It used to be that record labels made money by signing up artist with iron clad contracts. Record companies provided the space, technology, distribution, promotion while artists created the content. In return, musicians received 3% to 6% in royalty payments from the sales of records, and the rest of the time they had to go on endless tours to earn money from concert tickets. All of this changed with Napster.
It introduced the concept of P2P file sharing through the use of the Internet technology. People around the world could log on the Napster community of users, share their music library with the community and freely exchange files at the speed of their connection. Napster had caught the music industry napping and the Internet technology enabled communities to create their own way of finding and receiving music, albeit illegally.
Record labels are now fighting back on numerous fronts using legal and creative means. On the creative side, they are offering artist alternative ways to earn a living through ring tones agreements with major telecom companies, concerts, promotions and Web 2.0 sales/marketing. Parts of the music industry, namely music stores, have disappeared forever. The rest is trying to survive.
I think that in the software industry can learn a lot from the changing landscape of the music business and avoid their mistakes. First and foremost, the youngsters, who are growing up accustomed to receiving intellectual property for free from their peers in their community, are our future customers. Second, we need to look at the new and successful players in the music industry to analyze their ways. I am mainly thinking about Apple with its I-Pod platform through which the company offers numerous products. Last but not least, we need to adapt to our new economy which is fueled by knowledge, interest based networks, collaboration and speed.
In the near future, it will become harder and harder to sell proprietary software solutions to a generation of people who are not accustomed to paying for intellectual property. Software companies who rely on open source business model will be better positioned to tap into the buying habits of this new generation. All open source companies, regardless of their business model, rely on revenues to stay afloat or grow. The key to success, now and in the future, is to offer choices to the customers. We need to provide our software offerings in deployment options that users desire. We also need to create platforms that enable the exchange of knowledge and products with ease. Lastly, we need to leverage the new economy by taping into the collective knowledge of people globally. Citizens of this world are now more and more motivated to participate in narrowly defined interest groups in order to collaborate with their peers and create value faster than ever before. I am afraid that companies failing to adapt to the realities of our new economy are destined to end up in the Software Hall of Fame.
Thursday, January 10, 2008
( 7.) What Do You Think About Ringtones
Record labels are fighting back through "creative means", but the revenue is not going to the artists. A ringtone sale is 100% pure profit, absolutely none of the money goes to the artist, it's split between the telecom and the record label.
Such a process is only possible because the telecoms themselves are locking people from doing perfectly legal things with their content, for instance using something you made in GarageBand can not be used as a ringtone, without essentially being forced to hack your own hardware. Even more progressive phones, such as the iPhone, has such features built in (See: iFuntastic), have been locked into absolutely ludicrous ringtone deals by AT&T, forcing customers to pay $.99 AGAIN on top of something they already have to buy through the iTunes music store.
The record labels are merely doing the same stuff in a different generation. It's continuing it's cycle of screwing over consumers just hits a new group of hardware and people.
Such a process is only possible because the telecoms themselves are locking people from doing perfectly legal things with their content, for instance using something you made in GarageBand can not be used as a ringtone, without essentially being forced to hack your own hardware. Even more progressive phones, such as the iPhone, has such features built in (See: iFuntastic), have been locked into absolutely ludicrous ringtone deals by AT&T, forcing customers to pay $.99 AGAIN on top of something they already have to buy through the iTunes music store.
The record labels are merely doing the same stuff in a different generation. It's continuing it's cycle of screwing over consumers just hits a new group of hardware and people.
( 6. ) Thoughts On Music
Thoughts on Music
With the stunning global success of Apple's iPod music player and iTunes online music store, some have called for Apple to "open" the digital rights management (DRM) system that Apple uses to protect its music against theft, so that music purchased from iTunes can be played on digital devices purchased from other companies, and protected music purchased from other online music stores can play on iPods. Let's examine the current situation and how we got here, then look at three possible alternatives for the future.
To begin, it is useful to remember that all iPods play music that is free of any DRM and encoded in "open" licensable formats such as MP3 and AAC. iPod users can and do acquire their music from many sources, including CDs they own. Music on CDs can be easily imported into the freely-downloadable iTunes jukebox software which runs on both Macs and Windows PCs, and is automatically encoded into the open AAC or MP3 formats without any DRM. This music can be played on iPods or any other music players that play these open formats.
The rub comes from the music Apple sells on its online iTunes Store. Since Apple does not own or control any music itself, it must license the rights to distribute music from others, primarily the "big four" music companies: Universal, Sony BMG, Warner and EMI. These four companies control the distribution of over 70% of the world's music. When Apple approached these companies to license their music to distribute legally over the Internet, they were extremely cautious and required Apple to protect their music from being illegally copied. The solution was to create a DRM system, which envelopes each song purchased from the iTunes store in special and secret software so that it cannot be played on unauthorized devices.
Apple was able to negotiate landmark usage rights at the time, which include allowing users to play their DRM protected music on up to 5 computers and on an unlimited number of iPods. Obtaining such rights from the music companies was unprecedented at the time, and even today is unmatched by most other digital music services. However, a key provision of our agreements with the music companies is that if our DRM system is compromised and their music becomes playable on unauthorized devices, we have only a small number of weeks to fix the problem or they can withdraw their entire music catalog from our iTunes store.
To prevent illegal copies, DRM systems must allow only authorized devices to play the protected music. If a copy of a DRM protected song is posted on the Internet, it should not be able to play on a downloader's computer or portable music device. To achieve this, a DRM system employs secrets. There is no theory of protecting content other than keeping secrets. In other words, even if one uses the most sophisticated cryptographic locks to protect the actual music, one must still "hide" the keys which unlock the music on the user's computer or portable music player. No one has ever implemented a DRM system that does not depend on such secrets for its operation.
The problem, of course, is that there are many smart people in the world, some with a lot of time on their hands, who love to discover such secrets and publish a way for everyone to get free (and stolen) music. They are often successful in doing just that, so any company trying to protect content using a DRM must frequently update it with new and harder to discover secrets. It is a cat-and-mouse game. Apple's DRM system is called FairPlay. While we have had a few breaches in FairPlay, we have been able to successfully repair them through updating the iTunes store software, the iTunes jukebox software and software in the iPods themselves. So far we have met our commitments to the music companies to protect their music, and we have given users the most liberal usage rights available in the industry for legally downloaded music.
With this background, let's now explore three different alternatives for the future.
The first alternative is to continue on the current course, with each manufacturer competing freely with their own "top to bottom" proprietary systems for selling, playing and protecting music. It is a very competitive market, with major global companies making large investments to develop new music players and online music stores. Apple, Microsoft and Sony all compete with proprietary systems. Music purchased from Microsoft's Zune store will only play on Zune players; music purchased from Sony's Connect store will only play on Sony's players; and music purchased from Apple's iTunes store will only play on iPods. This is the current state of affairs in the industry, and customers are being well served with a continuing stream of innovative products and a wide variety of choices.
Some have argued that once a consumer purchases a body of music from one of the proprietary music stores, they are forever locked into only using music players from that one company. Or, if they buy a specific player, they are locked into buying music only from that company's music store. Is this true? Let's look at the data for iPods and the iTunes store – they are the industry's most popular products and we have accurate data for them. Through the end of 2006, customers purchased a total of 90 million iPods and 2 billion songs from the iTunes store. On average, that's 22 songs purchased from the iTunes store for each iPod ever sold.
Today's most popular iPod holds 1000 songs, and research tells us that the average iPod is nearly full. This means that only 22 out of 1000 songs, or under 3% of the music on the average iPod, is purchased from the iTunes store and protected with a DRM. The remaining 97% of the music is unprotected and playable on any player that can play the open formats. It's hard to believe that just 3% of the music on the average iPod is enough to lock users into buying only iPods in the future. And since 97% of the music on the average iPod was not purchased from the iTunes store, iPod users are clearly not locked into the iTunes store to acquire their music.
The second alternative is for Apple to license its FairPlay DRM technology to current and future competitors with the goal of achieving interoperability between different company's players and music stores. On the surface, this seems like a good idea since it might offer customers increased choice now and in the future. And Apple might benefit by charging a small licensing fee for its FairPlay DRM. However, when we look a bit deeper, problems begin to emerge. The most serious problem is that licensing a DRM involves disclosing some of its secrets to many people in many companies, and history tells us that inevitably these secrets will leak. The Internet has made such leaks far more damaging, since a single leak can be spread worldwide in less than a minute. Such leaks can rapidly result in software programs available as free downloads on the Internet which will disable the DRM protection so that formerly protected songs can be played on unauthorized players.
An equally serious problem is how to quickly repair the damage caused by such a leak. A successful repair will likely involve enhancing the music store software, the music jukebox software, and the software in the players with new secrets, then transferring this updated software into the tens (or hundreds) of millions of Macs, Windows PCs and players already in use. This must all be done quickly and in a very coordinated way. Such an undertaking is very difficult when just one company controls all of the pieces. It is near impossible if multiple companies control separate pieces of the puzzle, and all of them must quickly act in concert to repair the damage from a leak.
Apple has concluded that if it licenses FairPlay to others, it can no longer guarantee to protect the music it licenses from the big four music companies. Perhaps this same conclusion contributed to Microsoft's recent decision to switch their emphasis from an "open" model of licensing their DRM to others to a "closed" model of offering a proprietary music store, proprietary jukebox software and proprietary players.
The third alternative is to abolish DRMs entirely. Imagine a world where every online store sells DRM-free music encoded in open licensable formats. In such a world, any player can play music purchased from any store, and any store can sell music which is playable on all players. This is clearly the best alternative for consumers, and Apple would embrace it in a heartbeat. If the big four music companies would license Apple their music without the requirement that it be protected with a DRM, we would switch to selling only DRM-free music on our iTunes store. Every iPod ever made will play this DRM-free music.
Why would the big four music companies agree to let Apple and others distribute their music without using DRM systems to protect it? The simplest answer is because DRMs haven't worked, and may never work, to halt music piracy. Though the big four music companies require that all their music sold online be protected with DRMs, these same music companies continue to sell billions of CDs a year which contain completely unprotected music. That's right! No DRM system was ever developed for the CD, so all the music distributed on CDs can be easily uploaded to the Internet, then (illegally) downloaded and played on any computer or player.
