documents

Transcript of Do You Need a Manager for Your Music Biz