MANAGEMENT
MANUAL
2010 Edition
by
JEREMY RWAKAARA
P age |2
Mailing address:
Jeremy Rwakaara
C/o MBSTIA, Inc.
554 N. Frederick Avenue #218
Gait hersburg, MD 2087
Contents
INTRODUCTION ................................................................................................................................................... 6
M A N A G E M E N T R E Q U I R E M E N T S .............................................................................................. 11
Sole Proprietorships....................................................................................................................................... 17
Partnerships .................................................................................................................................................. 19
General Corporations..................................................................................................................................... 22
How major record labels evaluate and sign talent ........................................................................................ 100
OPTIONS FOR THE WAY FORWARD IN TODAYS MUSIC BUSINESS .................................................................... 105
Positioning yourself to sign a deal with a major record label. ....................................................................... 105
Pursuing a deal with an independent record label (with major label distribution) ........................................ 108
With funding from an investor, recording your products and outsourcing all essential label services ........... 113
RECORDING YOUR MUSIC AND MAKING IT AVAILABLE FOR SALE ..................................................................... 133
DIFFERENT TYPES OF GIGS YOU CAN BOOK FOR YOUR BAND ........................................................................... 233
Things to keep in mind when planning and embarking on a tour .................................................................. 295
IN CLOSING...................................................................................................................................................... 310
What are d reams? Dreams are what keep the fires bu rning so that
you can see you r way throu gh the night. Dreams inspire u s to aspire to
greater things. Beware of the people arou nd you that conspire to kill you r
dreams. They are ou t there! They lu rk within the mu sic industry its elf,
among the field of exp erts, in you r circ le of friends, and ev en in you r
fami ly. Hold fas t to you r d ream, becau se if you lose the grasp you will
have only you rself to blame. Stay confident and fight the moments of self-
dou bt and insecu rity; bec au se there will be many.
By reading this manu al you will be taking a step tow ards fu lfi llin g or
continu ing you r dre am to b e an a rtist mana ge r (aka - talent manag er,
music manager, band manager). Some of you have been doing this for a
while, and others of you are ju st starting ou t. In either cas e, you will be
able to find a lot of valuable information con tained within this manual. I
wou ld encou rage y ou to try ou t some other things in addition to what y ou
learn in this manu al. Some of the things we discu ss will w ork better for
you than others, or even not at all, depending on what style of mu sic or
artist you represent.
Every mu sic bu siness book, manu al, blog, o r resou rce is written from
the perspec tive of the au thor, takin g into accou nt their own perspectiv es,
analysis, opinions, observations, research, and person al experiences . E ach
of these books or resou rces excel in one way or another, and are as similar
in some areas of discu ssion as they are dissimilar in others; and yet none
of them can possibly c over all areas of the mu sic bu siness with the degree
of detail requ ired to be THE defin itive resou rce. The idea is to read as
mu ch material from as many repu table and knowled geable sou rces as you
can, and pu t the pieces together to c reate the big pictu re.
The Personal manager has the most interac tion with the artis t and is
generally the most important person in the artists mu sical life. They are
involved (in coordinati on with the artist) in crafting a master career p lan
for the artis t and working dili gen tly to see i t execu ted. Man agers act as
b u f f e r s p r o t e c t i n g t h e a r t i s t a g a i n s t u n s c ru p u l o u s c h a r a c t e r s i n t h e m u s i c
bu siness. They are involved in cou nseling and advisin g the artis t on all
matters related to thei r mu sical c areers. The person al manager shou ld
research the mu sic indu stry and kn ow all abou t record labels , pu blishing
companies, produ cers , booking agents, promoters, pu blicists , sty lis ts,
photographers , recordin g engineers, graphic designers , mu sic licensees,
etc ., as well as u nderstand how and when (or if at all) they integrate
themselves into the overall plan .
Most artists are u naware that they have tax obli gations that relate to
their performance and licensing income, CD and merchandise sales ,
equ ipment pu rchases, sponsorship cash, other miscellaneou s income, etc .
Bu siness managers also try to get clients to inv est in their fu tu re and s ave
for a rainy day since even the most su ccessfu l artists even tu ally s top
earning regu lar income as their careers fad e.
The Road manager normally tak es care of logistics while the artist is
on tou r (or on the road) . Du ties in clu de making su re that everything on
the road is provided for as spelled ou t in the contract and all monies are
paid on time. The artis t is then left free to conc entrate on performing and
not wondering whether the p romoter, venu e book er, bookin g agent,
sponsor or brand partner has met their obli gations. The road manager
also follows u p on items that were promised as part of the contract su ch
as accommod ations, per diems , adv ances/dep osits, rentals , commissions,
and so on.
The Tour manager on larger tou rs c oordinates all the Road managers
alon g with the details and logis tics of the tour itself. Sometimes,
particu larly on smaller tou rs, the road manager and the tou r manager
are the same person. The Tou r man ager is in charge of all the details that
relate to the enti re tou r inclu ding commu nications, merchandising, tou r
rou ting, catering, hospitality , etc .
tru cking issu es, etc. Produ ction managers also d eal wi th the pu blicity for
the show, as well as assist with schedu ling and coordinating both the
tou ring crew and the local venu e crew (stagehands, carpenters , ri ggers ,
etc .).
You will need to be patient. It can take a lon g time for your client
to make money and therefore for you to make money (since your income
will be based on a 10% - 15% commission). Extreme patience is requ ired
to stick to the game plan ov er the long hau l. Most artis ts will not make
mu ch money on their fi rst recording or tou r. Mos t often than not the firs t
albu m or tou r wi ll serv e as a mean s to create a bu zz arou nd the arti st,
increase the fan base and raise the artis ts p rofi le for the next albu m or
signing.
P a g e | 12
You will need to be v ery realist ic abou t you and you r artists
expec tations. If you are u nrealisti c abou t how things work and what is
achievable at you r level, you will end u p gettin g extremely fru strated and
giving u p before things can prop erly materialize. For examp le, it is
u nrealistic to think that you r artist will get offered fiv e-fi gu re gu arantees
to headline shows in major cities when all you have is a three-son g demo
of you r artis t and no albu m/single/download sales, regional/national
bu zz, intern et p rofile, tou ring history , media c overage, radi o ai rplay ,
pu blicity, etc . Do not indu lge in th e fan tasies c reated by you r artist. You
will have to keep them realistic and not promise to d eliver the impossible.