In 2006, under 2 billion DRM-protected songs were sold worldwide by online stores, while over 20 billion songs were sold completely DRM-free and unprotected on CDs by the music companies themselves. The music companies sell the vast majority of their music DRM-free, and show no signs of changing this behavior, since the overwhelming majority of their revenues depend on selling CDs which must play in CD players that support no DRM system.
So if the music companies are selling over 90 percent of their music DRM-free, what benefits do they get from selling the remaining small percentage of their music encumbered with a DRM system? There appear to be none. If anything, the technical expertise and overhead required to create, operate and update a DRM system has limited the number of participants selling DRM protected music. If such requirements were removed, the music industry might experience an influx of new companies willing to invest in innovative new stores and players. This can only be seen as a positive by the music companies.
Much of the concern over DRM systems has arisen in European countries. Perhaps those unhappy with the current situation should redirect their energies towards persuading the music companies to sell their music DRM-free. For Europeans, two and a half of the big four music companies are located right in their backyard. The largest, Universal, is 100% owned by Vivendi, a French company. EMI is a British company, and Sony BMG is 50% owned by Bertelsmann, a German company. Convincing them to license their music to Apple and others DRM-free will create a truly interoperable music marketplace. Apple will embrace this wholeheartedly.
With the stunning global success of Apple's iPod music player and iTunes online music store, some have called for Apple to "open" the digital rights management (DRM) system that Apple uses to protect its music against theft, so that music purchased from iTunes can be played on digital devices purchased from other companies, and protected music purchased from other online music stores can play on iPods. Let's examine the current situation and how we got here, then look at three possible alternatives for the future.
To begin, it is useful to remember that all iPods play music that is free of any DRM and encoded in "open" licensable formats such as MP3 and AAC. iPod users can and do acquire their music from many sources, including CDs they own. Music on CDs can be easily imported into the freely-downloadable iTunes jukebox software which runs on both Macs and Windows PCs, and is automatically encoded into the open AAC or MP3 formats without any DRM. This music can be played on iPods or any other music players that play these open formats.
The rub comes from the music Apple sells on its online iTunes Store. Since Apple does not own or control any music itself, it must license the rights to distribute music from others, primarily the "big four" music companies: Universal, Sony BMG, Warner and EMI. These four companies control the distribution of over 70% of the world's music. When Apple approached these companies to license their music to distribute legally over the Internet, they were extremely cautious and required Apple to protect their music from being illegally copied. The solution was to create a DRM system, which envelopes each song purchased from the iTunes store in special and secret software so that it cannot be played on unauthorized devices.
Apple was able to negotiate landmark usage rights at the time, which include allowing users to play their DRM protected music on up to 5 computers and on an unlimited number of iPods. Obtaining such rights from the music companies was unprecedented at the time, and even today is unmatched by most other digital music services. However, a key provision of our agreements with the music companies is that if our DRM system is compromised and their music becomes playable on unauthorized devices, we have only a small number of weeks to fix the problem or they can withdraw their entire music catalog from our iTunes store.
To prevent illegal copies, DRM systems must allow only authorized devices to play the protected music. If a copy of a DRM protected song is posted on the Internet, it should not be able to play on a downloader's computer or portable music device. To achieve this, a DRM system employs secrets. There is no theory of protecting content other than keeping secrets. In other words, even if one uses the most sophisticated cryptographic locks to protect the actual music, one must still "hide" the keys which unlock the music on the user's computer or portable music player. No one has ever implemented a DRM system that does not depend on such secrets for its operation.
The problem, of course, is that there are many smart people in the world, some with a lot of time on their hands, who love to discover such secrets and publish a way for everyone to get free (and stolen) music. They are often successful in doing just that, so any company trying to protect content using a DRM must frequently update it with new and harder to discover secrets. It is a cat-and-mouse game. Apple's DRM system is called FairPlay. While we have had a few breaches in FairPlay, we have been able to successfully repair them through updating the iTunes store software, the iTunes jukebox software and software in the iPods themselves. So far we have met our commitments to the music companies to protect their music, and we have given users the most liberal usage rights available in the industry for legally downloaded music.
With this background, let's now explore three different alternatives for the future.
The first alternative is to continue on the current course, with each manufacturer competing freely with their own "top to bottom" proprietary systems for selling, playing and protecting music. It is a very competitive market, with major global companies making large investments to develop new music players and online music stores. Apple, Microsoft and Sony all compete with proprietary systems. Music purchased from Microsoft's Zune store will only play on Zune players; music purchased from Sony's Connect store will only play on Sony's players; and music purchased from Apple's iTunes store will only play on iPods. This is the current state of affairs in the industry, and customers are being well served with a continuing stream of innovative products and a wide variety of choices.
Some have argued that once a consumer purchases a body of music from one of the proprietary music stores, they are forever locked into only using music players from that one company. Or, if they buy a specific player, they are locked into buying music only from that company's music store. Is this true? Let's look at the data for iPods and the iTunes store – they are the industry's most popular products and we have accurate data for them. Through the end of 2006, customers purchased a total of 90 million iPods and 2 billion songs from the iTunes store. On average, that's 22 songs purchased from the iTunes store for each iPod ever sold.
Today's most popular iPod holds 1000 songs, and research tells us that the average iPod is nearly full. This means that only 22 out of 1000 songs, or under 3% of the music on the average iPod, is purchased from the iTunes store and protected with a DRM. The remaining 97% of the music is unprotected and playable on any player that can play the open formats. It's hard to believe that just 3% of the music on the average iPod is enough to lock users into buying only iPods in the future. And since 97% of the music on the average iPod was not purchased from the iTunes store, iPod users are clearly not locked into the iTunes store to acquire their music.
The second alternative is for Apple to license its FairPlay DRM technology to current and future competitors with the goal of achieving interoperability between different company's players and music stores. On the surface, this seems like a good idea since it might offer customers increased choice now and in the future. And Apple might benefit by charging a small licensing fee for its FairPlay DRM. However, when we look a bit deeper, problems begin to emerge. The most serious problem is that licensing a DRM involves disclosing some of its secrets to many people in many companies, and history tells us that inevitably these secrets will leak. The Internet has made such leaks far more damaging, since a single leak can be spread worldwide in less than a minute. Such leaks can rapidly result in software programs available as free downloads on the Internet which will disable the DRM protection so that formerly protected songs can be played on unauthorized players.
An equally serious problem is how to quickly repair the damage caused by such a leak. A successful repair will likely involve enhancing the music store software, the music jukebox software, and the software in the players with new secrets, then transferring this updated software into the tens (or hundreds) of millions of Macs, Windows PCs and players already in use. This must all be done quickly and in a very coordinated way. Such an undertaking is very difficult when just one company controls all of the pieces. It is near impossible if multiple companies control separate pieces of the puzzle, and all of them must quickly act in concert to repair the damage from a leak.
Apple has concluded that if it licenses FairPlay to others, it can no longer guarantee to protect the music it licenses from the big four music companies. Perhaps this same conclusion contributed to Microsoft's recent decision to switch their emphasis from an "open" model of licensing their DRM to others to a "closed" model of offering a proprietary music store, proprietary jukebox software and proprietary players.
The third alternative is to abolish DRMs entirely. Imagine a world where every online store sells DRM-free music encoded in open licensable formats. In such a world, any player can play music purchased from any store, and any store can sell music which is playable on all players. This is clearly the best alternative for consumers, and Apple would embrace it in a heartbeat. If the big four music companies would license Apple their music without the requirement that it be protected with a DRM, we would switch to selling only DRM-free music on our iTunes store. Every iPod ever made will play this DRM-free music.
Why would the big four music companies agree to let Apple and others distribute their music without using DRM systems to protect it? The simplest answer is because DRMs haven't worked, and may never work, to halt music piracy. Though the big four music companies require that all their music sold online be protected with DRMs, these same music companies continue to sell billions of CDs a year which contain completely unprotected music. That's right! No DRM system was ever developed for the CD, so all the music distributed on CDs can be easily uploaded to the Internet, then (illegally) downloaded and played on any computer or player.
In 2006, under 2 billion DRM-protected songs were sold worldwide by online stores, while over 20 billion songs were sold completely DRM-free and unprotected on CDs by the music companies themselves. The music companies sell the vast majority of their music DRM-free, and show no signs of changing this behavior, since the overwhelming majority of their revenues depend on selling CDs which must play in CD players that support no DRM system.
So if the music companies are selling over 90 percent of their music DRM-free, what benefits do they get from selling the remaining small percentage of their music encumbered with a DRM system? There appear to be none. If anything, the technical expertise and overhead required to create, operate and update a DRM system has limited the number of participants selling DRM protected music. If such requirements were removed, the music industry might experience an influx of new companies willing to invest in innovative new stores and players. This can only be seen as a positive by the music companies.
Much of the concern over DRM systems has arisen in European countries. Perhaps those unhappy with the current situation should redirect their energies towards persuading the music companies to sell their music DRM-free. For Europeans, two and a half of the big four music companies are located right in their backyard. The largest, Universal, is 100% owned by Vivendi, a French company. EMI is a British company, and Sony BMG is 50% owned by Bertelsmann, a German company. Convincing them to license their music to Apple and others DRM-free will create a truly interoperable music marketplace. Apple will embrace this wholeheartedly.
( 5. ) Faced With Shrinking Profits
Faced with shrinking profits, record labels are touting a new approach
It has become a familiar refrain. For years record labels, citing tumbling CD sales blamed on internet piracy, have decried the decline of the music industry. The reality is rather more subtle, as Edgar Bronfman, the chairman of Warner Music, a big record company, pointed out last month. "The music industry is growing," he told an investor conference in New York. "The record industry is not growing."
Indeed. Seven years ago musicians derived two-thirds of their income, via record labels, from pre-recorded music, with the other one-third coming from concert tours, merchandise and endorsements, according to the Music Managers Forum, a trade group in London. But today those proportions have been reversed—cutting the labels off from the industry's biggest and fastest-growing sources of revenue. Concert-ticket sales in North America alone increased from $1.7 billion in 2000 to over $3.1 billion last year, according to Pollstar, a trade magazine.
