Friday, January 25, 2008


Industry Facts

Overview
Delivering and tracking content on the internet is a major issue in the digital media industry today. Collectively, the numbers of digital objects being generated each year are estimated at 1 trillion worldwide. Within the music, entertainment, print publishing, software and stock image markets the value of this content is over $500 billion and is estimated to grow to over $700 billion in the next 3 years. Along with this dramatic growth is the increased need for content owners, distributors and consumers of digital objects to understand how their content is being used on the internet.
Trends
While the awareness has been raised it remains extremely difficult for content owners to enforce copyrights and license rights. It is the tremendous success of the internet that is driving the growing use of and misuse of intellectual property and copyrighted material. Underlying this increase in internet use are the following trends:
The ever increasing bandwidth that allows for the near frictionless delivery of music, image, digital text and more recently digital video
Improvements in the ability to monetize digital intellectual property such as digital images, music, text, and video
The lack of identification, tracking, and business intelligence systems for these digital objects
A myriad of non-interoperable digital rights management schemes and systems
Pushback by consumers of digital rights management systems Recent DevelopmentsRecent developments reveal that owners, distributors and consumers are becoming increasing concerned about the lack of being able to track or identify their content as well as the mechanisms to identify and protect it:
Viacom Sues Google, YouTube for $1B over copyright infringement – USA Today, March 2007
Threat for Big Media: Guerilla Video Sites – Wall Street Journal, April 2007
ITunes and Music – DRM does not work – Steve Jobs – Thoughts on Music, February 2007
Corbis sues Templatemonster for $109M over copyright infringement of images – Reuters News, July 2006
Rep. Lamar Smith and Sen. Orrin Hatch introduce the “Orphan Works Act of 2006” (H.R. 5439), which creates new guidelines for use of copyrighted material when the original owner cannot be located – Washington Post May, 2006
Pirates Foil Hollywood's High-Tech Security – Wall Street Journal, October 2007
As a result, the industry is losing upwards of $11B in lost revenue in 2006 and predicted to grow to beyond $140 billion over the next 8 years
According to the MPAA over $7B in revenue due to illegal piracy of videos content.
The RIAA reports that the trade of pirate music content was worth $4.5 billion globally in 2006
Infoflows Fedmark Platform
It is against this backdrop that Infoflows introduces the Fedmarksm Platform and the Fedmark Image and Video Solutions. The Fedmarksm Platform is focused on an innovative approach to tracking, monitoring, legal control and recovery of online assets by content owners. Supported by an easily managed user interface, the most powerful internet crawl technology available, and a dynamic visual search capability, Infoflows believes that Fedmark will become the standard for intellectual property protection for all forms of digital objects – be they stock images, video clips, audio files, or software applications.

Facts about the music industry (Take Notice)

1. Sales of CD's have decreased since people began burning CD's? A loss of between 700 million and 1.5 billion dollars worth is the latest estimate mostly lost by US owned companies.2. Smaller bands have become less profitable due to the demand for access to their free mp3s. Small bands are struggling more because overall CD sales are down even at small local shows and small record shops. Most bands must give away their songs just to get low paying gigs. Most websites that sell indie CD's report low to nonexistent sales while demand for their free mp3s nearly overload their website's bandwidth proving free mp3s are not helping to nurture more new bands trying to break into a very expensive industry.3. CD manufacturers are making a lot of money off blank CD sales but all other aspects of the music industry are loosing money; from large record companies, big record chains, popular musicians no matter how large or small and even indie record labels, smaller bands, and small mom and pop record stores.4. Many businesses such as Napster and mp3.com are opening to supply music to the buying public legitimately. They are now a legitimate business selling licensed products. They are now selling songs for from 88 to 99 cents per song for a single person to use thus legitimizing the business. This has not however revitalized the industry as many have hoped and many users continue to download and burn CD's illegally.This leads me to wonder If people can get away with burning CD's and illegally downloading has it contributed collaterally to the decay of our values making people crave more things for which they haven't paid? Also now that people seem to expect things like music for free is its quality and value lessened for all of us because of it? I'd love to hear what you think about this subject.

Creates Golden Opportunity

The rapid rise in the value of the Euro has created an even stronger foreign market for American music. International business is almost always conducted in dollars. Oil, natural gas, gold, silver, wheat, rice, sugar, and many other such things are priced in dollars. Music, movies, and other art forms are usually priced in dollars. Most of western Europe uses coins and bills called Euros. Just a few months ago, the Euro was worth about 80 cents, in American money. Now, the Euro is worth well over a dollar.
This is a very important fact if you are interested in leasing your music to one of the European music distributors. The rise in the value of the Euro has lowered the price of everyday items in Europe.

Here's an example. Oil sells on the world market for about $30 per barrel. When the Euro was worth 80 cents, a barrel of oil cost 36 Euros. That same barrel of oil now costs about 25 Euros. If you take this same effect and apply it to other everyday items, you see the impact it is having on the European economy. Imported cars, electronics, and clothing from Asia, meat and grain from the United States and hundreds of other items have become 25% to 30% cheaper.
The overall effect is to increase the purchasing power of the average European by about 30%. It is almost the same as if everybody in Europe had been given a tax free 30% raise in pay. The average European has more money to spend on entertainment. Some of that increase will be spent on American music.
The demand for American music is increasing. European music distributors will need more American music to meet the increased demand. This is only half of the overall picture. Let me give you another example. Assume a German music distributor wants to lease American music to meet the increased demand. Assume the cost per album is $20,000. Before the run-up in the Euro a $20,000 album lease would have cost the German company 25,000 Euros. This year, it will cost about 18,000 Euros. Assume the German music distributor had a total of 100,000 Euros to spend leasing American music. Last year, he could lease four American albums. This year, he can lease five American albums.

Each American artist is still getting $20,000 for his album. The payment has not changed. The overall pie has became larger. The total number of artists receiving $20,000 has increased. The German music distributor's cost has remained the same. The demand for American music has increased. The price in dollars has remained the same. The cost to the distributor has fallen about 20%. These three factors mean there has never been a better time to lease American music to European record distributors. The world's largest music trade fair is held in January. Visit http://www.midem.com for details.

What Is Midem?

MIDEM is the premier music trade fair on the planet. For more than 30 years, music industry leaders have gathered for five days of total music immersion.
Recently, over 9,000 people from 94 countries gathered in Cannes, France. Representatives from 3,975 music companies attended. The event was covered by 750 journalists. It was attended by Crown Princes, members of the British Parliament, and high ranking government officials from many nations.

All of which is interesting, but not as interesting as why they were there. They were there because that is where the action is. Hundreds of millions of dollars worth of music business was done. Record distribution deals of all types were made. Booking agents made deals with concert promoters. Songs were pitched, publishing companies were bought and sold. If it is business and involves music, some of it was done.

We look at all this professionally. We intend to achieve the maximum results. We want to place great independent music with foreign record distributors. They attend MIDEM hoping to find some high-quality music. They want to sell it in their home markets. They want to make a profit doing what they do. They distribute music. They need great new music to distribute.
There are countless variations, but it works along these lines: Distributors go to MIDEM looking for music from any place except their home market. A Japanese distributor might make a deal to distribute music from Germany. A German distributor might make a deal to distribute music from Australia. A distributor from Taiwan might make a deal to distribute music from England. All of them might make a deal to distribute music from America. American culture has spread throughout the world. The demand for American music has never been greater.

Only the biggest foreign distributors can afford to make deals for the best known American artists. Regional distributors don't have the financial muscle to buy the distribution rights to the music of big-name American stars. They are looking for music in the $15,000 to $50,000 range. They want exclusive rights, but only for their market. They don't care what happens in other markets. Nothing prevents such limited regional exclusives from being sold to several different regional distributors. Put together several $15,000 to $50,000 distribution deals on an album, and you're talking real money.

We are reviewing music now. Over the next few months we will be selecting the music we will pitch. Our only requirement is quality. There is a demand for all kinds of American-style music. Country, pop, urban, rock, bluegrass, and gospel, have fans in various parts of the world.
I agree with what Louie Armstrong said many years ago, "There are only two kinds of music, good and bad." Great Country music is being produced in Australia, Canada and other countries. We will base our selection on quality. It would not be fair or good business, to disqualify music from any country.

MIDEM is a part of our yearly operation. We are building a reputation for pitching high quality music from unknown artists. We already have many foreign business contacts. We are hard at work establishing more. The well known artists have huge corporations representing them. Our mission is to help highly talented and professional unknown artists.
If you have an album you are proud of, send it to us. The mailing address is:
International Talent GroupDrawer 291827Nashville, TN 37229
Mark it Attention: MIDEM Project. Please allow plenty of time for a response. The selection process is time consuming.