As a manager you will need to be flexible. Even the bes t-laid and
devised plans can u nravel at a moments notice. Set lon g-term goals , bu t
be prep ared to change and fine-tune things in order to adjust to
conditions on the grou nd. There is nothing wrong with changing y ou r
mind abou t something if indeed there is a better, cheaper, smarter, more
cu rrent or more convenien t solu tion readily at hand. It will be u p to you
to inform your client that being flexible doesnt mean that you cant keep
you r word or that you are losing foc u s.
You will need to tru ly like and /or love the client and their
mu sic/talent. You will need to be v ery passionate abou t the mu sic that
you r artist or band is performing and/or w ritin g. Don t si gn an artist i f
you cant visu alize you rself listeni ng to their mu sic a lot and thorou ghly
enjoying it. Anything short of that will leave you stru ggling to find the
energy to do all that is requ ired on a day-to-d ay basis. It is easier to sell
somebody on an artist you are passionate abou t.
You will need to have plenty of people skills . Your job will involve
a lot of one-on-one contact and communication with other p eople. You
will need to be able to commu nicate you r needs withou t irri tating the
people you are negoti ating wi th or talking to. You will need to be able to
separate you r personal feelings from the conv ers ation at hand and focu s
on the goals ahead as well as the desired ou tcome.
You will need to h ave a lit tle bi t of money to do you r job wh ile you
wait for you r commissions to materialize. Some artists work for years
before making enou gh of an income to su stain them, leavin g very little on
the table for a managers commission. In the meantime you as a manage r
will have to pu rchase music bu s i n e s s books, pay for conference
registrations, acc ess industry resou rces, book ai rline tick ets , etc ., and
will mos t like ly h ave to pay fo r al l t h ese th ings you rsel f. You can recou p a
certain percentage back from you r cli ents income (depending on the
terms of you r contract) . From time to time you may have to help pay for
some stu dio time or equ ipment purchases, or help pay for ou tstandi ng
bills , tick ets , insu rance, etc . Be carefu l not to get taken advantage of,
however, and keep good rec ords of you r expenses. You r contrac t shou ld
s p e l l o u t h o w m u c h y o u c a n r e c o u p f r o m t h e c l i e n t s i n c o m e i f y o u s p en d
some of you r own money on things related to their career.
For the privi lege of membership in the Indie Man agers Association
(herein referred to as the IMA) , a mu sic manager (he rein referred to as
member) agrees to:
1. Deal fai rly and honestly in ALL matters relatin g to their c lient(s);
2. Always look ou t for the interes ts of their c lient(s) alongside
members own interes t;
3. Treat all bu siness matters related to their clien t(s) as c onfidenti al;
4. Make an effort to avoid sc enarios where a conflict of interes t is
likely to occu r;
5. Encou rage c lien ts to seek legal advi ce prior to si gning con tracts;
6. Keep du rations of man agemen t contrac ts of reason able len gth;
7. Condu ct research, stay involved in and be w ell -informed abou t
m a t t e r s r e l a t i n g t o t h e m u s i c b u s i n es s ;
8. Avoid collu sion with other managers that resu lt in ac tions against
the interes t of the clien t(s);
9. Refrain from black listing c lients or en gaging in any other similar
behavior;
10. Not receive an u nreasonably or u njustifiably high commission;
P a g e | 16
Sole Proprietorships
Some citi es and many cou nties requ ire bu sinesses -- even tiny home-
based sole p ropri etorships -- to register with them and pay at leas t a
minimu m tax. In retu rn, you r bu siness will receiv e a bu siness license or
tax regis tration certificate. You can also have to obtain an employer
identification number from the IRS (if you have or plan to have
employees), a seller's permit from you r state and a zoning permit from
you r local planning board.
If you do bu siness u nder a name different fro m you r own (e.g., u sing
Big Blue Man agemen t instead of y our name Nancy Jones) you usually must
register that name, known as a fic titiou s business name, with you r county .
In practice, lots of bu sinesses are small enou gh to get away with ignori ng
these requ irements . Bu t if you are cau ght, you may be su bject to back
taxes and other penalties.
Co-Sole Proprietorships
There is one excepti on to the "s ole" owner ru le. You can share
ownersh ip of you r bu siness with you r legal spou se and still main tain it as
a sole p rop rietorsh ip. If you do th is, th e IRS wi ll conside r you "co-sole
proprietors ." You can ei ther split bu siness profits and losses on s eparate
retu rns, or pu t them on you r joint Schedu le C retu rn.
Partnerships
General Partnerships
When a gen eral p artnership is disbanded, assets are liqu idated and
proceeds are u sed to (1) pay credi tors , (2) repay loans to the partners hip
by any of the partners, and (3) compensate partn ers who have contribu ted
fu nds or assets . Money left over is distribu ted between partners in
proportion to their shares in the bu siness (as spelled out in the
partnership agreement).
Limited Partnerships
Limited p artners are rep aid a percentage of the v entu res profits .
Normally a limi ted partnership has a finite life. Limi ted partn erships may
be formed to finance sp ecific p rojec ts (i.e. fu nds
for s tu dio time or recordin g equ ipment, pu rchase of copy right c atalog,
lau nch of a management or record company, fu nding of a tou r, etc).
Shou ld the ventu re fai l, limi ted partners lose on ly their inv estment; th ey
are not liab le for losses or damages beyond what they pu t into the
ventu re.
Bu sinesses may choose from a variety of co rpo rate entiti es, based on
their needs. Below are u sefu l des criptions, bu t you r legal or finan cial
advisors can help you decide which type of stru ctu re best su its you r
business needs.
Loan-out Corporations
General Corporations
Close Corporation
Subchapter S Corporation
This last excep tion is the mos t imp ortant. In some circu mstances , a
cou rt mi ght say that the LLC doesn't really exis t and find that its owners
are rea lly doing bu siness as individu als, wh o are pe rsona lly liab le for
their acts.
Today, it is fai rly easy for a manager to find artists to si gn. Before
you start lookin g for artists, however, you shou ld take stock of what
exactly you have to offer. What style of music do you enjoy listening to
and have a good u nderstanding of? What contac ts do you have in the
entertainment indu stry? How mu ch money do you have available to k eep
you afloat du ring the difficu lt fi rst phase of managemen t? How mu ch do
y o u k n o w a b o u t t h e m u s i c bu s i n e s s ? H o w m a n y a r t i s t s a r e y o u a l r e a d y
managing at this point; and will you have enou gh time and resou rces
al loca ted to t ake on ano th er one? T h ese and many oth er qu estions sh ou ld
be answ ered before you start lookin g for artis ts to sign .