Frustrated record companies have responded by trying to get their artists to spend more time promoting records and less time touring and endorsing products, says Jeanne Meyer of EMI, another big record label. "Sometimes you've got a tug of war going on," she says. Yet the more labels spend on marketing pre-recorded music, the more they raise their artists' profiles and boost their other, more lucrative, sources of income. Pre-recorded music, no longer the main cash cow, increasingly serves merely as a marketing tool for T-shirts and concert tickets. The best seats for The Police's world tour this summer cost over $900; the group's entire catalogue on CD costs less than $100.
Record labels have come up with a remedy: the "360° contract". Instead of settling for a cut of CD sales, they increasingly offer artists broader contracts that encompass live music, merchandise and endorsement deals. Such deals, also known as multiple-rights or all-rights contracts, are particularly important in regions with rampant CD piracy, such as Africa, Asia and Latin America. "The market has made it necessary—we've got to look for something else," says Manuel Cuevas, an industry executive in Mexico City. His company, the Mexican subsidiary of a major label, decided earlier this year to adopt the 360° model. "It's a discussion you have with every new artist now," says EMI's Ms Meyer.
Although record labels like the idea, artists are unsurprisingly less keen. Few established artists have accepted 360° deals, though the labels trumpet the exceptions, including Robbie Williams, the Pussycat Dolls and Korn. It is more profitable, the artists say, to stick with artist-management agencies, which have traditionally handled the job of cultivating careers beyond the realm of recordings.
Management agencies are also considered to have more respect for their artists' interests. Record labels, for example, have been criticised for obtaining rights to the names of artists and bands for use in internet addresses. Some clauses stipulate that name ownership applies even after contracts expire or artists die. This can prevent musicians from launching websites to promote tours, sell merchandise, and communicate with fans as they see fit. "Record companies don't exactly give many artists the warm, fuzzy feeling," says Gary Bongiovanni, the editor of Pollstar.
Musicians with small fan bases and little business experience are much more receptive to the idea of 360° deals. There is no shortage of aspiring artists, and some will become big names. Juha Ruusunen, the founder of TWU, a small management agency for heavy-metal bands based in Jyväskylä, Finland, says European labels have begun to sign up new talent with 360° contracts. As record labels move more aggressively into the artist-management field, Mr Ruusunen worries that his agency might struggle to compete.
Building a roster of 360° talent, one deal at a time, is slow going. It is quicker for labels to buy artist-management agencies. Last month Universal Music made a £104m ($205m) offer for Sanctuary, a struggling British label with a management arm that represents musicians including Elton John and Robert Plant. Sanctuary also owns two other artist-management companies and runs Bravado, a merchandising operation. Sanctuary's shareholders will decide whether to accept Universal's offer, which is considered generous, this month.
For its part Warner Music has expressed interest in Front Line Management, one of America's biggest agencies. And last month Warner announced the formation of Brand Asset Group, an artist-management joint venture with Violator Management, a firm that negotiates roles for rappers in films, advertisements, video games and TV programmes, and licenses their names and images to promote drinks, books and clothes. (Its clients include 50 Cent, Diddy and Busta Rhymes.)
The shift away from recorded music is due in part to the recognition that touring and merchandise are more lucrative. But it may also be a consequence of internet piracy, as free downloads give music fans more money to spend on other things. Jwana Godinho, the director of Música no Coração, a concert promoter in Lisbon, thinks many music lovers have a "mental budget" that they are prepared to spend on music, and have switched their spending from CDs to tickets and merchandise.
The logical conclusion is for artists to give away their music as a promotional tool. Some are doing just that. This week Prince announced that his new album, "Planet Earth", will be given away in Britain for free with the Mail on Sunday, a national newspaper, on July 15th. (For years Prince has made far more money from live performances than from album sales; he was the industry's top earner in 2004.) Outraged British music retailers were quick to condemn the idea. As far as the record industry is concerned, it is madness. But for the music industry, it could well be the shape of things to come.
It has become a familiar refrain. For years record labels, citing tumbling CD sales blamed on internet piracy, have decried the decline of the music industry. The reality is rather more subtle, as Edgar Bronfman, the chairman of Warner Music, a big record company, pointed out last month. "The music industry is growing," he told an investor conference in New York. "The record industry is not growing."
Indeed. Seven years ago musicians derived two-thirds of their income, via record labels, from pre-recorded music, with the other one-third coming from concert tours, merchandise and endorsements, according to the Music Managers Forum, a trade group in London. But today those proportions have been reversed—cutting the labels off from the industry's biggest and fastest-growing sources of revenue. Concert-ticket sales in North America alone increased from $1.7 billion in 2000 to over $3.1 billion last year, according to Pollstar, a trade magazine.
Frustrated record companies have responded by trying to get their artists to spend more time promoting records and less time touring and endorsing products, says Jeanne Meyer of EMI, another big record label. "Sometimes you've got a tug of war going on," she says. Yet the more labels spend on marketing pre-recorded music, the more they raise their artists' profiles and boost their other, more lucrative, sources of income. Pre-recorded music, no longer the main cash cow, increasingly serves merely as a marketing tool for T-shirts and concert tickets. The best seats for The Police's world tour this summer cost over $900; the group's entire catalogue on CD costs less than $100.
Record labels have come up with a remedy: the "360° contract". Instead of settling for a cut of CD sales, they increasingly offer artists broader contracts that encompass live music, merchandise and endorsement deals. Such deals, also known as multiple-rights or all-rights contracts, are particularly important in regions with rampant CD piracy, such as Africa, Asia and Latin America. "The market has made it necessary—we've got to look for something else," says Manuel Cuevas, an industry executive in Mexico City. His company, the Mexican subsidiary of a major label, decided earlier this year to adopt the 360° model. "It's a discussion you have with every new artist now," says EMI's Ms Meyer.
Although record labels like the idea, artists are unsurprisingly less keen. Few established artists have accepted 360° deals, though the labels trumpet the exceptions, including Robbie Williams, the Pussycat Dolls and Korn. It is more profitable, the artists say, to stick with artist-management agencies, which have traditionally handled the job of cultivating careers beyond the realm of recordings.
Management agencies are also considered to have more respect for their artists' interests. Record labels, for example, have been criticised for obtaining rights to the names of artists and bands for use in internet addresses. Some clauses stipulate that name ownership applies even after contracts expire or artists die. This can prevent musicians from launching websites to promote tours, sell merchandise, and communicate with fans as they see fit. "Record companies don't exactly give many artists the warm, fuzzy feeling," says Gary Bongiovanni, the editor of Pollstar.
Musicians with small fan bases and little business experience are much more receptive to the idea of 360° deals. There is no shortage of aspiring artists, and some will become big names. Juha Ruusunen, the founder of TWU, a small management agency for heavy-metal bands based in Jyväskylä, Finland, says European labels have begun to sign up new talent with 360° contracts. As record labels move more aggressively into the artist-management field, Mr Ruusunen worries that his agency might struggle to compete.
Building a roster of 360° talent, one deal at a time, is slow going. It is quicker for labels to buy artist-management agencies. Last month Universal Music made a £104m ($205m) offer for Sanctuary, a struggling British label with a management arm that represents musicians including Elton John and Robert Plant. Sanctuary also owns two other artist-management companies and runs Bravado, a merchandising operation. Sanctuary's shareholders will decide whether to accept Universal's offer, which is considered generous, this month.
For its part Warner Music has expressed interest in Front Line Management, one of America's biggest agencies. And last month Warner announced the formation of Brand Asset Group, an artist-management joint venture with Violator Management, a firm that negotiates roles for rappers in films, advertisements, video games and TV programmes, and licenses their names and images to promote drinks, books and clothes. (Its clients include 50 Cent, Diddy and Busta Rhymes.)
The shift away from recorded music is due in part to the recognition that touring and merchandise are more lucrative. But it may also be a consequence of internet piracy, as free downloads give music fans more money to spend on other things. Jwana Godinho, the director of Música no Coração, a concert promoter in Lisbon, thinks many music lovers have a "mental budget" that they are prepared to spend on music, and have switched their spending from CDs to tickets and merchandise.
The logical conclusion is for artists to give away their music as a promotional tool. Some are doing just that. This week Prince announced that his new album, "Planet Earth", will be given away in Britain for free with the Mail on Sunday, a national newspaper, on July 15th. (For years Prince has made far more money from live performances than from album sales; he was the industry's top earner in 2004.) Outraged British music retailers were quick to condemn the idea. As far as the record industry is concerned, it is madness. But for the music industry, it could well be the shape of things to come.
( 4.) Who I Would Like To Meet
So, what is that one thing about your music that stands out and makes heads turn? I’m talking about songs here...songs that capture your unique personality, or individuality, and take the listener to places that are unfamiliar yet strangely new at the same time. ----------------------------------------------------------- Visualize a song as a frame of reference. -------------------- It contains, beside whatever ‘verse-chorus-verse’------------ structure it is written in,----------- other important ingredients. ---------------------------------------------------------- It contains your emotions,--------- your view of the world,--------------- your philosophy,-------------- your attitudes. And if you wrap it all up in an honest presentation that reflects your personality;--------------- that may be the most important part of your music, and the very ‘thing’ that is so hard to define, yet easy to recognize when your music is heard by others. ----------------------------------------------------------- Reflect on how you listen to music;------------ what was it about the last CD you bought that grabbed your attention, and made you decide you had to have that song? Believe this... that ‘thing’ that grabbed you could be the same ‘thing’ in your songs that may grab the attention of an A&R scout,--------------- or a music director, or a reviewer for a music publication, or buyer at a distributor or store, or a booking agent for a local club. ----------------------------------------------------------- I am not saying copy what you have heard. That is the worst route you could take.----------------- What I am saying is all the great music that inspired you had something about it that made it stand out.----------------------------- Being a great songwriter and a musician is being someone who is willing to put themselves on the line, and take a chance. So many ‘wanna-bes’ take the easy way out. They regurgitate what is already out there. Don't do that. Be unique. ----------------------------------------------------------- Something to consider...what is out there is already signed! Any honest A&R rep or music industry executive will tell you they are not looking for what has already been signed, or what is already successful. They are looking for something they can put themselves into and make successful. They want the next NEW thing. That could be you! ----------------------------------------------------------- The idea is simply this...Give the record labels something so unique it will knock their socks off the way your favorite music knocked your socks off when you first heard it. Nobody in this business, if they have anything going for them, is looking for something that has already been done before. -----------------------------------------------------------
( 3.) Network Opportunity For New and Inspiring Artists
N.B.E
From: Questadorian Mentorium ( Learn the Business ) and meet the Majors CEO RegSc7@aol.com
Sound Deli Recording Studio (Need Beat Session or a Production Session)
1500 So Blackstone Get your music Mastered by the best
Producer (Rex)
Ph-773-310-0805
So, what is that one thing about your music that stands out and makes heads turn? I’m talking about songs here...songs that capture your unique personality, or individuality, and take the listener to places that are unfamiliar yet strangely new at the same time.