For more information about MIDEM visit www.midem.com

How Do I Sell My Song?

The short answer to the first question is "You don't want to sell outright, a song you have written." Under the United States copyright laws, you are entitled to a royalty each time your song is used for commercial purposes. If you were to sell the song, you would be agreeing to accept one payment, and would forfeit all future earnings. A person who would take advantage of you in such a fashion would be highly unethical. The industry is full of stories about the bad old days, when people would take advantage of a writer's poverty and/or ignorance by buying a song.

All Human Behavior Is Belief Driven

Your brain is similar to a computer. Your beliefs are the programs you have loaded into your brain. Human beliefs fall into two categories. These are; beliefs about what will create pleasure and beliefs about what will create pain. We try to achieve those things which we believe will create pleasure. We try to avoid those things we believe will create pain. Any two people can have vastly different beliefs about the same thing. One person believes skydiving results in pleasure. Another person believes skydiving results in pain. One person believes smoking is cool. Another believes smoking is a nasty habit that brings early illness and death. One person believes a seat belt prevents severe injury and death. Another believes a seat belt is confining and restrictive.

The programs you choose to run will determine your outcome. If you are running a spread sheet program in your computer a series of key strokes will produce a certain outcome. If you are running a word processing program, those same key strokes will produce a different outcome.

We all have things in our lives we would like to change. Temporary change can be accomplished through disciplined change of behavior. Real lasting change requires a change of beliefs. Unless you change the program your brain is running, you will revert to your old behavior. We have all done this over and over in our lives. We have vowed to practice our instrument everyday. We have done so for a period of time, but lapsed back into laziness. We have went on diets and lost weight, but later reverted to our old behavior and gained the weight back. We have fought an addiction to tobacco, alcohol, or some other chemical. We have kicked the habit for some period of time, but returned to our old behavior. In short, we have tried to improve ourselves one way or another, but failed to create lasting change.

We will continue to try and fail until something causes us to change our beliefs. When we change the programs running in our brains, we will create lasting change. Most of us have had a life-changing experience. An experience when something we had struggled with for months changed in the flash of a moment. In that moment, one of our beliefs changed dramatically. We knew we should fasten our seat belts, but just couldn't remember to click it. Then something happened. We got a ticket or a friend was in a car wreck. Suddenly, we believed not using a seat belt creates pain. We knew we should quit smoking, but just couldn't make it last. Then a close friend was told he had lung cancer or had a stroke. Suddenly, we associated pain with smoking. We were in a bad relationship, but just couldn't seem to leave. We kept thinking it would be better in the future. Then something happened. Suddenly, we believed it was painful in the past, it was painful in the present, and it would be painful. At that moment, our beliefs changed. As soon as our beliefs changed, the struggle was over.

Real lasting change is never a matter of ability. It is always a matter of motivation. Link enough pain to the old belief and enough pleasure to the desired new belief and lasting change will happen in an instant.

We have to decide. We can decide to sit back and wait for life to hit us with some nasty belief-changing event. Or, we can take a hard look at our beliefs. Most of our beliefs are not carefully thought out and chosen. We pick them up unintentionally the way we accidentally load a virus into our computer. Our beliefs can empower us or they can disempower us, by creating artificial limits.

If we believe in ourselves and in our dreams, we will take massive action to make those dreams come true. We will set definite goals and devise ways of reaching them. We will seek out ways to meet other music people and build networks of personal relationships. We will look around ourselves everyday and ask, "What can I do today to move closer to those goals and aspirations?" If we believe our lives are created by the thoughts we think, the words we speak, and the actions we take, we will live rich and fulfilling lives. If we believe success comes only to the lucky few, we will live lives filled with bitterness, despair, and failure.

The choice is ours. Our creator empowered us with free will. The good book says, "Without a vision man shall perish." We can choose to be visionaries. All that is required is a dream and the unstoppable determination to reach it.

The day Disney World opened hundreds of reporters were present. Walt Disney had died before the grand opening ceremonies. His brother was there in Walt's place. A jerk of a reporter walked up to Mr. Disney and said, "This must be a really bittersweet day, for you." Mr. Disney looked around at the beautiful buildings, rides and grounds. He saw the crowds of people enjoying themselves and marveling at the beautiful park. He told the reporter he did not understand the question. What could be bittersweet when everything was going so well? The reporter said, "Sure, everything is going well. The park is beautiful and everything is working fine. But, it's got to hurt you to know Walt never lived to see this."

Mr. Disney was cool. He remain centered. He said, "Young man it is clear to me why you are only a reporter and Walt accomplished so much. My brother dreamed of this. Because he envisioned it years ago, you get to see it today. Walt was a visionary!"

I hope you enter the the next chapter of your life with a vision of your dream shining brightly before you and the belief that through your thoughts, words, and actions you have the absolute power to make that dream come true.

There Are Two Kinds Of People

There are two kinds of people. There are those people who believe their lives are ruled by something outside of themselves. They are the folks who find a comfortable spot to sit and wait for fame and fortune to find them. If their words do not reveal them, their actions do. These are the people who refuse to take responsibility for their own lives. They appear to believe that Lady Luck, the Lord, Buddha, Allah, Fate, Santa Claus, or the Tooth Fairy will one day deliver the fame, fortune, and success they so rightly deserve

Why The Music Industry Works The Way It Does

The music industry has one great difference which sets it apart from most other industries. The difference is a lack of certification or licenses. Truck drivers, doctors, lawyers, welders, and even massage therapists can show you a piece of paper which says they are qualified to provide a given service. There is no such thing as a certified singer or musician.

So, how do music people find the qualified people they need? If a major star like Garth Brooks needs a new backup singer, guitarist, keyboard player, or whatever, he could run ads in newspapers. Hundreds of people would show up for the auditions. He would spend many days listening. After enough days, he might find the person he wanted. He could do that, but he values his time too much. He would rather have a few very well qualified people show up for the auditions. He would rather spend a few hours listening. He does this by holding private auditions only a few highly selected people know about.

He asks his friends to invite their friends to the private auditions. He knows his band members, lightmen, soundmen, and so forth will only invite qualified people to the auditions. In other words, he gets referrals from people he trusts. He uses people he knows are qualified to screen the people he spends time auditioning.

If someone wants to determine whether a person is qualified, they can learn through personal experience or they can get referrals from people they trust. You can pick one at random but you won't know if they are good at what they do until you pay them to do it. Or, you can get a referral from someone you trust.

This explains why the music industry operates the way it does. There is no other way it can operate! This is why networking is the single most important thing you can do. The amount and quality of your networking will determine the degree of success you have. You save time, money, and energy by getting referrals from music people and this is how you find opportunities. Most opportunities are unadvertised. Only a few people know about any given opportunity. If you know one of those few people you will know about the opportunity. If you don't know one of those few people, opportunity will not knock on your door.
Remember three facts: Fact number one is, there is nobody in the music industry so important you must know them. People change positions within the industry constantly. Today's star is tomorrow's has-been. Today's big shot is tomorrow's hard-luck case. Sony Music recently fired the top three people in it's Nashville office. There is absolutely no job security in this industry!
Fact number two is, there is nobody so unimportant you don't need to know them. Today's unknown singer is tomorrow's star. Today's unknown producer is tomorrow's new kid on the block. Several years ago, a person was fired by Mercury Records' Nashville. It appeared his career was over. He is the new President of Sony Music's Nashville office.
Fact number three is, you can't know everybody. There will always be some people you haven't met. There will always be some people you just don't like. Call it a personality clash, if you choose. If you feel it, chances are they feel it too.

Meet as many music people as you can. Be friendly with as many as you can. If you can't be friendly with a person, try to avoid being enemies. You never know when the next favor will come your way, or from whom it may come. There is an old saying in the music industry, "Success is what happens when preparation meets opportunity." It is an old saying because it was as true decades ago as it is now.

Opportunity is not achieved by meeting the right person. If you had known the executive when he was about to be fired, it would not have helped your career. If you had met him after he was fired, you might have thought he would never be able to help your career. He's now on top again. Do you think he will forget those friends who stayed with him during the bad years? Today, he is surrounded by favor-seekers. If you were in his position, who would you help?
Success is not created by meeting the right person. It is created by being friendly with the right person at the right time. None of us can see the future clearly. None of us can predict who the next big shot will be. If we could and started sucking up now, it would still be sucking up. Networking is not about sucking up to big shots. Networking is about sharing friendship, mutual interests, and information. Networking is about meeting a lot of people with shared interests, goals, dreams, and aspirations. It's about friends helping friends.
Networking is an important part of success, in any field. It is the single most important part of success in music and entertainment. There is absolutely no substitute for friends in this industry! If you are the most talented person on the planet and nobody else knows it, you will not be successful. If you are the most beautiful lady or most handsome man and nobody likes you, success will not come your way.