Once you are comfortable wi th the answers to you r qu estions and are
ready to start looking for artists , you can begin by visiting mu sic-related
sites and blogs , and/or asking clu b owners / book ers , p romoters , op en mic
/ karaoke hosts , c lu b DJs, mu sic retai l store managers, entertainmen t
attorn eys, record produ cers / en gi neers , pu blicists, etc ., if they know of
any artis ts that need managemen t. There are tens of thou sands of arti sts
with Twitter accou nts; MySpace, imeem, and Fac ebook p rofi les; Electronic
Press Kits (EPKs); You Tu be channels; and official web sites that you can
revi ew online. This allows you to narrow down you r search and make a list
of bands to go and s ee p erforming live. You can also start going ou t to
clubs and other venues to see if you can find bands that you like.
Once you find a band or a rtis t th at you th ink you migh t be inte rest ed
in, you sh ou ld att empt to s ee or h ea r th em seve ra l times u nder s eve ra l
differen t ci rcu mstances before you approach them or commi t to a meeti ng.
Go to several shows and watch how people react to them, as well as h ow
they interact wi th people. Ask arou nd to see if you can find ou t anything
abou t thei r repu tation. Once you are su re abou t the pers on (or people)
that you are interested in signin g, you shou ld set u p a p relimin ary
meeting. Do not make any promises or offers at that point, and keep the
meeting casual.
Following are some of the things you might wish to cover at the
preliminary meetin g.
What is the talent level of the potential client? Are they at the
beginni ng, interme diate or advanced stages of their musical career?
What work will be required to get them ready to market or to continue
the trajectory o f their ascent?
What primary market demo graphic are they trying to reach? For
example; 8 12 year olds? 34 54 year olds? Mai nly females? An
International market? An ethnic market? A regional market? A social or
political market?
What are their go als? Are their go als re alistic? Will yo u be able to
achieve those goals with them in a timely manner or are you in over
your head?
Do they absolutely love what they do ? Are they doing what they do for
the love of it, or do they want to make a million dollars and live on a
beachfront p roperty? Either way , will you be able to achieve what they
want?
Do they have any existi ng deals (e.g., manageme nt, pro duction, spec,
recording, publishing, licensi ng, sponsorship, endorsement, etc.)? Will
any of these deals be co mplicate d by y our involvement? Will any of these
deals present a conflict of interest? Can they legally sign with you, or do
you have to buy somebo dy out of a contract, co-manage with somebo dy
else, or help them get o ut o f an existing contract, and so on?
Do they operate as a co mpany o r corporation, or do they own any othe r
companies (p roduction, publishing, label, etc.)?
Where do they live, and can you manage them co mpetently even i f you
live in another area (or country)?
Do they belong to any unions , organi zations , associ ations or guilds? Do
they have any contracts that conflict with or affect your involvement
with them?
What assets do they have (copyrights, trademarks, pate nts, licenses,
real estate , investments, etc.)? Can you separate pre-existing assets and
income they own fro m future inco me that is co mmissionable?
What debts have they incurred? Debts and liens can affect
commissionable income .
Do they have lots of friends o r ene mies in the music busi ness? It is better
to know soone r than later since yo u may bump into some o f these people
(good or bad) alo ng the way .
Have they had a manager previously ? If so , what is the status of that
relationship , and are they unencumbe red and free to sign with yo u?
Have they previously recorded any s ongs or been on tour before? If so ,
what is their sales history?
These are ju st some of the topics you will need to discu ss at the
preliminary meeting. You will probably be able to add some more to this
list. If everything is answered to y ou r satisfac tion at this meetin g you can
then move to the next s tage and begin negoti atin g a management con tract.
The party that agrees to d o, or refrain from doing, a particu lar thing
mu st receiv e adequ ate consideration,
The u ndertaking mu st be lawfu l,
The agreement mu st be mu tu al and volu ntary ,
Obli gations mu st be reciproc al, and
The parties mu st be legally competent.
You sh ou ld alw ays h ave an at torn ey dra ft and revi ew you r cont rac t to
make su re ev erything is legal and n othing important has been overlook ed.
You can find contact information for entertainment attorneys in (among
other places) the Music Attorney, Legal and Business Affairs Guide
available at the Mu sic Regis try web site (http: //w ww.mu sicregis try .com).
P a g e | 29
The Mu sic Registry also has a book of Contrac ts for the Mu sic
Indu stry (http://www .mu sicregis try .com/contrac tprod.html) that inclu des
a contract for A rtist Managers , bu t as they (and I) su ggest, it is always
better to have an attorn ey draft one for you ; or at the very least cu stomize
the one in the book to you r particu lar situ ation. Another resou rce is the
Volunteer Lawye rs for the Arts (http://ww w.v lany .org) . You can also
search fo r atto rneys on th e internet or ask oth er artists o r mu sic indu stry
professionals who they wou ld recommend . It is always wise to have
separate attorneys for each side ( the manager and the artis t).
Definitions.
Term.
The term refers to a fi xed period of time du ring which the contract is
in force. Many managers and artis ts set u p a tri al p eriod of six / nine
months before committing to a fu ll-len gth contract. This trial period is
u sed to see if the manager and arti st are comp atible with each other or if
the manager is c apable of being of any valu e to the artist. If all goes w ell,
a term of one to two years with options to renew for addi tional one-y ear
terms can be set. Some states have a limi t to the nu mber of years an artist
can be si gned to a personal servic es contract.
Territory.
Scope of duties.
Consideration.
Almost all management con tracts will grant the manager exclu sive
rights of representati on. That means that the cli ent or artist cannot hire
another personal man ager to represent them at the s ame time. This,
however, does not stop the manager from rep resen ting more than one
client. Sometimes the manager hires another manager to co- manage or
rep resen t the artis t in other parts of the world . The man agers exclu sive
rep resen tation shou ld only apply to specific areas or closely related
activiti es. This means that the man ager does not exc lu sively rep res ent the
client if the cli ent is also, for example, a plu mber or an architec t or a
graphic designer, etc .
Power of Attorney.
Some con tracts wi ll give the manager the power of attorney . This
essentially means that the manager can sign and accept contrac ts ,
agreemen ts and other related documents on behalf of their clien ts. The
contract wi ll have to spell ou t which contracts , agreemen ts and related
d o c u m e n t s t h e m a n a g e r c a n s i g n a n d w h i c h o n e s th e m a n a g e r c a n n o t s i g n .