Visualize a song as a frame of reference. It contains, beside whatever ‘verse-chorus-verse’ structure it is written in, other important ingredients. It contains your emotions, your view of the world, your philosophy, and your attitudes. And if you wrap it all up in an honest presentation that reflects your personality; that may be the most important part of your music, and the very ‘thing’ that is so hard to define, yet easy to recognize when your music is heard by others.
Reflect on how you listen to music; what was it about the last CD you bought that grabbed your attention, and made you decide you had to have that song? Believe this... that ‘thing’ that grabbed you could be the same ‘thing’ in your songs that may grab the attention of an A&R scout, or a music director, or a reviewer for a music publication, or buyer at a distributor or store, or a booking agent for a local club.
I am not saying copy what you have heard. That is the worst route you could take. What I am saying is all the great music that inspired you had something about it that made it stand out. Being a great songwriter and a musician is being someone who is willing to put themselves on the line, and take a chance. So many ‘wanna-bes’ take the easy way out. They regurgitate what is already out there. Don't do that. Be unique.
Something to consider...what is out there is already signed! Any honest A&R rep or music industry executive will tell you they are not looking for what has already been signed, or what is already successful. They are looking for something they can put themselves into and make successful. They want the next NEW thing. That could be you!
The idea is simply this...Give the record labels something so unique it will knock their socks off the way your favorite music knocked your socks off when you first heard it. Nobody in this business, if they have anything going for them, is looking for something that has already been done before.
NETWORK BUSINESS ENTERTAINMENT
Get Signed: Showcase your talent to the world….
Family Support is all the very best
Please note that the first meeting with me is very important before you decide to go to the studio to record. If, you have your own producer that good continue to network.
All new local talent has 2 (two) options to network: I do not promote burn CDs we have to get at least one song done correctly for radio.
Note:
So, when it comes to creating great music, reach down deep inside and find your unique way to say what hasn't been said before through your music.
My name is Quest A'Dorian Mentorium, Co Owner of Paraclete World Music Entertainment, and Executive to BLAQ Box Entertainment.
I've been in the music biz for many years now. I've made a lot of friends and it's no secret that I have a pretty substantial Industry contact database. Currently I shop original material to major and major Independent record company A&R. I am a music Industry consultant.
People usually seek me out for my contacts, copyright issues, ASCAP, BMI, SESAC, or Foreign Performance Rights Organizations registration assistance, and to learn the business.
We deal directly with the artist in helping them to get promote major. Also I will network with investors and sponsors to seek the financial support you need to establish your record company and promote your music correctly. Come to me with a business sense; come to me with a true heart for the love of the music business.
Don't waste my time, don't try to get over on me, because it will not happen, check your production out and know where your producers are at. I am not in the business of feeling sorry for local artists, this game is a business and time cost.
Call DISMAKERS and order your own CD 202-707-3000 this route you take will cancel your opportunity to network. If you have a barcode just mail it in to me, for review with BIO and 8x10.
· What's so unique about your music?
,
· Are you ready to sit with me and talk business?
· Do you have a BIO
· Do you have an 8x10 picture
· Do you have a fan base
What you need to do is follow the steps below to ensure your business is being done to protect your production.
1. Call the Library of Congress and order PA Forms and SR Forms they are free call 202-707-3000. You can get up to 5 copies of each one. Or go to http://www.copyright.gov/ and download the form off the internet.
2. Call DISCMAKERS and order a free catalog, 1-800-468-9353 and ask for an Audio Manufacturing Agreement from the Production specialist.
9. Barcode
10. Promotion
11. BDS
12. Confidentiality Agreement
13. Learn more about SoundScan
14. Email Blast support
15. Media Kit
16. Agent
17. Booking you shows
18. Getting studio help
19. How to set your team up
20. Networking
21. Learning the Business
22. Attorney
23. Advancement and Recoupment
24. Royalties
25. Major Deal Points
26. Producer Deal
27. Video Album Cover Artwork
28. Tour Support
29. Special packages cost
30. Distribution Methods
31. Foreign Royalties
32. DJ Pool support
33. Radio station support
34. Songwriter Deal
35. New Artists
36. Midlevel Artist
37. Superstar
38. Merchandising
39. Creating Control
40. Film
41. Becoming a studio partner
42. Website
43. Logo Design
44. Call Sound Deli and ask to speak to REX (Producers) 773-310-0805, check out what he charge for a beat session and a recording session. Prices varies and studio time do cost (nothing is free). Please say, Quest sent you. It's important that you meet with me first.
The business plan begins here....I am going to help you with this if you do not have one prepared..
Executive Summary
The Team
The Productions
Hip-Hop CD's DVD's, and Clothing
Corporate Partnership
The Offer
The Future
The Offer
Fund Required
Investor Equity
Management Equity
Intellectual Property and Royalty
Board of Director's Composition
Exit Mechanisms
Investor Claw Back Strategy
The Productions & Services
Digital Releases
Corporate Partnerships
Overview of the Organization
Register Name
Commencement of Operations
History
Mission Statement
Vision Statement
Organization Objectives
Organization Values
Founders and Management Team
Major Miles Achieved to Date
Brief Resumes of the Management Team
Business Structure
Board Structure
Strategic Analysis
External Environment Analysis
Macro Environment Analysis
Technology Development
Social and Attitudinal Trends
Economic Trends
Marketing Description
Demographics of Internet Users
Competitor Environment Analysis
Customer Profile
Internal Environment Analysis
Key Strategic Issues
Sustainable Competitive Advantage
Basis for Growth
The Marketing Plan,
Sales Forecasts
Sales Assumptions
Marketing Strategies
Products
Price
Distribution
Promotion
Production Plan
Production Policy
Production Scheduling
Supplies and Inventory
Organizational Plan
Organizational Budget
Financial Plan
Underlying Assumptions
Financial Highlights (Best Case Scenario)
Financial Ratios
Breakeven Point
Financial Pro Formas
Inventory Management
Tax Reconciliation
Sensitivity Analysis
Source and Application of Funds
Critical Risks and Problems
Appendix A- Internal Environment analysis
Appendix B- Critical Risks and Problems
Appendix C- SWOT Analysis
You can have all the raw talent in the world but that doesn't matter to most A&R directors. What matters to them is your fan base and units are sold. So don't envision contacting me to go along with your dreams without upfront funding.
Also, under no circumstance, do I except unprotected material at anytime; what I have done above is walk you through the process of ordering the SR/PA forms. We have to make sure it's done correctly and make sure you understand that I am helping you.
The infamous "POOR MAN'S COPYRIGHT" does not hold up in a court of law so that mail it yourself thing only proves to us that you don't even have faith in your own material so why should me?
Be original.
General Information for you to know, when you make it BIG…..
If you get an advancement look who you have to pay,
1. Manger Cut,
2. Legal fees,
3. Recording Budget,
4. Producers advancement,
5. Studio fee,
6. Drum Amp. Mic,
7. Recording tape,
8. Equipment rental,
9. Cartage and transportation,
10. Lodgings while in studio,
11. Catering,
12. Mastering,
13. CD's, shipping expenses,
14. Video Budget,
15. Cameras,
16. Crew,
17. Processing and transfers,
18. Off Line,
19. Online editing,
20. Stage and construction,
21. Copies, couriers, transportation,
22. Director's Fee,
23. Album Artwork,
24. Promotional Photos Shoot,
25. Band Funds,
26. Rehearsal Space Rental,
27. Big blowout party,
28. Tour Expense,
29. Bus,
30. Food,
31. Fuel,
32. Consumable suppliers,
33. Wardrobe,
34. Promotion,
35. Agent's Cut,
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Industry Business you should know
Booking Agent (or Talent Agent)
Booking agents work to secure performance engagements for musical artists and groups. They work to find talent to book, and may be involved with developing the talent toward a goal. They must possess good communication skills to sell talent and develop contacts in the music industry. They often work closely with an act's Manager, and may be involved in setting the fee and negotiating with promoters or clubs. A booking agent is paid a percentage of the negotiated fee for an act's performance.
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Concert Promoter
The concert promoter presents, organizes, advertises, and in many cases, finances concerts at performance venues such as arenas, festivals, clubs, church buildings, auditoriums, etc. The promoter often secures money for the concert by finding others to share in the profits/expenses. However, it is often times the concert promoter who absorbs all the financial risk.
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Independent Radio Promoter
The Independent Radio Promoter (IRP) has a similar role as that of a Promotional Staffer at a record label, except the IRP is usually employed by an Independent Radio Promotions Company or they may work freelance. Often times a record label, artist/band or manager will hire the services of an Independent Radio Promotions Company to generate airplay of a particular song or record.
The IRP contacts radio station program directors, music directors, and disc jockeys in a local, regional, national or even an international market. They set up appointments with these station people and bring a number of new album releases as well as a supply of promotional or press material relating to the artist or band. An IRP may socialize frequently with program directors and music directors to help improve the chances that a radio station will add a song to its play list. An IRP often will often take key radio station personnel out to lunch, dinner, or for drinks. They may also bring a program director to a club in order to listen to a group play a song(s) live and gauge audience response.
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Entrepreneur (Music Business)
A person who organizes, operates, and assumes the risk for a music business venture. Some common businesses started by music entrepreneurs are: Recording Studio Facility, Private Teaching Practice, Performing Band, Booking Agency, Artist Management, Music Retail, Music Publishing Company, Record Label, etc.
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Retail Sales Management
A Retail Sales Manager works, runs and operates a retail music store. Duties would include employee supervision, training, ordering; coordinate the timing and arrival of distribution shipments to the store, budgetary and financial planning, and coordinate sales promotions for specific CDs.