I can honestly say, every good thing that has occurred in my career was a direct result of a friendship. My greatest assets have always been my love of people and ability to build strong friendships. Without those, I would have had no success. Without those, I wouldn't even know what success can and should be.

A Solution to the Harsh Facts of the Music Industry

Throughout the second half of the 20th century, the typical dream for songwriters and musicians alike was to write and perform amazing music, get signed to a major record label, and make millions of dollars. Unfortunately, even platinum selling records and lavish worldwide touring rarely puts a million dollars into the pockets of the lucky 1% (of major label signed artists) who accomplish this feat.

The music industry has shifted to an entirely different business model in the last five years. The digital revolution has increased the competition for the entertainment dollar. DVD's, video games, and the Internet are just a few that can be held accountable. As major labels and the RIAA (Recording Industry Association of America) attempted to fight off the digital revolution, they should have joined the opponent in the onset. And thus the downfall of the major labels began.

What does this mean for the songwriter and/or musician? One must enter the industry with a completely different mindset. Do it yourself. Look to achieving success through your own business strategy, rather than being at the mercy of one of the five major recording labels

Maintain a dual-focus, "Be a great musician and a street-smart entrepreneur at the same time." There is no need to live up to the "starving artist" image when there is money to be made. Besides, it's easier to write songs without a growling stomach.
What if you still desire the fame and worldwide distribution a major label can bring to an artist's act? Still seriously develop your music business independently. Most majors aren't picking up acts unless they have already proved themselves. If you have developed your own image and audiences have really taken to your music, then you are less of a gamble, and thus more attractive to a major label. The cheaper your act is to develop, the more money you make.
One article is not nearly long enough to outline all the necessities of promoting your own music. However, I hope it has encouraged you to seek other resources to learn more about developing "your business."

Music Sales Hit Sour Note

The Recording Industry Association of America (RIAA) is blaming online piracy and CD burning as the major culprits for a 10.3 percent slide in 2001 music sales. According to RIAA data, total U.S. shipments dropped from 1.08 billion units shipped in 2000 to 968.58 million in 2001. The dollar value of all music product shipments decreased from $14.3 billion in 2000 to $13.7 billion in 2001 -- a 4.1 percent decrease.

The Washington, D.C.-based RIAA, the principal trade association for the music industry, also released recent survey findings that showed 23 percent of music consumers said that they did not buy more music in 2001 because they downloaded or copied most of their music for free.
Commissioned by the RIAA and conducted by Peter Hart Research Associates, the survey contacted 2,225 music consumers between the ages of 12-54.
In the 2001 survey, over 50 percent of those music fans that have downloaded music for free have made copies of it. Just two years ago, only 13 percent copied it onto a portable device or a CD burner.

Coinciding with the increase in copying music, the study found that ownership of CD burners has nearly tripled since 1999: in 2001, two in five music consumers owned a CD burner compared to 14 percent who owned one in 1999.
"This past year was a difficult year in the recording industry, and there is no simple explanation for the decrease in sales. The economy was slow and 9/11 interrupted the fourth quarter plans, but, a large factor contributing to the decrease in overall shipments last year is online piracy and CD-burning," said Hilary Rosen, president and chief executive officer of the RIAA. "When 23 percent of surveyed music consumers say they are not buying more music because they are downloading or copying their music for free, we cannot ignore the impact on the marketplace."
Other RIAA findings included:

Full-length CD units dropped 6.4 percent in 2001, representing a $12.9 billion dollar value within the market and a 2.3 percent decrease in dollar value from 2000. Additionally, CDs continue to be the format of choice among consumers. Whereas CDs represented 87 percent of units shipped to U.S. markets in 2000, CDs represented 91 percent of all units shipped in 2001 ;
The DVD music video has shown its continued popularity with a 138 percent increase to 7.9 million units shipped in 2001. DVD music video represented a $190 million market in 2001, an increase of 137 percent from $80.9 million market in 2000;
Cassette units shipped to U.S. markets decreased by 40 percent in 2001, representing a $363 million dollar value. This represents a 41.9 percent decrease from 2000; and
In 2001, close to 2.3 million LP units were shipped to U.S. markets, an increase of 3.7 percent over the 2.2 million units shipped in 2000. In 2001, the LP format represented a $27.4 million dollar value.

The RIAAs year-end numbers, which are compiled quarterly by the accounting firm of PricewaterhouseCoopers LLP, represent direct data from companies that distribute approximately 90 percent of the pre-recorded music in the United States. To calculate unit shipments and dollar values for the remainder of the market, PricewaterhouseCoopers utilizes retail sales data from SoundScan to estimate shipments by non-reporting companies.

Become A Member

Eligibility for corporate membership in the Recording Industry Association of America, as described in the association's bylaws, is open to legitimate record companies with main offices in the United States that are engaged in the production and sale, under their own brand label, of recordings of performances for home use. Eligibility is not extended to companies that are currently engaged in, have within five years of application been engaged in, or are controlled by any person, firm or corporation which has within 5 years of application been engaged in the unauthorized creation, duplication, sale, importation, or other use of sound recordings in violation of state or federal law.

The RIAA does not offer individual or associate memberships.
Information about RIAA membership application process is available on this web site or by telephoning the RIAA and asking for the membership applications voicemail.

All requests for a membership application must be submitted in writing on company letterhead and sent to:
RIAA Member Services1025 F ST NW 10th FloorWashington, D.C. 20004(202) 775-0101
Submit the signed, completed application, a signed confidentiality agreement, and a product sample (one or two pieces of finished product, already in, or ready to enter, the distribution chain). Product must comply with applicable "true name and address" guidelines, as noted on the membership application.

The application process takes approximately 45 days. Your application will be reviewed by various operating units within the RIAA to assure your company's eligibility for membership.
If you are approved for membership, you will receive an approval letter and a sales declaration form, to be returned to PricewaterhouseCoopers (PWC). PWC will calculate your dues based on your gross revenues/market share. Dues payments are to be submitted in confidence to PWC, not the RIAA. You will officially be an RIAA member once you've submitted the sales declaration form, are billed by PWC, and have paid your dues.

If approved, you will also receive a committee participation form, describing the RIAA committee structure and asking you to designate representatives to committees of interest to your company.

Once you are a member, your designated contact will receive a range of association informational mailings. Your committee representatives will be able to begin participating in the association's committee activities. Our anti-piracy staff will act on your company's behalf as they pursue the association's anti-piracy program. Most importantly, your company will be part of the RIAA effort to grow our industry and to protect our artists and product.

Recording Industry Association of America (RIAA)

http://www.riaa.com/aboutus.php

The Recording Industry Association of America (RIAA) is the trade group that represents the U.S. recording industry. Its mission is to foster a business and legal climate that supports and promotes our members' creative and financial vitality. Its members are the record companies that comprise the most vibrant national music industry in the world. RIAA members create, manufacture and/or distribute approximately 90% of all legitimate sound recordings produced and sold in the United States.
In support of this mission, the RIAA works to protect intellectual property rights worldwide and the First Amendment rights of artists; conducts consumer, industry and technical research; and monitors and reviews state and federal laws, regulations and policies. The RIAA® also certifies Gold®, Platinum®, Multi-Platinum™, and Diamond sales awards, as well as Los Premios De Oro y Platino™, an award celebrating Latin music sales.

How do A&R people look for talent?

The internet is becoming a great way for record label A&R people to find new talent because artists are becoming savvy enough to get sites up with MP3 samples of their music. Technology is making the job of finding new talent easier and easier. As I have said before I like it when a successful music manager or producer recommends an act because I trust their judgment but I would never rely on this alone. There are a lot of magazines out there that offer demo reviews for artists, my favorite would have to be music connection magazine. I like to associate with people who program college radio stations because they usually know exactly what is new and hot. Just like it’s a stock broker’s job to research potentially profitable stock, it’s an A&R person’s job to research potentially profitable artists. I tend to like artists that are already selling albums locally and are having those records counted by sound scan. The first and most important thing that an A&R person is looking for is hit songs. The second thing record label A&R people are looking for is a star quality front person that looks good, has style and charisma. The third thing record companies are looking for is an artist or band that has a great powerful stage presence and performance. One of the main reasons why Brittany Spears sells so many records is because she is sexy and shows off her body. Let’s face it sex sells and will sell until the end of humanity.