The pu rpose of this power of attorney is to allow the manager to cond u ct
business on their clients behalf even if the client is unavailable at the
time. Howev er, the client may wi sh to limit the power of attorney to
contracts that arent exclu sive, d ont bind the cli ent to a lon g-term
commitment, or dont assign clients ri ghts to sou nd recordin gs and
copyrights , for example. Clients may feel okay abou t managers signi ng
contracts on thei r behalf for short-term commitments that have p reviou sly
been discu ssed and agreed u pon. Many artis ts and thei r attorneys are
skeptical abou t giving power of attorney to the manager, so dont be
su rprised if this clau se ends u p bei ng one that is heavily c ontes ted . K eep
in mind that you can s till do you r j ob as a manager wi thou t having power
of attorn ey, s o dont let this be a deal break er.
Commission.
The problem most managers and clients encou nter is defining what
the term gross earnings or net earnings means , and deciding what
income sou rces are commissionable (e.g., CD/down load sales, gig a nd
touring income , advances, roya lties, sponsorship fees , endorsements ,
merchandise sales, brand partne r payments, income generated from
artist-branded products, e tc). A client would rather pay a commission
from a li mited nu mber of income sou rces based on the net receipts (i .e.
deduct expenses from the gross income before paying ou t a commission to
the manager) . A manager, on the other hand, wou ld rather get pai d a
commission on the gross rec eipts (i.e. a commission paid prior to artist
expenses being deducted) from all sou rces of income from contracts
negotiated du ring the term of the managemen t con tract.
Sunset clause.
Expenses.
Most con tracts wi ll call for the manager to be rei mbu rsed for all
reasonable exp enses incu rred by the man ager on behalf of the cli ent. The
manager may mak e long-distance or internation al phone calls , travel for
meetings , attend conven tions, pu t together showcases , etc ., on behalf of
the client. In the event that the manager needs to make certain
expenditu res , most con tracts will specify a set amou nt of money that the
manager cannot spend withou t the clients prior app roval. For example,
the manager may have to ask for approval to spend anything above $ 500
on the cli ents behalf each mon th.
Some of the things that cou ld be deemed as exp enses inclu de:
Audits.
Contracts shou ld allow the rec eiving party to au dit the books of the
paying party. For example, if the manager collec ts all the money and
makes paymen ts to the client, the client should be able to audit the
managers books to check the accu racy of the payments. In many
instances, the c lient receiv es the money and pays the commission to the
manager, in which case the manager wou ld need to have the ri ght to au dit
the clien ts books. This right to au dit is u su ally restricted to within a set
amou nt of time after the transac ti ons have taken plac e (e.g. within two
years). Usually the p arty conducting the audit will pay for the audit
services u nless some discrepancy is fou nd, u pon wh ich time th e party wi th
the discrep ancy will pay for the au dit.
Most management con tracts wi ll in clu de a clau se that says that the
manager is not ac ting as a talent agent. Some s tates requ ire a s eparation
between the two. For example, the labor commissioner in New York and
Cali fornia mu st lic ense a talen t agent. A talent agent is defined as a
person who engages in the occu pation of procu ring, offerin g, p romisi ng,
or attemptin g to p rocu re employ ment or engagements for an artist. It
remains to be seen how 360 deals (aka multiple-rig hts deals) will work
arou nd this issu e, since many of the deals bein g stru ctu red nowadays
provide mana gemen t and bookin g d u ties in-h ou se. Even ou tside of th e 360
deal stru ctu res, many man agers are involv ed with occasionally help ing
their artists secu re gi gs and other live performance opportu nities and
wish to avoid (if they liv e in cities forbidding managers from being talen t
agents) being fou nd to be operating as an agent withou t a licens e in
those states. By indicating in their contrac t that they are not a licens ed
talent agen t, any booking- like acti vity on their part cou ld be considered
incidental.
The contract shou ld ask the parti es to w arran t and represent that
they are of legal age, have not been pressu red to sign to contract (i .e. are
not under du ress), are free to enter into the agreemen t, are u nder no
disability wi th respec t to thei r right to execu te the agreement, have
consu lted an attorney , have told the tru th abou t ownership of copyright
materi als u nder contrac t, are not vi olating any laws, etc.
Group Members.
The contract shou ld spell ou t whether the manager repres ents all
memb ers of a grou p even if they individu ally leave the grou p to pu rsu e
solo careers . This is important bec au se a leaving member may still benefit
from the hard w ork that a man ager did as part of managin g the grou p.
Minors.
A minor is a p erson who is u nder the age of (lega l) maj ori ty. It is
important to know that a con tract with a minor is invalid u nless a parent
or legal gu ardian co-signs the agreement and /or signs a s eparate letter of
consent. As a manager y ou mu st do you r best to find ou t the tru e age of
you r client(s) or els e risk having the enti re contract rendered nu ll and
void.
Severability.
It is extremely important to spell ou t when and how the con tract gets
renew ed or extended. You s h o u ld decide whether such renewal or
extension is made at the sole discretion of the manager, the artis t, or by
mu tu al consent. How many d ays before the end of the term shou ld notice
be given renewing or extending the contract? Is renewal or extens ion
au tomatic if no notice is giv en? Make su re that these very i mportant
issu es are addressed in you r contrac t.
Assignments.
Most contracts will allow the man ager to assign thei r du ties and
responsibili ties to an associate, affiliate, licensee or other c ompany that
may bu y the managers company o u t. This is usu ally done to allow the
manager the flexibili ty to join or partner with other companies or
investors y et s till be able to perform the du ties u nder their con tract with
the artist. Managers may also wan t to be able to assign the contract to
another member of a management firm shou ld they have to leave the
company.
Performance Clause.
General.
Most contrac ts inclu de some other general c lau ses that fu rther
clarify the complete u nderstanding betw een the parties . For examp le, the
contract sh ou ld identify th e state in th e country th at h as ju risdiction ove r
all matters related to the c ontract. Another clau se will iden tify the
contract as a complete u nderstandi ng between the parties and compel any
changes to be made in w ritin g in order to be enforceable. Another clau se
will show that the manager has advised the artist to s eek legal c ou nsel
before signing the con tract, and so on.
Signatures.