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Entertainment Attorney
An entertainment attorney handles any contractual matters conceivable within the Entertainment industry. Entertainment attorneys can be freelance, hired on retainer or as an employee of a company or business within the entertainment industry. Entertainment attorneys generally specialize in one of three separate fields within the entertainment industry: Sports, Film and Television, and Music. An attorney that specializes in the music industry usually has a solid depth of understanding with regard to copyright laws and artist/band agreements with managers, publishers, record labels, booking agents, etc. Successful completion of Law school and a state bar exam are requisites for being an entertainment attorney as well.
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Business Manager
The business manager handles the financial affairs of musicians and entertainers. Most have degrees in business administration with concentration in accounting or management. The business manager should have knowledge of negotiating, accounting skills, investments, and a thorough knowledge of tax laws.
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Music Supervisor (Music Licensing/Clearance)
A music supervisor may act as an A&R scout to find and license popular songs (as source music) for a film, TV soundtrack or other media format.
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Music Business Consultant
The Music Business Consultant advises his/her clients, who are generally artists, music industry professionals or entrepreneurs, on music business strategy for their career or business.
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Contractor (or Leader)
A contractor is responsible for hiring musicians or road crew staff and tending to all the necessary contract obligations through the appropriate union organizations. It is in the contractor's best interest to procure the best talent possible while working within given budget guidelines.
Record Label Business Careers
Record Company Executive
This person would usually be employed at a record label and be a director, vice-president or president of any of the various departments or areas therein.
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A&R Coordinator
The main duty of the Artist & Repertoire coordinator is to find talent for the company to sign. A&R Coordinators search for new talent by visiting clubs, going to showcases, listening to tapes and demo recordings, and watching videotapes of acts performing. He or she is often responsible for helping find songs for the artists signed to the record label.
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A&R Administrator
The Artist & Repertoire Administrator works in the Artist & Repertoire Department along with the A & R coordinator. In large companies, the A&R administrators are responsible for clerical functions within the department, planning budgets for artists signed to the label, and working on the annual or semiannual budget for all artists' expenditures. They must analyze previous budgets, and prepare a budget proposal with projected cost estimates for recording current acts. They also monitor the budget in relation to the expenses throughout the year. Staying within a budget means that the A&R administrator is doing his or her job. The individual might work exclusively with one or two studios in order to build up a great volume of studio time. With this volume, the A&R administrator can often receive discounts on time. They also keep track of all money spent for recording studio time, session musicians, talent, and miscellaneous expenses.
Director of Publicity (or Public Relations Director)
The Director of Publicity supervises the record label publicity department and develops and oversees publicity campaigns. As director, this person oversees all the work that is performed by the staff of the department.
Publicist (or Staff Publicist, Press Agent)
A Publicist handles the publicity and press needs of acts signed to a label. Publicity helps the label sell records and produce income. A publicist must be able to get an artist's name in the news (magazines, music trades, TV, radio, etc.) as often as possible. This is accomplished by writing press releases, sending them to the correct media, talking to media about acts, and arranging interviews. The Publicist often arranges a series of print interviews, radio interviews, and TV appearances in conjunction with the release of a new record. Staff publicists spend a lot of time on the telephone, and are usually the first to send out promotional copies of new records and other important materials to the media. After a new record is released, a publicist may work with the A&R or promotional departments on a showcase booking of the group, and make arrangements for a press party.
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Assistant Publicist
Assists the publicist, compiling press kits, writing press releases, and double-checking information for accuracy.
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Artist Relations Representative (Artist Development Representative)
The Artist Relations Representative's responsibility is to represent the label's interest to the artist/band and the artist/band's interest to the label, and maintain proper communication, cooperation and mutual understanding between the two entities. This person's job is to make the artist feel appreciated by the label by thoughtful gestures such as buying flowers, writing letters, arranging promotional appointments that coincide with a new tour, album release or career milestone such as having a certified Gold or Platinum album. If there is a problem or concern that the label or artist have with the each other, the Artist Relations Representative will seek to mediate the situation. The Artist Relations Representative may also advise the artist on creative/performing related issues as well.
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Promotional Staffer
The prime function of the promotional staffer is contacting radio station program directors to generate airplay for the label's records. Promotional staffers will work closely with program directors, music directors, and disc jockeys in these markets. They set up appointments with these station people and bring a number of the label's new album releases as well as a supply of promotional or press material relating to the artist or band. A promotional staffer may socialize frequently with program directors and music directors to help improve the chances that a radio station will add a song to its play list. Promotion Staffers often take key radio station personnel out to lunch, dinner, or for drinks. They may also bring a program director to a club in order to listen to a group play a song(s) live and gauge audience response.
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Advertising Account Executive
An Advertising Account Executive develops advertising campaigns for a record label's products. This person must be creative, aggressive, have good sales skills and may have advertising experience in another area, as well as a strong knowledge of music.
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Salesperson (Record Label)
A record label salesperson establishes a relationship with various accounts to sell the company's products, and provide continuing service to the accounts. Accounts may include retail stores, rack jobbers and one-stops.
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Regional Sales Manager
The regional sales manager is responsible for supervising the selling of the label's records and tapes to wholesalers and/or retail outlets in a specific region, creating sales campaigns and policies, and overseeing sales staff.
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Marketing Representative
The marketing representative is responsible for overseeing specific markets, and reporting sales of records to radio stations and trade publications.
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Field Merchandiser (or Merchandiser)
The field merchandiser is in charge of distributing and explaining merchandising promotions to record stores/departments in specific markets.
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Consumer Researcher
A consumer researcher researches and analyzes consumer-buying practices for the record company. This person should have knowledge of research and analytical methods, the ability to write reports, and knowledge of the music business and record industry.
-----------------------------------------------------------
College Representative (or Campus Representative)
College Representatives are responsible for promoting a record label's products to students on campus or perhaps to music retailers. They are students working toward a degree who have an interest and/or skill in the music industry, and often times are a music business major in college.
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Music Publishing Business Careers
Music Publisher
Music publishers are responsible for acquiring the copyrights to songs and publishing them. They may work for a very large music publishing company and perform one or two specific duties as a music publisher. They may work for a relatively small firm and fulfill a variety of functions. Many individuals in music publishing or songwriting become independent music publishers, running their own music-publishing firm. The goal of the music publisher is to find and acquire potential hit songs (copyrights) and songwriters, promote them for financial gain and serve as copyright administrator whereby tracking; licensing and payment collection can be done efficiently. A good music publisher has knowledge of all facets of the music business, an understanding of music industry dynamics, an ability to hear hit tunes, knowledge of copyrights laws, and contacts in the music business.
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Song Plugged (Professional Manager)
Song-Plungers or Professional Managers work for a music publisher, and perform the administrative functions of music publishers. They also work to add new possible hits to the publisher's catalog, and to find acts to record these songs, generating income for the publisher. Professional managers seek to have a song covered and recorded by as many artists as possible and attempt to make the tune a "standard." Song-Plungers rely heavily on their contacts in the music business to accomplish their job, and must have great communication skills. The Song-Plugged may provide creative input into a band or artist's demo since they have a good understanding of what the industry is looking for.
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Tour/Road Work Business Careers
Tour Coordinator
The tour coordinator is responsible for coordinating the many facets of an act's tour, including travel, lodging, arranging for services, and budgeting for expenses.
----------------------------------------------------------
Road Manager
Road managers handle the problems that occur while an act is traveling. They supervise equipment, sound, and light personnel.
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Tour Publicist
The tour publicist is responsible for publicizing an act's tour to both fans and the media through press releases, press conferences, and special promotions.
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Advance Person
The advance person is responsible for arriving ahead of the act to prepare for a concert, and assisting the tour coordinator or road manager with details prior to the show.
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Sound Technician
Sound technicians are responsible for high quality sound during the live performance. They usually arrive at the concert sight before the performers and are involved in unloading and setting up the equipment and instruments along with the road crew. The sound technician supervises the placement of equipment, and works with the talent during the sound check to achieve the best sound. They may even work a soundboard during the actual performance.
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IMPORTANT READ
Tell me about your performance, musicianship, star personality, and your entertainment value. I’ve seen that people with the most patience achieve the most satisfying careers. If you patiently keep working to make people notice you, they eventually will. If you lose your patience, figure out an alternate career and play for your friends as a hobby, because getting frustrated and angry isn’t going to get you signed.
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You’ll have the best chance of receiving a positive response from A & R people, managers, agents, if you get rid of the “if only” mentality. “IF ONLY I could just get a manager/agent/record deal, everything would be cool.” That’s a VERY big ONLY. Clients come to me and I have to stifle laughter when they say, with total seriousness, “If only I could find a manager, I’d be set,” as if getting a manager was on the same level as getting some friends to come to a gig. “If only I could get a good label to pick me up.” Why not just IF ONLY you had a million dollars?
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There are no wish fairies in the music industry! Don’t EVER think that you’re so good that getting to industry pros is just one missing piece. Get real and make your story something they have to pay attention to! That’s why I’ve encouraged sending mailings to your targeted list to keep them informed of your progress. It’s best to let them come to you.
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Okay, I know how hard it is to be patient. If they don’t call fast enough, you’ll try to approach labels, management and agents yourself. Therefore, I want to explain what “unsolicited material” means when approaching a record label and how to get around it. Unsolicited means they didn’t ask for it. Solicited means they said you could send them a package. Until recently, most labels had a policy of not accepting unsolicited material because of copyright issues. They didn’t want artists who sent a demo to later accuse them of stealing something resembling a song they wrote.
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Nowadays, A & R people avoid unsolicited material because they’re getting too much bad music. Since new technology makes it easier for CDs to be burned off computers, anyone can record a poor excuse for music and make a CD They don’t have time to go through it all, looking for the one good artist in a sea of inferior recordings. Don’t waste money sending big unsolicited packages. A professionally written letter is the best intro if you choose to approach professional players yourself.
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People are more likely to open a letter (snail mail) with a business than a package from someone they don’t know. The letter is your sales pitch. It should be short, sweet and to the point of summarizing the highlights of your accomplishments. An unsolicited package tells them you’re blindly sending material because you haven’t made industry contacts. A letter looks professional and gives them the option of asking for a sample of your material. If they like what you write, they may request a package and actually pay attention
· (Audition and Music Submission) for http://www.undiscoverdlive.com/ there is a 15million dollar distribution deal on the table, $100.000.00 sign in bonus and trip to Bahamas.