How can you contact a record label A&R?

There are a lot of record label A&R people that accept unsolicited material. The ones that accept unsolicited material may ask you to put a certain code on your package so that they know you have permission to submit. Whenever I find time I usually sort through everything because you never know what you are going to hear. Most A&RS know exactly what they are looking for in an artist & if they see it in you they will more than likely sign you without any hesitation. If you get your act together & promote yourself aggressively there is a chance that a record label A&R will come to you. For Example; some bands didn’t really have to look for a record deal. All they did was become a local hit & sell a good amount of CDs on their own, next thing that you know a majority of the major record labels wanted to sign them. It is always a great idea to do as much as you can on your own.

These days record companies spend less time developing acts, it’s almost like they are looking for artists that are already polished and ready to go. Your package should include 3 of your greatest songs with the best one first because most A&R people will not keep listening unless the first song gets their attention. At times I get a full complete CD from artists that did not include a note telling me which song or songs I should check out. I didn’t have time to listen to the whole CD and didn’t feel like searching around for a great song. In the package you must also include a quality 8x10 photo, a biography that tells the A&R a story about the artist and how much local or regional success he / she has. Make sure that you leave your contact information home address, email address, home phone cell phone, etc. Make sure that your demo CD is clearly and neatly labeled.

If an A&R is interested they may ask for more songs, when your next show is, etc. Since successful music managers, music producers and music publishers act as filters for the A&R people you may want to get them to shop your demo for you. Your demo may have a better chance of someone listening to it if the person who sends it is well known or has a track record in the music industry. You can use music industry resource like All Music Industry Contacts to find a successful music manager, producer or publisher to shop your music. This music business is all about being professional and persistent so work hard at getting your music to the people who can make things happen. Record label A&R people hate when representatives call them or leave messages that are full of hype like I have the best new artist, you better sign us quick or we’ll be with universal records or my artists are hotter than the ones out. The only thing this does is make me never want to meet you.

What does a Record Label A&R do?

The record label A&R position is probably one of the most hectic jobs in the music business. A&R stands for Artists & Repertoire. The main function of a record label A&R is to help their artists creatively while helping the record company financially by signing hit acts and developing them. They are usually music industry professionals that are hired to oversee the entire recording process which includes finding the right songs for their artist, working with the right music producers, finding the right recording studio, etc. A major record label or Independent Label A&R must stay on top of current music industry trends in order to create acts that will do well for the record labels that employs them. Even if a record company A&R really likes a band they still may not be able to sign them. Usually it is the head record label A&R that makes the final decisions. The reason why being an A&R can be extremely stressful is because with every act that you sign your job is on the line. Since there is a high rate of failure in the music industry A&R people try to sign artists that are already somewhat established. If an A&R does not prove to the record label that they can generate hit acts they will be let go from the company.

Most A&R people were producers, promoters or artists themselves. Basically record label A&R people are hired to present a trustworthy face to artists and musicians. Usually record company A&R people are in their thirties because they are old enough to know what they are doing & young enough to know what the new trend is. If you get signed you better believe that it is just the beginning, there are still a lot of things that could go wrong. Someone at the record label may drop the ball or your record label A&R person may have to deal with flaky or unhappy music producers that aren’t really into the project and are too busy to put their heart in it. You’re A&R must also fight for you to get the attention of the record labels publicity, sales and promotion departments. It definitely takes a lot of work on an A&R person’s part to get a recording artist from signing to being added to radio play lists and having a video on MTV. The recording process for a record label A&R is very intense because they must make sure that there are enough radio friendly songs on the release. If the A&R feels like there are not enough quality songs he / she will have the artist write and record more.


Most A&R people were producers, promoters or artists themselves. Basically record label A&R people are hired to present a trustworthy face to artists and musicians. Usually record company A&R people are in their thirties because they are old enough to know what they are doing & young enough to know what the new trend is. If you get signed you better believe that it is just the beginning, there are still a lot of things that could go wrong. Someone at the record label may drop the ball or your record label A&R person may have to deal with flaky or unhappy music producers that aren’t really into the project and are too busy to put their heart in it. You’re A&R must also fight for you to get the attention of the record labels publicity, sales and promotion departments. It definitely takes a lot of work on an A&R person’s part to get a recording artist from signing to being added to radio play lists and having a video on MTV. The recording process for a record label A&R is very intense because they must make sure that there are enough radio friendly songs on the release. If the A&R feels like there are not enough quality songs he / she will have the artist write and record more.

Wednesday, January 23, 2008

Listening Do Make Since

I really do not understand why so many local artists are poor, they want a career in the music business and can't seem to recognize the amount of money its needed to invest. I question myself to a point asking myself why are they so able to dress according to the lastest style, from head to toe, there clothes and the shoes are super tight. Matching, most of them are wear $3000.00 worth of gear. They would rather pay someone else then to support my time and effort. Let me tell all of you'll its not going to happen. Take it for what it worth, this is 2008,I am not falling into your trap. I do not care how good you are. Can you go into the store and ask for free food, Can you get your drugs for free, its not going to happen, there is a price on everything. My time will cost you tremdously, and if you want the services I do provide lets do business.

Tuesday, January 22, 2008

You Deserve To Be Respected

It's not always fun having to follow instructions and directions but they are important because they help things to turn out better. They also help to keep us safe, and they help us to make and do some really cool things. That will give you as an artist respect in this game.

Team Strategic Planning Facilitation

TBA..(The Jap Out Compilation) will be turn in to discmakers when everyone is done with there business plan. maintain a clearly stated and focused business strategy. And that, any business strategy is far more likely to be successfully implemented if the leaders and managers of the team develop the plan THEMSELVES, NOT an external advisor or strategy.

Monday, January 21, 2008

Electronic Press Kits Online:

An Electronic Press Kit (or "EPK") is a press kit equivalent in electronic form. In business, electronic press kits are more commonly referred to as online or electronic media kits. Press kits help promote artists and businesses via mass media, and assist journalists in writing articles on the subject being promoted.

Harry Fox Agency

http://www.lycos.com/info/harry-fox--harry-fox-agency.html

ARTISTS TERM

How long the record company keeps you under an exclusive agreement is called the term of your deal. Record deals used to be for a term of one year, with options to renew for additional periods of one year. The artist was usually obligated to deliver two albums each year.

Read Up On Union Scale for Musician

http://www.local802afm.org/about/dep_recording.htm

Here is a Rough Range of Recording Funds

1. New Artists Signing to Independent Company: $5000,00 to $125,000

2. New Artist Signing to Major or Mini Major: $125,000 to $200,000; occassionally up to $250,000, for a much
sought-after artist.

3. Midlevel: $250,000 to $500,000

4. Superstar: $500.000 and Up Its's not usual for a major artist's fund to run into millions dollars. At this level,funds are computed on the basis of track record and future expectation,as well as the bidding in the market place

Funds

Today, with the exception of country music. Virtually all recording agreements are structured as funds. A funds is a set amount of money, which includes both recording costs and any amounts that maybe payable to the artist as an advance(the term recording costs also include the producers's advance. Whatever the artist doesn't spend on recording cost goes into his or her pocket.

For example,if the recording fund for an CD is $200.000, and the recording costs are $150.000, the artist would pocket $50.000 as an "advance." On the other hand, If the recording costs are $200.000, the artists pocket nothing.

Press Release Writing: Publicity Potential

The right concept combined with sharp press release writing and targeted distribution get results. It often starts with the right press release with solid press release writing. That alone can get you FREE exposure in newspapers, magazines and on TV.

The Death of the Music Industry in 2008

January 21, 2008 -- The music business as we know it is dying a fast death and gone are those days of selling CDs. That's bad news for those still playing the same old music game but definitely not bad news for those artists and labels willing to ride the new wave. With all the new ways to reach a larger audience, there have never been more opportunities for artists to step outside the traditional label relationship, be more cost effective, and still make money in the business. Those who survive will tap into emerging technologies to promote their music and those who fail will continue to do what they've been doing. Nevertheless, there are some hot new trends to jump start any music promotion campaign.

8 MUSIC PROMOTION TRENDS FOR 2008

Viral Videos: We saw what it did for Soulja Boy. Imagine what a little creativity could do in your online promotions.

Digital Sales: It's killed CD sales but created new sales opportunities ( i.e. ringtones, mobile marketing, etc). Combine your digital sales with your Myspace, Facebook, & social media marketing strategy.