Of cou rse, a wri tten contract cannot be valid withou t the signatu res
of all the parties u nder obli gation. You do not necessari ly need to have
the contract notarized , bu t mak e su re that the signatu res are in blu e ink
s o t h a t i t i s o b v i o u s w h i c h d o c u me n t s a r e o r i g i n a l s a n d w h i c h o n e s a r e
copies.
Establish goals
You shou ld create a bu siness plan (or at leas t a game plan) that
address es both you r short- and long-term goals . Not all cli ents have the
same goals. Some cli ents may simply want to record an albu m or a seri es
of singles to mak e av ailable for download . Others may wan t to es tablish
an independent label to release thei r own recordings, or perform in larger
venu es th an th ey cu rrently do, o r go on a national/intern ational tou r, or
sign a deal with a record label wi th national distribu tion and marketi ng,
or sign a pu blishing contrac t, or get into actin g, or ali gn themselves with
a brand, or get an endorsement deal, or partn er wi th a sponsor, and so on.
These will be the lon g-term goals . Y ou can then break the lon g-term goals
into several short- term goals , each with a defined set of benchmarks that
can be tracked and measu red. It i s very important to set dead lines for
each goal. This will enable y ou to keep track of you r progress and make
changes accordingly .
Once you ve made an impression wi th the pu blic (or the artists fan
base) it becomes mu ch more difficu lt to change it later on . Dont c onfu se
this with the normal strategy of p resen ting differen t sides of the same
person to the pu blic or gradu ally u pdating the image of the artist to fit
the cu rren t release.
E v e n i f y o u f e e l l i k e y o u r c l i e n t s m u s i c f i t s i n mu l t i p l e g e n r e s , i t i s
still a good id ea to abbrevi ate th e desc ription when talkin g to oth er
members of the mu sic commu nity as well as fans.
It often tak es a while for you r cli ent, and therefore you , to start
making mon ey. Even when there is income, i t is often difficu lt to maintain
a consistent flow over a lon g period of ti me. There will inevitably be
periods of time when things slow down, especially du ring the record ing
stages where there is little income coming in from performi ng,
merchandise, endorsements , or other sou rces. The remedy is to have
differen t c lients in di fferent gen res all at different stages of their c areer.
For example, you might have a Roc k band and a Pop/R&B band . The
R o c k b a n d c a n b e o n t o u r w h i l e t h e P o p / R & B b a n d i s i n t h e s tu d i o
recording. This way, in addition to royalti es from p reviou s recordings or
Film/TV licensing, you can have income coming in from the Rock ban ds
tou r while the Pop/R&B band finalizes their rec ordin gs, and then switch
schedu les. It is also a good idea to think abou t ancillary income from you r
bands songs , inclu ding licensing, merchandise sales , etc . The plan is to
arran ge it so that the lean periods do not all happen at the same time for
all you r c lients . You shou ld also take advantage of aftermark et, which
essentially means addi tional sou rces of income from you r clien ts records
after the initi al release. This cou ld be anything from compilations and re-
mixes to releases in di fferent formats, c over v ersions , etc.
Following are some of the deals that you may encou nter:
Demo Deal
In this rare scenario a record label will give an artis t some money to
record a demo. The demo fu nd ranges from, for example, $1,500 to $5,000
for three songs. The label will have, for example, a 60-d ay period in which
to decid e whether to si gn the artist or not.
P a g e | 46
If they do not lik e what they hear and choose not to si gn the artist
they will have a 6- 9 month matching ri ght (or right o f fi rst re fusal).
This means that if any other label offers the artist a d eal in that time
frame, they will have the ri ght to match the other labels offer before the
artist can mov e on. The artis t will normally keep the demo once they move
on, and in some instances may even be allowed to release it
independently.
Development Deal
A develop ment deal is somewhat like a demo deal, excep t that the
terms and options last for a little bit longer and the pu rpose is sli ghtly
differen t. In this scenario the rec ord label and the A&R rep wi ll sp end
some ti me, normally abou t six months, workin g with all aspects of the
artists package to try and bring it u p to the level where they can commit
to spending more money on a fu ll release. Bu dgets for developmen t deals
ran ge from $10 ,000 to $35,000. If the artist fails to matu re to the
approp riate level they can be let go, again savin g the label the money
associated with a full-scale release. These types of deals are happening
less and less now as labels seek to redu ce their risk exposu re by sign ing
artists that are already well-d evelop ed.
These are con tracts si gned betw een record labels and artis ts u su ally
with a mu lti-year, mu lti- albu m commitment from the record label to
provide the rec ordin g bu dget, approve the proc ess of hirin g produ cers and
selec ting son gs, oversee the grap hic design process , manu fac tu re the
record , distribu te and mark et the record to retai l ou tlets , pu t in place
promotion to help sell the record , c ollect mon ey and mak e payments , and
in some cases provid e tou r su pport. There is a bi g difference in the levels
of financi al and proc edu ral commitments mad e between maj or record
labels and independen t labels.
Singles Deals
Upstream Deals
Option Deals
Option deals (also ca lled s tep dea ls) are arran gements where, for
example, a songw riter rec eives a partial payment towards a creativ e fee
for wri ting a song for a film prod u ction, commercial, or other p roject.
Upon completion of the song, the w riter su bmits a d emo to the comp any.
If the company approves the song, a fu rther payment is made and the song
is recorded for synchronization . Fi nal payment is mad e if and when the
song is actu ally synchronized or otherwise u sed in the completed p roj ect.
If the song is not u sed, the songw riter keeps the initial payment(s) , and
u su ally retains fu ll ri ghts to the work, thou gh there may be some
conditions.
Distribution Deal
A Pressing & Distribu tion (P&D) deal is a type of distribu tion deal in
which an independent label d elivers finished masters and artwork to the
distribu tor, and the distribu tor then assumes responsibility for
manu factu ring, packaging, and distribu ting the finished produ ct. In some
cases, P&D d eals also p rovide that the distribu tor handle all mark etin g of
the produ ct, and the independent label is paid a royalty ( typically 15% to
20% of the products re tail price)
.
Production Deals
A Master Leas e Deal is an agreement betw een a record comp any and
produ cer (generally, one with maj or label production credits) whereby
the record comp any obtains exclu sive ri ghts to rep rodu ce, distribu te, and
sell a recordin g for a s tated period of time, after which those rights
terminate and rev ert back to the produ cer. The produ cer fu rnishes a
completed mas ter recording. In some cases , the produ cer also fu rnis hes
camera- ready artwork for albu m covers . The record company assu mes the
responsibili ty and expenses of manu factu ring, mark etin g, and
distribu tion, p aying the p rodu cer a percentage of each u nit sale. The
produ cer is generally responsible for paying artis t roy alties from the
gross income received from the record comp any. The record company
typically assu mes responsibility for paying mechanical royalti es to mu sic
pu blishers that con trol the song cop yrights on the recording.