· You must see me….to register
Please answer these few question below this will help me to move in the right direction for your business plan and (Financial report 2008-2010). Get this back to me ASAP.
Start answering these questions: If you do not understand something leave blank.
q What’s your production company name or label?
q Are you interested in getting that sponsorship money for your company?
q List the name of all artists on your label, birth name/artist name
q How many managers do you have?
q Who is on your team
q What’s there background/ Talent skills
q Do you have ring tones set up?
q What’s the name of your clothing line? Do you have a logo Design
q Can you attach a copy
q What’s the name of your CD release?
q How much funds you are asking for from investors
q What percentage do you want to pay your investor back?
q Or what equity stakes you want to give in percentage of your company
q Is there any personal money from your management team invested already
q Are you looking to retain 100% ownership of your company?
q Who are your board of Directors
q Provide me a list of all songs you are putting out…. On each artist
q Are you going to do Digital release or Traditional retail release
q Do you have a website
q Have you network with any fortune 500 companies, or receive sponsorship support if so by who
q Is your company name registered
q Where do you commencement of operations (Your company is located)
q Explain the history of your company
q How many units you sold in the past or as of yet
q What’s your mission: Theme
q What’s your vision
q Your looking for a major deal or distribution deal
q What’s your organization values
q Founders and management Team
q What major milestones achieved to date
q I need resumes of all the management team
q Who does graphic for you
q Who is the Director of Production
q Who is Director of your street team
q Who is your Attorney at Law
q What’s your audiences
q Do you have company checks
q Do each artist have a Bio
q 8x10 Pic
q Sheet music on each songs
q Entertainment resume
q Who are you publish with ASAP or BMI
q What songs do you have in your publishing
q Do you retain the copyright/master to all music
q Provide me with a listed of producers/Bio
q Its important that every artist have a Business plan as well
q Distributor one sheet is consists of the Business plan, Bio, 8x10, Entertainment Resume. Logo, Marketing Strategic and Trademark Search.
q What’s your net cash flow
q Units sold
q Units manufactured
q Federal Tax
q State Tax
q Any small business loan
q Have any off your artists been signed with any other label prior to you getting to
them?
q Do you have proof on all copyrights
Continue to answer these question?
If given the opportunity to network how serious would you be?
Are you willing to invest in yourself?
How old are you?
When was the last time you perform live on stage?
Who is managing you?
How many producers are you working with?
Do you have your music registered with the Library of Congress?
How many local artists do you know?
Do your family, support your music career?
Is your music mastered?
What your music is mostly about?
Do you have a barcode?
Are you working full time or part time or no job?
Are you in College?
Do you plan on going?
How many children do you have?
Do you have a team?
Do you have a fanbase?
What do you think about the music industry today?
Do you understand the importance of having a business plan?
Are you mobile?
What side of the city do you live on.
Have you ever been apart of major record company?
Do you understand the Billboard Charts?
What going with your music now?
If I get you in a meeting can you make me look good
What other talent do you have?
Have you ever had sponsors representing your label?
Do you have a BIO
Do you have an 8x10 picture
Do you have a hit song
Do you need a producer
Do you need promotion
Do you want to learn the music business?
Would you like to be on the Japout Compilation
Do you have an Entertainment Lawyer
How serious are you from a scale 1-10 with 10 being the highest
Would you be interested in networking with the other artists?
What been holding you back?
Have you truly tap into your talent?
Do you have your own style?
What cause are you going to support?
Do you stand for Excellence?
Are you shy?
Are you ready to grow?
Do you converse with comfort?
Do you collect emails?
Do you have an State ID Card
Have been convicted of any felony
Are the other people you working with serious like you?
Would you like for them to be involved?
Did you email them this information here?
Are you truly focus on learning the business side?
What time is good to call and reach you?
Do you have a Myspace page set up?
When are you going to get it set up?
Do you have patient?
How many songs do you completely recorded
How many do you have written total
Explain why should I give you this opportunity
Do you make excuses
How dedicated are you from a scale 1-10
How persistence are you from scale 1-10
Start collecting emails and turn them in every week
Do you like helping others that’s having a hard time
Can you get on stage to make sure you public appreciate you
What does being in the music business mean to you
How many mix CDs do you have
Have your music every been played on the radio station
what award have you gotten
How do you approach songwriting
Do you have a vision image
What is your philosophy on music today
tell me about you and when did you begin writing songs
How many projects are you currently involved in
What are your long term goals
How did you get into music
What other artist do you admire
How is your schedule
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 me about your latest project
From: Questadorian Mentorium ( Learn the Business ) and meet the Majors CEO RegSc7@aol.com
Sound Deli Recording Studio (Need Beat Session or a Production Session)
1500 So Blackstone Get your music Mastered by the best
Producer (Rex)
Ph-773-310-0805
So, what is that one thing about your music that stands out and makes heads turn? I’m talking about songs here...songs that capture your unique personality, or individuality, and take the listener to places that are unfamiliar yet strangely new at the same time.
Visualize a song as a frame of reference. It contains, beside whatever ‘verse-chorus-verse’ structure it is written in, other important ingredients. It contains your emotions, your view of the world, your philosophy, and your attitudes. And if you wrap it all up in an honest presentation that reflects your personality; that may be the most important part of your music, and the very ‘thing’ that is so hard to define, yet easy to recognize when your music is heard by others.
Reflect on how you listen to music; what was it about the last CD you bought that grabbed your attention, and made you decide you had to have that song? Believe this... that ‘thing’ that grabbed you could be the same ‘thing’ in your songs that may grab the attention of an A&R scout, or a music director, or a reviewer for a music publication, or buyer at a distributor or store, or a booking agent for a local club.
I am not saying copy what you have heard. That is the worst route you could take. What I am saying is all the great music that inspired you had something about it that made it stand out. Being a great songwriter and a musician is being someone who is willing to put themselves on the line, and take a chance. So many ‘wanna-bes’ take the easy way out. They regurgitate what is already out there. Don't do that. Be unique.
Something to consider...what is out there is already signed! Any honest A&R rep or music industry executive will tell you they are not looking for what has already been signed, or what is already successful. They are looking for something they can put themselves into and make successful. They want the next NEW thing. That could be you!
The idea is simply this...Give the record labels something so unique it will knock their socks off the way your favorite music knocked your socks off when you first heard it. Nobody in this business, if they have anything going for them, is looking for something that has already been done before.
NETWORK BUSINESS ENTERTAINMENT
Get Signed: Showcase your talent to the world….
Family Support is all the very best
Please note that the first meeting with me is very important before you decide to go to the studio to record. If, you have your own producer that good continue to network.
All new local talent has 2 (two) options to network: I do not promote burn CDs we have to get at least one song done correctly for radio.
Note:
So, when it comes to creating great music, reach down deep inside and find your unique way to say what hasn't been said before through your music.
My name is Quest A'Dorian Mentorium, Co Owner of Paraclete World Music Entertainment, and Executive to BLAQ Box Entertainment.
I've been in the music biz for many years now. I've made a lot of friends and it's no secret that I have a pretty substantial Industry contact database. Currently I shop original material to major and major Independent record company A&R. I am a music Industry consultant.
People usually seek me out for my contacts, copyright issues, ASCAP, BMI, SESAC, or Foreign Performance Rights Organizations registration assistance, and to learn the business.
We deal directly with the artist in helping them to get promote major. Also I will network with investors and sponsors to seek the financial support you need to establish your record company and promote your music correctly. Come to me with a business sense; come to me with a true heart for the love of the music business.
Don't waste my time, don't try to get over on me, because it will not happen, check your production out and know where your producers are at. I am not in the business of feeling sorry for local artists, this game is a business and time cost.
Call DISMAKERS and order your own CD 202-707-3000 this route you take will cancel your opportunity to network. If you have a barcode just mail it in to me, for review with BIO and 8x10.
· What's so unique about your music?
,
· Are you ready to sit with me and talk business?
· Do you have a BIO
· Do you have an 8x10 picture
· Do you have a fan base
What you need to do is follow the steps below to ensure your business is being done to protect your production.
1. Call the Library of Congress and order PA Forms and SR Forms they are free call 202-707-3000. You can get up to 5 copies of each one. Or go to http://www.copyright.gov/ and download the form off the internet.
2. Call DISCMAKERS and order a free catalog, 1-800-468-9353 and ask for an Audio Manufacturing Agreement from the Production specialist.
9. Barcode
10. Promotion
11. BDS
12. Confidentiality Agreement
13. Learn more about SoundScan
14. Email Blast support
15. Media Kit
16. Agent
17. Booking you shows
18. Getting studio help
19. How to set your team up
20. Networking
21. Learning the Business
22. Attorney
23. Advancement and Recoupment
24. Royalties
25. Major Deal Points
26. Producer Deal
27. Video Album Cover Artwork
28. Tour Support
29. Special packages cost
30. Distribution Methods
31. Foreign Royalties
32. DJ Pool support
33. Radio station support
34. Songwriter Deal
35. New Artists
36. Midlevel Artist
37. Superstar
38. Merchandising
39. Creating Control
40. Film
41. Becoming a studio partner
42. Website
43. Logo Design
44. Call Sound Deli and ask to speak to REX (Producers) 773-310-0805, check out what he charge for a beat session and a recording session. Prices varies and studio time do cost (nothing is free). Please say, Quest sent you. It's important that you meet with me first.
The business plan begins here....I am going to help you with this if you do not have one prepared..