Free Music: It's not completely free but funded by advertisers and sponsors. Heard of RCRD LBL or Spiral Frog? Find out how Puma & other advertisers are helping their artists promote their songs.

Online PR: Print media is always a great source of publicity but notice how magazines are shrinking in size and becoming less content & way too much ads. Besides, online PR gets your message out quicker and to a larger audience.

Blog, Blog, & Blog: Besides being a great tool to stay in touch with your audience, blogging also helps to optimize your search engine rank.

Guerilla Marketing: Nothing beats in your face marketing. Just like how Soulja Boy used guerrilla marketing to promote his first single & how Mike Jones beat you upside the head until you said his name in your sleep.

Control at the Hands of Your Audience: It worked for Radiohead when they let their fans name the price of their CD. It could work for you.

New media technologies: Myspace, Facebook, Ning, Bebo, Joost TV, Goodstorm Mixtapes. Need I say more.

Improved CD Sales, Legal & Illegal Downloads

While I have absolutely no plans to sort through all the conflicting claims about how well the music industry is doing, I find it interesting that combining various accounts makes it look like the industry's doing just fine.

According to Nielsen SoundScan figures, this year sales of cds are up over the same period as last year:
"At 11 million units [sold last week], CD sales were down 34% from the previous week but up 7% compared to the same week a year ago. In the first complete chart week of 2006, sales trumped 2005 by 7%."

Nielsen SoundScan also reported that last year's sales of digital downloads increased radically in the final week of 2005 fueled by newly owned mp3 players and download gift cards.

Yet, according to figures compiled by Big Champagne, presumably illegal P2P filesharing was also at an all-time high in December of 2005.

Of course, some of what the music industry is concerned by is that, as society's consumption of music products shifts, there are related shifts in who makes what and how much off that consumption. Given that pricing on cds was artificially and illegally inflated when cds were first introduced, it remains difficult to arouse sympathy for major labels, though artists have legitimate concerns, particularly those dependent on the major label system.

Sage Francis Exposes MySpace Fake Play Promoters

Sage Francis does a nice job of exposing one MySpace promo fraudster with a dialogue that reminds me of some of the approaches used to mess with Nigerian con artists except the company is conning music fans rather than the artists themselves.

Basically you can pay to get plays on your MySpace profile, an important thing for artists. Sage Francis got the behind-the-scenes scammer info but I really wish he'd ask them not to give him some free plays to demonstrate the service but to share some success stories regarding particular musicians to see if he could have gotten some names.

In any case, nice work!

Terra Firma/EMI Cuts: Up to 2000 Jobs, 30% of Artists

January 16, 2008
Terra Firma/EMI Cuts: Up to 2000 Jobs, 30% of Artists
As Terra Firma drops the bomb on EMI employees and "unproductive" artists, the big stars they're banking on are getting upset.

I wonder how long it will take for EMI to go from private equity to vulture capitalists?

On-Line Sample Clearance Requests

wise words

* Copyright works are other people's property and are protected by law.
* There are instances where requests are denied. You must respect this decision and abide by it to avoid the possibility of action being taken against you for breach of copyright.
* Sampling and adaptation requests have a better chance of being approved if you ask for permission first.
* Send your clearance requests to us, with all the materials and details that we need, as early as possible. The clearance process can take a long time.
* Please note EMI Music Publishing Ltd is a publishing company. We serve to protect and promote the copyright interests of EMI Music Publishing and it's companies/writers/clients around the world. We are not a record label and do not commercially release product, we license and authorise license of our copyrights within certain products. We do however strictly reserve the right to deny any request we receive for license/use of our copyrights. Please also note, we cannot recommend you to any particular record label when you are seeking a recording deal.



Clearance Request Form 1. Original Work
Title of original work used

Writer(s) of original work

Publisher(s) of original

Version of original work/artist

Brief description of original work within new title

2. New Work
Title of new work
Does this contain any other uses or sample of songs? (if so, which)

Full Name of writer/adaptor(s)

Publisher of new writer/adaptor(s) Artist

3. Proposed Release Information
Label and catalogue number

Format (album/single etc)

Proposed release date

Territory of release
Any Other Information


5. Requested By
Name:
Address:

Tel:

Fax:

Email:

Sunday, January 20, 2008

Every Artist Must Submit a Story To Talk About

Your story has to be a true fact , explain in details. Talk about the good and the bad days as well. Think about what happen that also back fire...

1. What do you think about the music industry today?

2. What have you experience in networking with other promoters,managers,
and agencies?

3. What is so Unique about you and your music?

4. Why show I represent you?

The Right People Together Is Very Important

Many locals artists suffer in th area if finance, 99.9% that I talk to can't even afford to press up there music right. So If you are asked to colloaborate on a project. Think of it as an true opportunity. Being selected among many that wants your position is an honor. When you are given the tools present yourself as I have given you here.

This project isn't just about you, there are many others involve.

ASCAP/BMI

http://www.ascap.com/ace/search.cfm?mode=search

http://www.bmi.com

Do You Know WGCI & 92.3FM

On air personality, of both radio station including DJ'S....

Saturday, January 19, 2008

A Monthly Standard Member Fee is Required

Until you completely finish everything that is required. If you don't secure the standard membership on the 1st of every month. You'll be charge a $5.00 late fee.. Every week until you paid up.

Schedule Appointments Only

The artists that choose not to be on the "Jap Out Compilation" must fill out this form and email it back...

Name

Band/Company name

Title Position

Email

Website

Address

State Province

Zip Postal Code

Phone Number

I need help with( Explain)

What are your goals

Additional Comments

Budget

$50.00 Per First Half
(Hour to meet with me)

$100.00 Per Hour
(To meet with me)

Continuing Service please leave a comment of email me at (RegSc7@aol.com)

Answer and Check This Info Out"Email It Back to me

Questadorian Mentorium

• Media
• Graphix
• Email Blast
• Networking
• Sponsorship/Investors
• Director of A/R for SHHYBOY Records
• Envy the movie soundtrack (www.Envythemovie.com)


The purpose of this business plan is to see at least $200.000 to 1.5 million

(The Team) we must develop a team

The Product (list of all songs you records/ time each songs)
We must work on a (New CD)
Think about your CD cover Design
8x10 Picture
Poster (how do you want your posters to looks)
Go to www.ASCAP.com read or www.BMI.com
If published what date….

The Product Continue:
Lets think about getting your music online:
CD Baby
Amazon.com
CDNow.com
Barnesandnoble.com
Border.com
Circuit City.com
VHI Sonic Net
HMV.com
FYE.com
Best Buy
CD Unviers
SamGoody
Yahoo.com
Virgin
Artistdirect.com
Waldenbooks.com
Target.com
Tower Records

(Song Download)
emusic itues
MSN
Real/Rhapsody
Sony Connect
Napster
Wal-mart
Liquid Audio
AT-T Wireless
Download Punk
Cdigix
MyMpo
MusicNow
KarmadownLOAD
Music-Net/Aol
Yahoo Music Unlimited
Virgin Digital
FYE
Musicmatch
Starbucks
Peer Impact
Buymusic
Audio Lunchbox
Next Radio
Pure Tracks
Bollyvista
Rucks

We have to list all your organization (What your Charities)
Major Benefits:

You need a portal Website
Bring the right Music out
Hip Hop CD or Dvd
Clothing line
Think about your intro and Outtro

Corporate Partnership
We will send out proposal and business plan to Corporations
By Jan. 2008

What is your target audience? Age

The Offer
We are seeking Financial banking to cover many of the expensive.
Promotion
Advertisement
Booking and Concert
Portal Website
Copyright Songs


How do you wish to let the investors know in writing (the way you will pay them back) we will discuss this matter.

What the name of your Record Company
What the name of your production
What producers are you networking with
Prove there name and number
Mix-tape and CD
List songs
We will create a board of Director

No one should talk to you, send them my way
No free shows
You can ‘t be featuring on others artist track
Please do not set yourself up to sell tickets
How much do you feel like you should get paid
All equipment should be check before each show
A booking agreement must be fill out
Sound Scan BDS
Registered name ( Incorporate)
Commencement of Operation
History
Mission and Vision Statement
Confidential Agreement must be feel out
Founder and mgr team
Do you have an Entertainment lawyer

Org Chart development
RIAA
Develop Company Policy
Production Policy
Who wants to be on your label?
Keep track of studio recording log
Do you feel like you have everything together
Do you have a fan base
Entertainment Resume Business Card
Sheet Music
Media List below:
Fox Tv
International Channels
Power 92.3
WGN/WB Channel 9
Cable Access Tel.
Center Stage Chicago
Soundclick.com
Muzique.net.com
Clear Channel New Music Network
Daily Herald
Chicago Tribume
American Idol Underground
Nextbestthing.com
Talentmatch.com
Isound.com

Media Questions to know:

How do you approach songwriting and what influence you?