Licensing Deals
Foreign lic ensing deals are an ideal way for mu sicians to get their
albu ms released overseas . In these instances, the copyri ght of the albu m
remains with the original copyri ght owner. The deal is more of a
manu factu ring/distribu ting/marketi ng deal where the licensee (compa ny
licensing the product ove rseas) pays for the costs of releasing the album
in their terri tory in exchange for a percen tage of s ales after expenses are
recou ped. These deals u su ally apply only to a specific albu m and not to
the artists en tire catalog. The contract will u su ally requ ire the licensee to
release the albu m within a specific time frame or else lose the license and
retu rn the produ ct to the lic ensor. The licensee is normally allow ed to sell
off all remaining produ ct at the end of the term.
Merchandising Deals
Major rec ord labels are committing less and less money to the area
of tou r su pport for thei r artists. Merchandising deals hav e become a
significant factor rec ently in helpi ng to offset the hu ge cost of tou ri ng,
and can enable bands to make tou ri ng a reli able sou rce of income. The two
main areas for merchandising are retail/mail order, and tour
merchandising. Wi th retail merchandising, it is qu ite common to license
rights to a company , either in general or on an item-by-i tem basis, in
retu rn for a roy alty per i tem (e.g ., shirt, jac ket, baseball cap, e tc). Wi th
mail order, mos t of the response from the pu blic comes from inserts
within albu ms artwork or on band w ebsites / MySp ace p rofiles adv ertisi ng
a range of p rodu cts that fans can bu y.
Single song deals are agreemen ts between the w ri ter and the mu sic
pu blish er in wh ich th e writer grants certain ri gh ts to a pu blish er fo r o ne
or more son gs. In single son g d eals, the wri ter is often p aid a one-ti me
recou pable advance for each song.
Under these deals, the songw ri ter generally grants all their
pu blishers share of income to a mu sic pu blisher. The w riters services are
exclu sive to the mu sic pu blishers for a speci fied period of time. Thu s, any
compositions wri tten within that p eriod belong to the mu sic pu blisher.
These deals are u su ally offered to writers with some degree of su ccess.
Becau se the w riter has a track record of w ritin g hits , the pu blisher feels
confident that it will rec ou p its investment. In retu rn for signing aw ay
exclu sive ri ghts to some or all of the writers songs , the w riter gets p aid
by the pu blisher a negotiated advance against fu tu re roy alties . The
advance amou nt natu rally depends on the wri ters bargaining power and
on the competiti on in mark etplace, if any. Under a staff wri ter deal, the
writer is often paid on a week ly or qu arterly basis. This agreemen t can be
either tied to, or independent of, a record contrac t.
Co-publishing Deals
Under these d eals, the son gwri ter and the mu sic pu blisher are "co-
owners" of the copyrights in the musical compositions. The wri ter
becomes the "co-pu blisher" (i.e . co- owner) with the mu sic pu blisher based
on an agreed split of the royalties. The songwri ter assigns an agreed
percen tage to the pu blisher, u su ally (but not always), a 50 /50 split. Thu s,
the w riter conveys of the pu blisher's share to the pu blisher, bu t retains
the wri ters enti re share.
Administration Deals
Collection Agreements
Sub-publishing Deals
Purchase Agreements
Under these agreemen ts, one mu sic pu blisher acqu ires in whole or in
part the c atalogu e of another mu sic pu blisher, sort of lik e a merger of
companies. In this case, "due diligenc e" investi gation is done to
determine the valu e of the catalogu e bein g pu rchased.
Collateral Contracts
These are contrac ts that are entered into simu ltaneou sly by the same
parti es to d eal with separate, bu t related , issu es. For example, a singer-
songwri ter mi ght enter into a recording contract wi th a rec ord label an d a
pu blishing contract with the reco rd companys mu sic pu blishing division
at the same time. Careful attention must be paid to potential conflicts of
interest arising ou t of su ch arrangements .
Endorsement Deals
Mu sical equ ipment manu factu rers p refer to app roach mu sicians who
have sold a lot of produ ct or have c redits on major record label releas es or
tou rs, achieved signi ficant radio airp lay , and /or attrac ted a lot of
attention on television, the internet, and in the print media. How ever, it
is possible to land an endors ement deal with smaller equipment
manu factu rers that are tryin g to expand their reach into other terri tories
or achieve more sales than thei r regional competi tors.
These are ju st some of the deals you or you r client might encou nter
alon g the way. As menti oned earlier, mak e su re you consu lt with an
experienced entertainment attorney (and accountant where applicab le)
when presented wi th a contract of any kind (and particularly one that
requires the transfer or assignment of rights).
A&R reps work for record labels and are charged with the
responsibili ty of scou ting and signing artists , selec ting material for them
to record , assi gning p rodu cers, overseein g recording sessions, and
developing mark etin g camp aigns for recorded releases in coop eration wi th
artist man agers and other rec ord company departments , such as
mark etin g, pu blicity, promotion , international, etc.
P a g e | 57
Backline Techs
Booking Agents
Camera Operators
Carpenters
Like the name su ggests , the role of the carpenter is to bu ild and
maintain the stage s et (e .g . dru m ri sers, pro ps, specia l e ffec ts and custom
stage pieces, etc .) .
Distributors
The major label distribu tion system involves some other indu stry
players as part of the network . These inclu de one stops, rack jobbers , and
record c lu bs. One stops are midd lemen who bu y records from labels and
then make them available to local rec ord s tores that p refer the
convenience of one stop shopping. Rack jobbers are middleman that bu y
records from labels and then stock them in the racks that they operate
within retail stores . Record c lu bs bu y recordin gs from labels and th en
resell to thei r members at discou nt prices.
The Front of Hou se Engineer is the person that mi xes the bands live
show and controls how the au dience hears it. A ll the ou tpu t signals from
the mu sicians microphones and instru ments ( DI ou tputs , microphone
outputs) are fed into the main console (mixing board) . The fron t of hou se
engineer applies and controls the volume and effects (e .g., EQ,
compression, ga te, reverb , cho rus, etc.) before feeding the ov erall sou nd
to the main monitors (speake rs) in the venu e.