Executive Summary
The Team
The Productions
Hip-Hop CD's DVD's, and Clothing
Corporate Partnership
The Offer
The Future
The Offer
Fund Required
Investor Equity
Management Equity
Intellectual Property and Royalty
Board of Director's Composition
Exit Mechanisms
Investor Claw Back Strategy
The Productions & Services
Digital Releases
Corporate Partnerships
Overview of the Organization
Register Name
Commencement of Operations
History
Mission Statement
Vision Statement
Organization Objectives
Organization Values
Founders and Management Team
Major Miles Achieved to Date
Brief Resumes of the Management Team
Business Structure
Board Structure
Strategic Analysis
External Environment Analysis
Macro Environment Analysis
Technology Development
Social and Attitudinal Trends
Economic Trends
Marketing Description
Demographics of Internet Users
Competitor Environment Analysis
Customer Profile
Internal Environment Analysis
Key Strategic Issues
Sustainable Competitive Advantage
Basis for Growth
The Marketing Plan,
Sales Forecasts
Sales Assumptions
Marketing Strategies
Products
Price
Distribution
Promotion
Production Plan
Production Policy
Production Scheduling
Supplies and Inventory
Organizational Plan
Organizational Budget
Financial Plan
Underlying Assumptions
Financial Highlights (Best Case Scenario)
Financial Ratios
Breakeven Point
Financial Pro Formas
Inventory Management
Tax Reconciliation
Sensitivity Analysis
Source and Application of Funds
Critical Risks and Problems
Appendix A- Internal Environment analysis
Appendix B- Critical Risks and Problems
Appendix C- SWOT Analysis
You can have all the raw talent in the world but that doesn't matter to most A&R directors. What matters to them is your fan base and units are sold. So don't envision contacting me to go along with your dreams without upfront funding.
Also, under no circumstance, do I except unprotected material at anytime; what I have done above is walk you through the process of ordering the SR/PA forms. We have to make sure it's done correctly and make sure you understand that I am helping you.
The infamous "POOR MAN'S COPYRIGHT" does not hold up in a court of law so that mail it yourself thing only proves to us that you don't even have faith in your own material so why should me?
Be original.
General Information for you to know, when you make it BIG…..
If you get an advancement look who you have to pay,
1. Manger Cut,
2. Legal fees,
3. Recording Budget,
4. Producers advancement,
5. Studio fee,
6. Drum Amp. Mic,
7. Recording tape,
8. Equipment rental,
9. Cartage and transportation,
10. Lodgings while in studio,
11. Catering,
12. Mastering,
13. CD's, shipping expenses,
14. Video Budget,
15. Cameras,
16. Crew,
17. Processing and transfers,
18. Off Line,
19. Online editing,
20. Stage and construction,
21. Copies, couriers, transportation,
22. Director's Fee,
23. Album Artwork,
24. Promotional Photos Shoot,
25. Band Funds,
26. Rehearsal Space Rental,
27. Big blowout party,
28. Tour Expense,
29. Bus,
30. Food,
31. Fuel,
32. Consumable suppliers,
33. Wardrobe,
34. Promotion,
35. Agent's Cut,
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Industry Business you should know
Booking Agent (or Talent Agent)
Booking agents work to secure performance engagements for musical artists and groups. They work to find talent to book, and may be involved with developing the talent toward a goal. They must possess good communication skills to sell talent and develop contacts in the music industry. They often work closely with an act's Manager, and may be involved in setting the fee and negotiating with promoters or clubs. A booking agent is paid a percentage of the negotiated fee for an act's performance.
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Concert Promoter
The concert promoter presents, organizes, advertises, and in many cases, finances concerts at performance venues such as arenas, festivals, clubs, church buildings, auditoriums, etc. The promoter often secures money for the concert by finding others to share in the profits/expenses. However, it is often times the concert promoter who absorbs all the financial risk.
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Independent Radio Promoter
The Independent Radio Promoter (IRP) has a similar role as that of a Promotional Staffer at a record label, except the IRP is usually employed by an Independent Radio Promotions Company or they may work freelance. Often times a record label, artist/band or manager will hire the services of an Independent Radio Promotions Company to generate airplay of a particular song or record.
The IRP contacts radio station program directors, music directors, and disc jockeys in a local, regional, national or even an international market. They set up appointments with these station people and bring a number of new album releases as well as a supply of promotional or press material relating to the artist or band. An IRP may socialize frequently with program directors and music directors to help improve the chances that a radio station will add a song to its play list. An IRP often will often take key radio station personnel out to lunch, dinner, or for drinks. They may also bring a program director to a club in order to listen to a group play a song(s) live and gauge audience response.
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Entrepreneur (Music Business)
A person who organizes, operates, and assumes the risk for a music business venture. Some common businesses started by music entrepreneurs are: Recording Studio Facility, Private Teaching Practice, Performing Band, Booking Agency, Artist Management, Music Retail, Music Publishing Company, Record Label, etc.
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Retail Sales Management
A Retail Sales Manager works, runs and operates a retail music store. Duties would include employee supervision, training, ordering; coordinate the timing and arrival of distribution shipments to the store, budgetary and financial planning, and coordinate sales promotions for specific CDs.
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Entertainment Attorney
An entertainment attorney handles any contractual matters conceivable within the Entertainment industry. Entertainment attorneys can be freelance, hired on retainer or as an employee of a company or business within the entertainment industry. Entertainment attorneys generally specialize in one of three separate fields within the entertainment industry: Sports, Film and Television, and Music. An attorney that specializes in the music industry usually has a solid depth of understanding with regard to copyright laws and artist/band agreements with managers, publishers, record labels, booking agents, etc. Successful completion of Law school and a state bar exam are requisites for being an entertainment attorney as well.
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Business Manager
The business manager handles the financial affairs of musicians and entertainers. Most have degrees in business administration with concentration in accounting or management. The business manager should have knowledge of negotiating, accounting skills, investments, and a thorough knowledge of tax laws.
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Music Supervisor (Music Licensing/Clearance)
A music supervisor may act as an A&R scout to find and license popular songs (as source music) for a film, TV soundtrack or other media format.
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Music Business Consultant
The Music Business Consultant advises his/her clients, who are generally artists, music industry professionals or entrepreneurs, on music business strategy for their career or business.
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Contractor (or Leader)
A contractor is responsible for hiring musicians or road crew staff and tending to all the necessary contract obligations through the appropriate union organizations. It is in the contractor's best interest to procure the best talent possible while working within given budget guidelines.
Record Label Business Careers
Record Company Executive
This person would usually be employed at a record label and be a director, vice-president or president of any of the various departments or areas therein.
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A&R Coordinator
The main duty of the Artist & Repertoire coordinator is to find talent for the company to sign. A&R Coordinators search for new talent by visiting clubs, going to showcases, listening to tapes and demo recordings, and watching videotapes of acts performing. He or she is often responsible for helping find songs for the artists signed to the record label.
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A&R Administrator
The Artist & Repertoire Administrator works in the Artist & Repertoire Department along with the A & R coordinator. In large companies, the A&R administrators are responsible for clerical functions within the department, planning budgets for artists signed to the label, and working on the annual or semiannual budget for all artists' expenditures. They must analyze previous budgets, and prepare a budget proposal with projected cost estimates for recording current acts. They also monitor the budget in relation to the expenses throughout the year. Staying within a budget means that the A&R administrator is doing his or her job. The individual might work exclusively with one or two studios in order to build up a great volume of studio time. With this volume, the A&R administrator can often receive discounts on time. They also keep track of all money spent for recording studio time, session musicians, talent, and miscellaneous expenses.
Director of Publicity (or Public Relations Director)
The Director of Publicity supervises the record label publicity department and develops and oversees publicity campaigns. As director, this person oversees all the work that is performed by the staff of the department.
Publicist (or Staff Publicist, Press Agent)
A Publicist handles the publicity and press needs of acts signed to a label. Publicity helps the label sell records and produce income. A publicist must be able to get an artist's name in the news (magazines, music trades, TV, radio, etc.) as often as possible. This is accomplished by writing press releases, sending them to the correct media, talking to media about acts, and arranging interviews. The Publicist often arranges a series of print interviews, radio interviews, and TV appearances in conjunction with the release of a new record. Staff publicists spend a lot of time on the telephone, and are usually the first to send out promotional copies of new records and other important materials to the media. After a new record is released, a publicist may work with the A&R or promotional departments on a showcase booking of the group, and make arrangements for a press party.
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Assistant Publicist
Assists the publicist, compiling press kits, writing press releases, and double-checking information for accuracy.
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Artist Relations Representative (Artist Development Representative)
The Artist Relations Representative's responsibility is to represent the label's interest to the artist/band and the artist/band's interest to the label, and maintain proper communication, cooperation and mutual understanding between the two entities. This person's job is to make the artist feel appreciated by the label by thoughtful gestures such as buying flowers, writing letters, arranging promotional appointments that coincide with a new tour, album release or career milestone such as having a certified Gold or Platinum album. If there is a problem or concern that the label or artist have with the each other, the Artist Relations Representative will seek to mediate the situation. The Artist Relations Representative may also advise the artist on creative/performing related issues as well.
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Promotional Staffer
The prime function of the promotional staffer is contacting radio station program directors to generate airplay for the label's records. Promotional staffers will work closely with program directors, music directors, and disc jockeys in these markets. They set up appointments with these station people and bring a number of the label's new album releases as well as a supply of promotional or press material relating to the artist or band. A promotional staffer may socialize frequently with program directors and music directors to help improve the chances that a radio station will add a song to its play list. Promotion Staffers often take key radio station personnel out to lunch, dinner, or for drinks. They may also bring a program director to a club in order to listen to a group play a song(s) live and gauge audience response.
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Advertising Account Executive
An Advertising Account Executive develops advertising campaigns for a record label's products. This person must be creative, aggressive, have good sales skills and may have advertising experience in another area, as well as a strong knowledge of music.
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Salesperson (Record Label)
A record label salesperson establishes a relationship with various accounts to sell the company's products, and provide continuing service to the accounts. Accounts may include retail stores, rack jobbers and one-stops.
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Regional Sales Manager
The regional sales manager is responsible for supervising the selling of the label's records and tapes to wholesalers and/or retail outlets in a specific region, creating sales campaigns and policies, and overseeing sales staff.
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Marketing Representative
The marketing representative is responsible for overseeing specific markets, and reporting sales of records to radio stations and trade publications.
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Field Merchandiser (or Merchandiser)
The field merchandiser is in charge of distributing and explaining merchandising promotions to record stores/departments in specific markets.
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Consumer Researcher
A consumer researcher researches and analyzes consumer-buying practices for the record company. This person should have knowledge of research and analytical methods, the ability to write reports, and knowledge of the music business and record industry.