Do you have a visual image in you mind as the song is compresses or does that come afterward as a result of the song.

What is your Philosophy in music today?

Tell us about you, when did you begin writing songs

How many project are you correctly involve in?

What are your long term goals

How did you get into music
How long have you been performing
What other artist do you admired
What do you want out of life
What is the most important lesson you think you have learned so far
Where do you want to be in the future
Tell us about your latest project…
Do you have a logo

Its Time For A Website "No Excuse"

How can you make your band's website more effective? You want a place to showcase your music, connect with your fans, and to express some creative ideas other than your music. You also want to use it as a tool to generate more interest in your music. Be careful, site visitors can be picky. Read this page to get some pointers to keep them coming back for visits.

Market Yourself....

How do you present your music visually? The decisions about how your music sounds is your art, your personal expression. However, marketing your music is not about originality. So, the visual materials, for example, should contain and present the music effectively or you could be missing out on opportunities to enhance the public's perception of you and your music.

One of the advantages of being an independent recording artist is the extra freedom for self-expression. On the other hand, presenting that work to the public using CD packaging, websites, and other visual designs needs to meet a particular function, marketing. While marketing may contain elements of self-expression, its primary purpose is communication; you are wanting to assist people into knowing about, listening to and buying your music.

Yeah, I know, "marketing" probably makes the hair on the back of your neck stand up. It seems like it is totally opposite to the reason you are an artist. Yet, here you are, album in hand, and you are wanting people to hear it... to buy it and help support your creative career.

Do the marketing yourself?
Maybe you've had some time to market your album and you're finding it's a lot more work than anticipated. Perhaps you're beginning to realize there are actually advantages in signing with a record company. But, oh, but those horror stories you hear... you don't want to go there! Well, there may be some compromises, but it doesn't have to be all bad. Many independent record labels understand the needs of indie artists. Keep in mind, they need to make money to stay in business too.

However, stay focused on what is important for you to maintain. For instance, don't give up the rights to your songwriting. (However, it is common to grant the rights to the specific recordings for your album, not the lyrics and music. Read more about copyright information by clicking on the colored text you

I Want To Market My CD Right "Help Me"

1. A GOOD RECORDING

Let's face it - if you're going to do more than play gigs at the local hot spot - if you're passionate about your music and you want to make great money from it - you need to have a product to sell. Making a good quality recording seems like a simple idea, but how important is it when it comes to achieving bigger dreams? What can you do to reach the powerhouse people who have the resources to make your music known in a big way? Taking the road from demos to masters can be exciting, and rewarding especially if it's done well.

Each time you record, think of who the listener is going to be, and what their level of "listening" is. Are they a record company with golden ears, a publishing house selling songs (not production), a management company who wants the story (not just the tape), the public consumer? What level of quality are they used to hearing every day? Do they hear lots of good demo's every day, masters, commercial recordings? Considering what the listening level is, how do you think you sound next to the competition?

Who is your competition? If you're an up-and-coming artist, it's logical to think that other like-artists in your area are your competitors. But this isn't the case. If your cd gets in the door of a record company, you are primarily competing with people who are already signed, or who have at one time worked with a signed artist.

For instance, Stevie Wonder's band is on tour with Vanessa Williams, and Stevie's bass player starts talking to her drummer: "I've written a couple songs, would you like to hear them?" "Sure." Next thing you know, they decide to start a project when they get home and submit it to Vanessa's management company (who they already know on a first name basis).

They go into the studio (where they recorded tracks for In Sync and Gloria Estefan a month ago), and since they know the engineer they get an "off-hours" deal (because the engineer knows who's hands the tape will end up in)... they call in the keyboardist from Sting's band (who they met in the studio) and cut some amazing tracks. The contacts they have are gold, and they treat their music that way. They call up Vanessa's manager the next week and make an appointment for lunch and it goes from there...

So now, how important is it to make a quality recording? With today's digital technology you can make a good recording in your own bedroom, and this is more appropriate if you are looking for a publishing deal (yet even publishers hear a lot of quality stuff these days). But as a artist or band your commitment to making a great production should be very high on your list. Check my site map for more helpful articles, or contact the studios here at the Headway Music Complex.

2. GOOD MASTERING

Mastering is a powerful process for your music. It's where the final product gets refined - levels and eq matched and consistent - song order and creative editing - even adding effects and cross-fades for that professional polish. Mastering can make the difference between a potential record company liking your CD, or wanting it. There's plenty of mastering info on this site, so let's move on...

3. LOOKING GOOD or HAVING A GREAT IMAGE

It's pretty well understood that record labels look for (1) the songs (2) the singer (3) the performances (4) the star quality (5) the production (mix, arrangements, hooks, cool sounds...) and (6) a solid businesslike attitude (includes knowing the value of creating a "buzz"). They want to know if you have what it takes to make them money. Very little label money goes into developing artists any more, so spend time being unique and interesting to look at in some way. Make your product unique, too.

When your CD arrives on a record companies desk (along with another 50 that day) you need it to stand out. The music may be the best produced and mastered in the world but remember, you never get a second chance to make a first impression. So don't spend thousands of dollars on production and $50 on the CD booklet! Budget your money to include a good professional design for your CD cover. Here at the Headway Music Complex, Chris Barber (PawsHere Productions) has years of dedicated graphic arts experience, and is highly regarded within the business for her CD duplication services. She alone could make a record company want to play your CD first just for the way it looks.

4. PLAYING GIGS (And lots of them)

Be prepared to play and play and play. If you don't have a gig, MAKE one. Set up benefit parties or concerts and donate the proceeds to different charities. Be sure to contact local newspapers and have them come see you. Be sure you get copies of the articles written about you. (Giving to a good cause is an amazing way to open doors. One of our client's donates 1/3 or their profits to CARE, and they have sold over 21,000 copies practically single-handedly because of the enthusiasm people feel about this kind of compassion and generosity.) The more free press you get the better (put copies of articles in your promo packs).

Self promotion at your gigs is very important. Don't be afraid to ask people if they would like to buy your cd! Sometimes people are waiting to be asked. Playing at your local coffee shop, or opening for a big name artist - it's all the same - you want people to listen to your music. If you are determined to make it, be prepared to play sometimes for nothing. These gigs could benefit you in other ways (like selling your CD) so pick up the phone (Self Promotion again) and make yourself available. Playing a "Live" venue is very important and so are the rules of playing "Live" (tons of tips on touring, management, and more here).

5. UNDERSTANDING FAMILY & FRIENDS

A lot of artists and bands can never understand why family and friends never understand the late nights, the playing for free, the obsession with gear... The nonmusical family and friends think that you can wake up one morning and make music and money like the Beatles... but we know this is not the case. Take charge, and in an easygoing way, educate those around you about your plans. Warning! Be prepared for some resistance and skepticism! (Just tell them that Walt Disney declared bankruptcy 7 times in his career!)

Let them know that you will be going out to play (possibly) with no immediate return. Ask for their assistance if you need a ride to a venue at one time or another. How about the 'big one" when you need time alone to write that Number 1 hit! Take every opportunity to communicate with them, tell them your goals and dreams and tell them it's going to be challenging for you as well as them from time to time. But with their support it could make all the difference. (Those fund raisers for charity is a great way to get family support, too.) If you don't get the support from family, find it in other people who you are close to. The support is out there - create it - never be victim to not having it.

6. FREE CD'S

Sending your CD to record companies or managers is part of the process toward getting signed. But like most things in life, it's not what you know, but "Who you know." Well, you say, that's a Catch-22 situation. How do I get to know people if I don't know people, or live next door to them? It's easy. USE EVERY OPPORTUNITY RELENTLESSLY. Stop believing you know no one. Your state of belief is like a guidance system. Every person knows at least 20 people on a first name basis. Talk. Ask. Inquire. Research. Drop IN! Our client (who's sold 21K copies so far) would make it a point to walk in to at least three industry companies every time he went out of town. In 2 years he had introduced himself to 15 companies, and signed a foreign distribution deal.

If you find yourself in a bar or local store talking to somebody about your music, be prepared to give them a Free CD to pass on to someone they know. Relentless Self-Promotion again. Always carry some with you, you never know who you will talk to next. Remember one of our golden rules, be prepared to spend as much on self promotion as you did recording your CD so when you set your business plan (remember this is a business), give yourself a budget for marketing.