Lighting Designers
The Lighting Desi gner designs the lighting sequ ence that takes place
du ring a live performance . Li gh ting designers a re u su ally brou gh t in wel l
before the show takes place, and they select the movemen t, p lacement,
nu mber, and color of lights for the show. The lighting designer does not
always tou r with the show, sometimes leavin g that u p to the lighti ng
director (although they some times double as such).
Lighting Directors
The Lighting Di rec tor operates the lighting system on the day of the
show and executes the li ghting sequence desi gned by the ligh ting
designer. The li ghting di rec tor u ses a li ghting desi gn ( plan) c reated by
the li ghting desi gner to gu ide them throu gh the show. Sometimes the
lighting design er and lightin g director is the s ame p erson . The li ghting
director also tells the spot op erators where to shine the spotli ght and
what cues to look for.
Lighting Techs
The main mechanical ri ght society in the United States is the Harry
Fox Agency (HFA), a division of the National Music Pu blishers
Association (NMPA). They can be reached online at http://www .nmpa.org.
Merchandisers
Merchandisers are comp anies that pay bands and singers for the
right to sell their merchandise (T-shirts , ha ts, etc .) at concerts , retail
stores or on the Internet.
Monitor Engineer
The Monitor Engineer con trols the sou nd that the mu sicians hear on
stage throu gh the stage or earphone monitors. They operate a sep arate
mixing board that feeds the sou nd from the equ ipment and microphones
back to th e stage o r earpiec e th ro u gh monitors th at th e mu sicians can
h ear. In comp lex monitor setu ps, each mu sician can h ear a s eparate mix.
Music Directors
Th ere are generally fou r different types of mu sic directo rs you may
encou nter wo rking wi thin the mu sic bu siness. Mu sic Directo rs (or MDs)
can be fou nd at radio stations sc reening and selec ting rec ordin gs for
airplay. At commercial radio stati ons, this job is being don e more and
more by consultan ts and grou p Program Directors than by Music
Directors . The second type of Mu sic Director is a person hired by an artist
to au dition, rehearse and lead a backing band on tou r or du ring select
performances . The third type of Mu sic Direc tor scores and arran ges mu sic
for fi lms , television p rograms , commerci als , or library services, and w ho
u su ally also condu cts th e orch estra reco rding th e mu sic for su ch u sages .
Hotels, res orts, theaters, chu rches, arts centers, commu nity centers, etc.,
employ the fou rth type of Mu sic Director to organize mu sical events , book
mu sicians, lead in-hou se orchestras, etc .
Music Publishers
Music Supervisors
Mu sic su pervisors are the peop le responsible fo r secu ring mu sic for
u se in films, TV shows, video games, etc . They participate by find ing,
su ggesting and negoti atin g for the rights to u se record ed mu sic in films
and other p rojec ts. They are in constant commu nication with music
libraries, mu sic pu blishers, record labels, songw riters and c ompos ers ,
etc ., and help to manage the music bu d g e t s approp riated by the
produ ction companies responsible for the projects .
There are fou r main performing ri ghts societies in the United States:
The Americ an Society of Composers , Au thors & Pu blishers (ASCAP) ,
Broadc ast Mu sic, Inc. (B MI) , SESA C (formerly the Socie ty of Europe an
Stage Authors & Composers, bu t now simply SESAC) , and Sound
Exchange.
You can join ASCAP and BMI as a songw riter and /or a pu blisher
member, and Sou nd Exchange as an artist or sou nd recording copyri ght
owner. Entry into SESAC is by selection. Each organization has different
criteri a for accep ting or rejec ting applicants. They can be fou nd online at
http://www.ascap .com, http: //ww w .bmi .com, http: //www .sesac .com, and
http://www.s ou ndexchange.com.
Product Managers
Professional Managers
Program Consultants
Program Consu ltants are independent exp erts hired by radio s tations
to assist in increasing au dience share. Program consu ltants may d evise or
revise a radio station s format, play list, image, mark eting strategy, etc.
Program Directors
Pyrotechnicians
Quarterbacks
Radio Promoters
Record Producers
A good record produ cer is lik e a good film di rec tor. Thei r job is to
get the best performances ou t of all the mu sicians and singers , k eep the
stu dio sessions ru nning on time, act as a li aison between the band and the
recording engineer, commu nicate with the record label A&R rep , file all
the necessary talent releas es and related paperwork , and keep the proj ect
within the allotted bu dget. A good produ cer wi ll help keep the artists
inspired and motivated , and prev ent them from reaching for the same
predictable riffs ov er and over agai n. Many ti mes p rodu cers p lay the role
of talent scou ts and are the ears of the record labels in their area. As a
manager you will w ant to make relationships with as many good p rodu cers
with contac ts and c red entials as possible.
Riggers
The Rigger is the person respon sible for safely setting u p and
hanging the light and sound points in the arena. They work in
coordination with the grou nd rigger, who assists in measu ring ou t the
points, as well as setting u p the chain-driven motors that su spend the
points. The grou nd riggers also prepare cable for bridle and d ead hangs .
Route Persons
Selling Agents
Stewards
Talent Buyers
Unlike Booking A gents , who work for thems elv es, Talent Bu yers are
employed by hotels, clubs, casinos, and other venues to book talent.
Talent Bu yers do not rec eive a commission on the artists p erformance
fees , bu t instead receive a s alary from the v enu e that hires them.
Talent Scouts
Talent Scou ts u su ally work u nder the direction of A&R reps . Talent
scou ts assist the A&R reps by seeking ou t, evalu ating and rec ru iting new
talent and materi al. They are the ones that c an often be fou nd in clu bs
and on the streets listening and looking ou t for u p-and-coming talen t, and
more commonly now searching the intern et for talented artists that are
creating a bu zz .
Technical Directors
Trackers
Track ers are people assi gned to check radio stations, trade
magazines , record stores , distribu tors, etc., in order to moni tor the
progress of mark etin g efforts for a commerci al record release, maki ng
note of weekly radio adds, chart entri es, chart movement, ai rplay
rotation , sales , etc. Now adays , companies can u tilize s olu tions like Big
Champagn e (http://www .bi gchampagne.com) and others to track all this
data.
Traffic Managers
In large rec ordin g stu dios, traffic managers are the people in charge
of schedu ling stu dio time for clients. These large stu dios u su ally hav e
betw een three and sev en differen t stu dios in one complex with mu lti ple
recording/mi xing/mastering/editin g p rojects taking p lace at one time.