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College Representative (or Campus Representative)
College Representatives are responsible for promoting a record label's products to students on campus or perhaps to music retailers. They are students working toward a degree who have an interest and/or skill in the music industry, and often times are a music business major in college.
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Music Publishing Business Careers
Music Publisher
Music publishers are responsible for acquiring the copyrights to songs and publishing them. They may work for a very large music publishing company and perform one or two specific duties as a music publisher. They may work for a relatively small firm and fulfill a variety of functions. Many individuals in music publishing or songwriting become independent music publishers, running their own music-publishing firm. The goal of the music publisher is to find and acquire potential hit songs (copyrights) and songwriters, promote them for financial gain and serve as copyright administrator whereby tracking; licensing and payment collection can be done efficiently. A good music publisher has knowledge of all facets of the music business, an understanding of music industry dynamics, an ability to hear hit tunes, knowledge of copyrights laws, and contacts in the music business.
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Song Plugged (Professional Manager)
Song-Plungers or Professional Managers work for a music publisher, and perform the administrative functions of music publishers. They also work to add new possible hits to the publisher's catalog, and to find acts to record these songs, generating income for the publisher. Professional managers seek to have a song covered and recorded by as many artists as possible and attempt to make the tune a "standard." Song-Plungers rely heavily on their contacts in the music business to accomplish their job, and must have great communication skills. The Song-Plugged may provide creative input into a band or artist's demo since they have a good understanding of what the industry is looking for.
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Tour/Road Work Business Careers
Tour Coordinator
The tour coordinator is responsible for coordinating the many facets of an act's tour, including travel, lodging, arranging for services, and budgeting for expenses.
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Road Manager
Road managers handle the problems that occur while an act is traveling. They supervise equipment, sound, and light personnel.
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Tour Publicist
The tour publicist is responsible for publicizing an act's tour to both fans and the media through press releases, press conferences, and special promotions.
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Advance Person
The advance person is responsible for arriving ahead of the act to prepare for a concert, and assisting the tour coordinator or road manager with details prior to the show.
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Sound Technician
Sound technicians are responsible for high quality sound during the live performance. They usually arrive at the concert sight before the performers and are involved in unloading and setting up the equipment and instruments along with the road crew. The sound technician supervises the placement of equipment, and works with the talent during the sound check to achieve the best sound. They may even work a soundboard during the actual performance.
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IMPORTANT READ
Tell me about your performance, musicianship, star personality, and your entertainment value. I’ve seen that people with the most patience achieve the most satisfying careers. If you patiently keep working to make people notice you, they eventually will. If you lose your patience, figure out an alternate career and play for your friends as a hobby, because getting frustrated and angry isn’t going to get you signed.
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You’ll have the best chance of receiving a positive response from A & R people, managers, agents, if you get rid of the “if only” mentality. “IF ONLY I could just get a manager/agent/record deal, everything would be cool.” That’s a VERY big ONLY. Clients come to me and I have to stifle laughter when they say, with total seriousness, “If only I could find a manager, I’d be set,” as if getting a manager was on the same level as getting some friends to come to a gig. “If only I could get a good label to pick me up.” Why not just IF ONLY you had a million dollars?
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There are no wish fairies in the music industry! Don’t EVER think that you’re so good that getting to industry pros is just one missing piece. Get real and make your story something they have to pay attention to! That’s why I’ve encouraged sending mailings to your targeted list to keep them informed of your progress. It’s best to let them come to you.
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Okay, I know how hard it is to be patient. If they don’t call fast enough, you’ll try to approach labels, management and agents yourself. Therefore, I want to explain what “unsolicited material” means when approaching a record label and how to get around it. Unsolicited means they didn’t ask for it. Solicited means they said you could send them a package. Until recently, most labels had a policy of not accepting unsolicited material because of copyright issues. They didn’t want artists who sent a demo to later accuse them of stealing something resembling a song they wrote.
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Nowadays, A & R people avoid unsolicited material because they’re getting too much bad music. Since new technology makes it easier for CDs to be burned off computers, anyone can record a poor excuse for music and make a CD They don’t have time to go through it all, looking for the one good artist in a sea of inferior recordings. Don’t waste money sending big unsolicited packages. A professionally written letter is the best intro if you choose to approach professional players yourself.
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People are more likely to open a letter (snail mail) with a business than a package from someone they don’t know. The letter is your sales pitch. It should be short, sweet and to the point of summarizing the highlights of your accomplishments. An unsolicited package tells them you’re blindly sending material because you haven’t made industry contacts. A letter looks professional and gives them the option of asking for a sample of your material. If they like what you write, they may request a package and actually pay attention
· (Audition and Music Submission) for http://www.undiscoverdlive.com/ there is a 15million dollar distribution deal on the table, $100.000.00 sign in bonus and trip to Bahamas.
· You must see me….to register
Please answer these few question below this will help me to move in the right direction for your business plan and (Financial report 2008-2010). Get this back to me ASAP.
Start answering these questions: If you do not understand something leave blank.
q What’s your production company name or label?
q Are you interested in getting that sponsorship money for your company?
q List the name of all artists on your label, birth name/artist name
q How many managers do you have?
q Who is on your team
q What’s there background/ Talent skills
q Do you have ring tones set up?
q What’s the name of your clothing line? Do you have a logo Design
q Can you attach a copy
q What’s the name of your CD release?
q How much funds you are asking for from investors
q What percentage do you want to pay your investor back?
q Or what equity stakes you want to give in percentage of your company
q Is there any personal money from your management team invested already
q Are you looking to retain 100% ownership of your company?
q Who are your board of Directors
q Provide me a list of all songs you are putting out…. On each artist
q Are you going to do Digital release or Traditional retail release
q Do you have a website
q Have you network with any fortune 500 companies, or receive sponsorship support if so by who
q Is your company name registered
q Where do you commencement of operations (Your company is located)
q Explain the history of your company
q How many units you sold in the past or as of yet
q What’s your mission: Theme
q What’s your vision
q Your looking for a major deal or distribution deal
q What’s your organization values
q Founders and management Team
q What major milestones achieved to date
q I need resumes of all the management team
q Who does graphic for you
q Who is the Director of Production
q Who is Director of your street team
q Who is your Attorney at Law
q What’s your audiences
q Do you have company checks
q Do each artist have a Bio
q 8x10 Pic
q Sheet music on each songs
q Entertainment resume
q Who are you publish with ASAP or BMI
q What songs do you have in your publishing
q Do you retain the copyright/master to all music
q Provide me with a listed of producers/Bio
q Its important that every artist have a Business plan as well
q Distributor one sheet is consists of the Business plan, Bio, 8x10, Entertainment Resume. Logo, Marketing Strategic and Trademark Search.
q What’s your net cash flow
q Units sold
q Units manufactured
q Federal Tax
q State Tax
q Any small business loan
q Have any off your artists been signed with any other label prior to you getting to
them?
q Do you have proof on all copyrights
Continue to answer these question?
If given the opportunity to network how serious would you be?
Are you willing to invest in yourself?
How old are you?
When was the last time you perform live on stage?
Who is managing you?
How many producers are you working with?
Do you have your music registered with the Library of Congress?
How many local artists do you know?
Do your family, support your music career?
Is your music mastered?
What your music is mostly about?
Do you have a barcode?
Are you working full time or part time or no job?
Are you in College?
Do you plan on going?
How many children do you have?
Do you have a team?
Do you have a fanbase?
What do you think about the music industry today?
Do you understand the importance of having a business plan?
Are you mobile?
What side of the city do you live on.
Have you ever been apart of major record company?
Do you understand the Billboard Charts?
What going with your music now?
If I get you in a meeting can you make me look good
What other talent do you have?
Have you ever had sponsors representing your label?
Do you have a BIO
Do you have an 8x10 picture
Do you have a hit song
Do you need a producer
Do you need promotion
Do you want to learn the music business?
Would you like to be on the Japout Compilation
Do you have an Entertainment Lawyer
How serious are you from a scale 1-10 with 10 being the highest
Would you be interested in networking with the other artists?
What been holding you back?
Have you truly tap into your talent?
Do you have your own style?
What cause are you going to support?
Do you stand for Excellence?
Are you shy?
Are you ready to grow?
Do you converse with comfort?
Do you collect emails?
Do you have an State ID Card
Have been convicted of any felony
Are the other people you working with serious like you?
Would you like for them to be involved?
Did you email them this information here?
Are you truly focus on learning the business side?
What time is good to call and reach you?
Do you have a Myspace page set up?
When are you going to get it set up?
Do you have patient?
How many songs do you completely recorded
How many do you have written total
Explain why should I give you this opportunity
Do you make excuses
How dedicated are you from a scale 1-10
How persistence are you from scale 1-10
Start collecting emails and turn them in every week
Do you like helping others that’s having a hard time
Can you get on stage to make sure you public appreciate you
What does being in the music business mean to you
How many mix CDs do you have
Have your music every been played on the radio station
what award have you gotten
How do you approach songwriting
Do you have a vision image
What is your philosophy on music today
tell me about you and when did you begin writing songs
How many projects are you currently involved in
What are your long term goals
How did you get into music
What other artist do you admire
How is your schedule
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 me about your latest project
(1.) Keeping it real, for the record deal...
Have you ever been the one to think? You know everything there is to know about the music business. This is going to change your life. The truth of the matter is simple and you will be excited as you attach your response and support for"Network Business Entertainment".
This notebook is a place where dreams begin, I am someone that can help you. By supporting your dream in the media, production faze, giving you the right information that will make you aware of the truth.
How do you get a record deal?
Has it been hard for you?
Please let me know, where you are having problem. Talk to me, come to me with a honest heart and passion for the game. Let me know what it is, that you need help with. How you can get started, I do have a myspace page, I want you to direct your attention by networking with me. Please send others to the site as well. Here it go http://www.myspace.com/Questadorian
This notebook is a place where dreams begin, I am someone that can help you. By supporting your dream in the media, production faze, giving you the right information that will make you aware of the truth.
How do you get a record deal?
Has it been hard for you?
Please let me know, where you are having problem. Talk to me, come to me with a honest heart and passion for the game. Let me know what it is, that you need help with. How you can get started, I do have a myspace page, I want you to direct your attention by networking with me. Please send others to the site as well. Here it go http://www.myspace.com/Questadorian
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When the passion of music is real