7. THANKS, BUT NO THANKS

I worked with many artists in England who have told me "I can't believe we didn't get a phone call." Remember, record companies can get 100's of promo's each week, so make sure you are targeting the right company. If you play country, save the postage on cds to send to a hip-hop manager. Be be prepared...

If a record company says "Thanks but no thanks" don't get upset, think positive. There is nothing more attractive than confidence, poise, and businessmanship (that's like showmanship). Send them a letter thanking them for taking time out to review your CD, and tell them your you'll be happy to send them your next project. A record producer friend of mine in England was so shocked to receive such a letter he took time out to visit the band at there next gig - just to see for him self if he had missed anything. This led to a three-album deal and a close friendship with the record company. So don't be afraid to let them know where you are playing. (Relentless Self Promotion AGAIN)

8. RESPECT ALL COMMENTS (Good or Bad)

Blunt fact: To a professional record company, your enthusiasm starts the engine - but THEIR enthusiasm is what puts it all in gear and keeps it running. So... what you think is the best song in the world - I will guarantee - someone else will think is NOT the best at all. So what! We all have different tastes when it comes to music, and we all hear things in a different way. That is just part of the what makes the world varied and interesting.

If somebody tells you that your songs just don't do it for them, then respect there opinion (there's that confidence again). Listen to what people say - it could just change the way you write your next song for the better.

Here is a example of a true situation: If you listen to Billy Joel's song, "Only the Good Die Young" that song rocks, but when Billy Joel wrote the song, he wrote it with a reggae feel to it. When he ran the idea of the song to his long time friend and drummer Libitey De-Vito, he told Billy that he hated it with that feel! Billy Joel listened to him, and went back to his piano and rewrote the tune, and the rest is history. Billy knows that the opinions of others count, and he was prepared to listen to them.

9. GOOD SELF-MANAGEMENT

A lot of artists today think if you have a manager that it's time to sit back and let them do all the work for their 10-20%, and this is why lots of bands fail. If you have a management deal, enjoy it... but you and the rest of your band should also manage yourself. Don't sit around waiting for the phone to ring, without stepping on anybody's toes, PROMOTE YOURSELF RELENTLESSLY!!! Your manager may have another 10 bands on his (or her) books, so his priorities may shift from time to time. SELL YOURSELF with confidence and enthusiasm. That kind of commitment will be noticed, and it will generate more enthusiasm at many levels. (Sometimes managers and producers purposely WATCH to see who's really committed to the whole team.

10. NEVER GIVE UP

Let go of all your excuses. A choral music teacher I had in school put it this way: "Can't never did anything." Keeping a can-do attitude will get you that record deal faster than buying into your obstacles. Many artists and bands have had to work long and hard and get plenty of knock backs before somebody signs them. (It took Great White ten years) Be prepared to work long and effectively at your project, take the knock backs, listen to any feedback that comes your way, take everything that may be thrown your way good or bad, and "Never give up."

It may take years before it works. It took Colonel Sanders (Kentucky Friend Chicken) till he was 80 years old before he made millions from his recipe. Walt Disney declared bankruptcy 7 times. Be ready to take whatever time it takes. Remember, a building is built one brick at a time. Don't "beat yourself up" if it doesn't happen over-night.

Choose What You Want....

N.B.E helps artists, musicians, engineers, producers and recording studio owners looking for a musical or career direction to recognize their potential and assists them by giving useful tips and personal connections to shorten the way to success in the entertainment industry.

SO, WHY WOULD YOU NEED N.B.E?
Because, WE ARE your PERSONAL CONSULTANTS offering you help through our extensive experience and through the one of more top independent professionals assisting us in this service. We direct you to the right training, get you the right style and appearance, tell you how to get a quality product, how/where to place your music and who are the right people to listen to it. Last but not least, we can offer advice on how to invest your money and how to be financially secure.

The "Basic" and the "Professional" consulting services start with a few online forms that you have to fill out. It is really simple; we ask you a series of questions including name and contact information, experience, photos, and a demo of your work. As soon as we receive your application, we start processing it. Up to 10 business days later, depending on the package you choose, you get our complete personal response.

Requirements:

Your personal information

Requested material (if available)
1 recorded song-mp3 format
(any demo recording work: instrumental, a cappella, etc.)
Lyrics of the song you attach
1 picture-jpg format (no more then 1 MB)
1 up to date resume’



"Ask me" is an additional consulting service that we offer to clients who have a single question about the music business or their personal music career.


ONE-ON-ONE CONSULTING & COORDINATION SERVICE
- One-on-One Consulting
This is the ultimate consulting package. Ideal for launching new artists/bands, musicians, studios, producers, and other music-related or entertainment based careers.
After determining your specific project needs, we work closely with you for a period of 3 consecutive months (plus any additional preparation time). We will provide you with world-wide professional contacts, customized for your development and promotional needs. Our strong affiliations with top professionals.

1. One-on-One: An

2. At the office: You can come to one of our locations (Chicago Il.

3. Electronically: The Internet is a great and more affordable option. With this service we will also be checking in with you once a week via telephone.


- Project coordination
Thanks to our significant industry connections, which include some of the best Los Angeles musicians, engineers, producers and recording / mastering studios, we can offer you professional coordination for your next recording project. Note: The majority of these services can be conveniently obtained through the Internet. Some services include but are not limited to; mastering a record or recording top musicians for your project.

Let Our Experience Benift Your Experience

Founded in 2005 as a division of Network Business Entertainment,
it is an national-international music consulting and coordination service. Its reliability is based on years of presence in the entertainment industry and its founder Questadorian Mentorium ability to identify the client’s artistic potential and to know how to develop it successfully. N.B.E. is a small employee-owned firm, taking first come first service base client. The company delivers superior entertainment consulting services to new artists, musicians, engineers, producers and entrepreneurs looking for musical or career direction as well as to successful artists or businesses looking for project coordination, tour management, distribution, marketing or expansion in general.the company offers other services such as music development & production, coordination and investment solutions for the entertainment industry.

ONE-ONE PROJECT CONSULTING

Get The Rght Answers To...

Network Business Entertainmnet is an national/international online music consulting and coordination service that guides you through each step of the music business. Whether you are an artist, musician, band, producer, engineer or if you are ready to launch your own venture, http://networkbusinessentertainment.blogsot.com has the proper answers and tips straight from experienced professionals.

Friday, January 18, 2008

Its Important To Leave A Comment On What You Read...


Thank you for reading this message posted today. I am so happy to be posting this message, its going to be very clear to you, that I demand structure and team work,this is a place where you can learn the business side of the game and still get in a meeting to see executive. What, I have to teach you in person or by internet is totally up to you. Its important that you stay focus and communicate and leave a comment after everything you read. I need to know what your oppinion on all topics that you read. If you are trying to network with me, its going to be important that you listen and follow the guidlines thats mension. If by any chance you do not follow instuctions you will be exempt from this site,

Thursday, January 17, 2008

Extra Bonus Tip


Always, always, always make a safety master. It perserves your recording investment should your original master get damaged.

Others Recording Options

*1000 CD in Digipaks $1390
*1000 CD in Jewel Cases $1,190
*1000 CD in ECO-Wallets $900

or Submit one song 4:30 sec at length to be on the Double CD Compilation JapOut $70.00 turn in your $70.00.. To secure your position on the compilation.

Join the free email blast team



You can use other emails blast that I have to support your music/ promotion"FREE" but you must turn in some in order to use them.... Submit to recommend new talent emails to RegSc7@aol.com you leave a comment.

Artist and Career Consultations

Sony/BMG
Columbia Records
Arista Records
Jive Records
RCA Records
J Records


EMI Group:
Capitol Records
Blue Note Records
Virgin Records


Universal Music Group:
Interscope / A&M
Geffen Records
DefJam Records
Roadrunner Records


Warner Bros.Music Group
Atlantic Records
Warner Bros. Records
Sire Records
Reprise Records



EMI
Publishing
Group

Warner/
Chappell
Publishing
Group

BMG
Publishing
Group

Universal
Publishing
Group

Total Traffic Network Overview


http://ccchicagoradio.com/main.html

Wednesday, January 16, 2008

Maintaining Business Health In An Economic Downturn









MUSIC
Contact Box Generated from MyspaceMaster.NET
http://www.zoodu.com/


Many in the music industry are experiencing the same things right now as we all seek to grapple with the new world disorder. The economic downturn and September 11 attacks have pounded already weak sales in a music industry grappling with rampant piracy and slowing CD replacements. Gigs are drying up, distributors are 120 days out, customers are staying home, and your bills are piling up. Music groups are under pressure to make deep-seated changes to survive the times ahead and the "ripple effects" will be profound.

Most likely your business is feeling the effects of the sudden economic downturn as well. I can sense it in my clients too. People are a bit paralyzed right now and it's showing in more "cocooning" and a general reluctance to part with hard-earned cash from a paycheck that may not arrive next month.

Despite a gloomy money picture, it is crucial to keep your head out of the sand. Times like these force us to reevaluate out deepest values and desires. We have before us a golden opportunity to take a fresh look at our businesses, streamline and strengthen our operations, and put ourselves on steadier economic ground.

Here are several management tips to help guide you and your company through these turbulent times:

1. Play Doctor.

An accurate diagnosis of the cause of your business problems is essential to resolving and preventing their recurrence. Though external factors play a big role in business dynamics, in most cases, the real cause of business troubles is often internal. So the first thing you should do is take your internal pulse.

Although every small business is unique, here are the most common causes of financial difficulty:

Expenses that exceed revenues
Improper or inadequate financing
Overly rapid growth funded by debt rather than by business profit (watch
those free credit card offers!)
Poor management skills and business know-how among business owners/key
management (the #1 cause of business failures in the U.S.!)
Ineffective mechanisms for decision-making and problem-solving
Inadequate attention to marketing or an ineffective marketing program
Key customer groups experiencing a financial downturn
A poor or faulty product or service
Lack of an adequate market for a product or service
Unwillingness to look objectively at business difficulties
2. Choose Your Medicine.

The specific actions you take to stabilize your business and resolve its problems will depend on your diagnosis. Following are some possible actions to consider:

Evaluate all expenses including business-related travel or entertainment,
subscriptions, the purchase of supplies, raw materials or equipment,
insurance, the use of outside professionals, postage, phone services, etc.
to determine which can be reduced, delayed or eliminated.
Eliminate or shelve products or services that are not making money.
Evaluate the effectiveness of your marketing activities and modify as
needed.
Assess current staffing levels to determine if there are positions that
could be eliminated or consolidated without damage to your company's
effectiveness and efficiency.
Reduce staff salaries and/or benefits.
Reduce your own salary.
Cut prices. This action alone can sometimes provide the cash a business
needs to turn itself around.
Defer maintenance activities as long as possible.
Increase efforts to collect your accounts receivables. Call those who owe
you money, and press them for it. When necessary, use the services of a
collection agency.
Delay paying your accounts payable as long as possible but without
incurring additional charges or jeopardizing your standing with suppliers,
creditors, your bank, etc.
Increase the productivity of your sales staff through special incentives,
bonuses, training, etc.
Sell assets that are not needed, including equipment, gear and office
furniture.
Consider moving to less expensive space or reducing the amount of space
you are renting.
Identify new sources of cash.
Meet with your creditors, bankers and suppliers about lowering your
monthly payments, restructuring or consolidating debt, obtaining additional
credit, etc.
Talk to the IRS about working out a payment plan for any back taxes.
Improve your managerial skills and business know-how by taking classes or
attending seminars (lots of great stuff online! ).
3. Take Your Medicine.

This (when a business is in crisis) is not a time to be secretive and protective, but a time to actually open up your situation to the people who are in effect your financial partners, and to ask them for their help. When necessary, provide your creditors with cash flow and sales projections, fact sheets and documentation that will help support your case.

If you are funded by angels or family, be ruthlessly honest about your situation and what youÕre planning to do about it.

Here are some additional cash-generating possibilities to consider:

Cut expenses to the bone.
Rent out office, studio or plant space that you do not need.
When not using it, offer others the use of your equipment on a contract
basis--evenings, weekends, slow times, etc.
Keep less inventory on hand.
Identify other ways to use your assets when they are not being used by
your primary business.
Barter for services.
Make greater use of free-lancers, independent contractors, and interns .
Take advantage of your recognized expertise or skill in a certain area,
and develop a new product or service based on it that requires little or no
additional expenditure of money, additional marketing, etc.
Explore the possibility of a joint venture with a company in a similar or
complimentary business to yours. For example, combine your products or services together with
another business into one big package. You could split the profits. For example, a general business
band can team up with a catering company to offer a package of services for corporate party and
event planners. The possibilities here are endless.
If you have not already done so, consult with outside professionals, such
as representatives of SCORE (Service Corps of retired Executives, www.score.org) or your local
SCDC (Small Business Development Center (www.sba.gov/gopher/Local-Information/Small-
Business-Development-Centers/), as well as with your accountant, attorney or another reputable
professional who may be able to provide you with ideas and advice.
Some of these guidelines may seem excessive or harsh; some are simply common sense reminders. But a key ingredient to successful business management is the ability to be ruthlessly objective: to clearly see what needs to be done and to respond intelligently and creatively to the challenge.

These practical steps will hopefully lighten the load and alleviate some stress so you can continue to do the work that needs to get done.

Dig deep inside and be surprised by your own potential to work things out.

Can Film & TV Be The Kickstart Your Career Needs?

If you are an avid TV watcher or film fan, you have noticed that less and less known artists have their songs featured, or are dominating the new TV shows or movies. Instead, TV and film music supervisors have been aggressively looking for and have been actively using independent artists who release their own CDs.

It may sound a bit odd in a music industry which is dominated by major labels and a seemingly invisible group of people in the media, who try to keep you from succeeding, but its true. Over the last few years, TV and film music supervisors have taken a number of independent artists I am working with, for shows such as, HBO’s Sex In The City and The Soprano’s, NBC’s new show, The Immortal and Fox’s new show, The Street. In fact, both The Immortal and The Street are using Gerard McMann’s (a.k.a. GTomMac) music for the theme songs.

The primary interest that supervisors have in independent artists these days is mainly because of your “friends” at the major labels. Supervisors who inquire about various major artists are sent wonderful packages to entice them. Once they have decided on an artist and a piece of music, they call the label to find out how much it would cost them to use the artist’s song. Then they are usually hit with a price tag starting at $5,000 plus residual dollars for the use of 30 seconds of the song. Usually higher for more established artists.

Obviously, with the risk that a TV show may not even survive the season, supervisors are trying to cut costs whenever possible. Faced with the fact of a limited budget, many supervisors have their prayers answered by independent artists they have met at film festivals and conventions. Supervisors usually find that independent artists will accept between $1,500-$2,500 for a brief usage of their song and they are happy to provide the artists with residuals as well. So supervisors can use 2 or 3 independent artist’s songs for the minimum of what a major label wanted for 1.

Independent artists also have another advantage for supervisors. They can create new music for the film without having to get permission from a major label or having the staff at the label, delay the time sensitive process. To put it simply, major label artists are restricted in what they can do, independent artists are not.

So now that you know that this playing field is open to you, here are a few key ideas to get you started and a few things you should know...

1. Never send a TV or film supervisor a press kit. Always send him a complete Artist Profile. Supervisors are like everyone else. They will throw away a pee-che folder press kit before listening to the music. (If you don’t have an Artist Profile, contact me at www.tsamusic.com )

2. Build relationships with supervisors. Go to film conferences and TV events that supervisors would attend. Talk to everyone. The guy standing alone by the tree will probably be Hollywood’s big new director next year.

3. If you are a fan of a TV show, mail the supervisor and let him know you are a fan of the show and you have a song that you believe, will work well for the show. Write out your thoughts for what character or situation it would be best for.

4. Get a list of TV and film supervisors and their current contact information. (The Film & Television Music Guide published by Music Business Registry is an excellent one). Send the appropriate supervisors your CD and Artist Profile. Don’t go through companies or organizations that offer to “screen” your material to determine if they think its good enough “in their opinion,” to send to someone they know. It is true that supervisors often use these companies to keep the “garbage” to a minimum. However they also use these services because they can get your music for free!

5. Walk away from any deal which asks you for the exclusive rights to your songs, your publishing, for them to use your music anyway they want or however long they want and ESPECIALLY if they are NOT offering any money. Don’t be a sucker for the people who say they can get your song placed if you don’t take any money. Believe me, you will end up on a supervisor’s list of artists to call when they have no money left and they want music. Always get paid for your work! Organizations who prescreen materials for supervisors have the reputation for providing them with “free music” and that’s why they call them.

Film and TV exposure of your music can be the “kick start” your career needs to get going. Look at Elliot Smith’s career. Many of you wouldn’t even know of him if his music wasn’t in the movie, Good Will Hunting. Or the aforementioned Gerard McMann, who still sells thousands of CDs of his "Cry Little Sister" song from The Lost Boys movie.

When the passion of music is real

When the passion of music is real