Unions
T h e t w o m a i n m u s i c i a n u n i o n s i n th e U n i t e d S t a t e s a r e t h e A m e r i c a n
Federation of Musicians (AFM) and the American Federation of
Television & Radio Artists (AF TRA). The AFM n egotiates terms of
employment for s ession mu sicians with record companies , setting u nion
scale and pension con tribu tions for rec ordin g sessions. AFTRA is also an
A F L - C I O a f f i l i a t e d u n i o n , bu t i s g e a r e d m o r e t o p r o t e c t a n d p r o m o t e
interests of actors and other p rofes sional performers, and broadcas ters in
television, radio, sound recordings , non-broadc ast/indu strial
Even thou gh some solu tions are offered, you shou ld spend some ti me
thinking abou t the p roblems p resented in this chapter and then try to
come up with other challenges and solutions that best fit your
circu mstances. In addition , you s hou ld attempt to envision additional
scenarios that c ou ld prov e to be problematic so that you dont get cau ght
flat-footed when they occu r.
P a g e | 71
If something negative has taken place in the past, do not try and
pretend that nothing happened if there is a rec ord somewhere of
something negative you did. How do you expect the band to tru st you if
you start the relationship off with a lie? The manager-artist relations hip
mu st be based on mu tu al tru st. Do not try to sign the grou p withou t the
signatu re of the obj ecting member, or get the objectin g member kicked
ou t of the grou p.
All members of the grou p have to agree to and sign the management
contract in order to be bou nd to it. As temptin g as it is , do not try and get
the objectin g grou p member fi red , u nless they are indeed a li abili ty to the
grou p and the rest of the grou p agrees that they shou ld go. If you fail to
convince the grou p to sign with you , the best op tion is to wi thdraw y ou r
offer and move on to another grou p. They may see the li ght at some point
in the fu tu re and approach you again abou t managin g them.
This is a very common problem th at occu rs betw een man agers and
their cli ents , and if not worked ou t early on, c an lead to the end of the
relationship before anything good can happen. Commu nication skills are
absolutely vital in the field of artis t management, since bad
commu nication creates a vacu u m in wh ich oth ers can spread negative
propaganda and misinformation. Not on ly do you have to be able to
commu nicate well wi th you r clien t, bu t also with all the other indu stry
professionals as well (e .g. producers, label A&R reps, publishe rs, booki ng
agents, concert promoters , publicists, licensees, hired musicians, etc .).
Y o u a n d th e c l i e n t w i l l h a v e t o b e o n t h e s a m e p a g e a t a l l t i m e s i n o r d e r t o
avoid misu nderstandings.
Keep in mind that the cli ent is looking to you for career advice as
well as ideas and su ggestions, so make su re you remain u p-to-date with
industry news before s etting u p your meetin gs. The more c redible you are
with information, the more likely the band will take your communication
with them seriou sly, and the more theyll look to you for commu nicati on
instead of bringin g in ou tside sou rc es. An absolu te mu st-read is Billboard
(h ttp://www.bil lbo ard .bi z); al th ough you sh ou ld also ch eck ou t oth er
sou rces like the New York Ti mes ( entertainment sec tion online) or even
occasionally the Wall Street Jou rnal and Forbes for in-depth
entertainment news and an alysis. Keep u p with the local mu sic industry
news and newsmak ers in you r area, since the loc al area is where y ou r
artists are most likely to get their i ndu stry news from or encou nter other
industry players.
Do not waste valu able time talking to indu stry professionals and
having an attorney negotiate a deal ju st to have the grou p or artist refu se
to sign it. This will not only cause stress between you and the
grou p/artist, bu t will also ru in your repu tation among th e mu sic indu stry
community.
Whatever you do, make su re that the tasks are spread ou t so that
each member feels that the rest of the members are doing the same
amou nt of work , and that the valu e plac ed on the w ork each member is
doing is similar. If a p articular member seems to be the weak link in the
chain, and the enti re proj ect is bei ng held back bec au se of thei r lack of
focu s or contribu tion, then you might want to consider discu ssing getti ng
rid of them. Su ch a decision wou ld have to be voted on by the whole grou p
or dealt wi th in the manner detai led in the band partnership agreement.
This decision can be complicated if that member also happens to be the
lead singer, songw ri ter, or mos t talented member of the grou p. In the end,
you will have to c onsider d oing what is best for the grou p as a whole.
Topics covered in the band partners hip agreement may inclu de:
Ownership of the band name and logo. Names and logos cou ld belon g
to a single band member, sev eral band members that might have come u p
with the name and/or c reated the logo design , or to the band as a whole if
the name and logo was a grou p deci sion.
Band member hiring and fi ring. Who will have the ri ght to hire and
fire band members, and how will th at p rocedu re be c arried ou t? This will
have to be spelled ou t in the agreement.
All band partn ership services shou ld be d etailed in the agreement.
Band sharing of p rofi ts and losses . The band members wi ll have to
decide what shou ld be considered a profi t or a loss, and what percen tage
of p rofi t and loss each member shou ld take or be responsible for.
Ownership of band sou nd recordings and pu blishing. This issu e is
the single most complicated issu e and the most con tentiou s one to d eal
with, especially if the band partnership agreemen t is left u ntil later on to
sign. Chances are that the sou nd recording wi ll belong to the whole band,
u nless some members are the band and others are ju st hired gu ns, or
the band assigns the rights to the s ou nd recordin g to a record label. The
pu blishing will belon g to the writer(s) of the songs the band reco rds,
u nless they sign pu blishing deals . Often , there will be con fu sion as to who
exactly w rote the songs or whether or not all the band members
contribu ted to the w ritin g in the cou rse of rec ordin g.
Band termination . The band will have to determine what even ts will
constitu te the dissolu tion of the band (e.g. death of a lead member,
initiation o f a lawsui t against the band, etc.) , and what shou ld happen to
profi ts, taxes , p roperty , d ebts , etc ., once the band is dissolv ed
The agreement shou ld determine the manner in which band dispu tes
will be handled (e.g . counseling , mediation , arbi tration, through the
courts, etc .) .
You may find that, at some point in you r management career, a band
member or artis t will intentionally or u nintentionally breach the con tract.
If the breach is minor, you may ju st want to talk to the artis t and brin g u p
you r concerns. If it is a m ajor b re ach , th e firs t th ing you sh ou ld do is
bring that breach to their attention in the manner spelled ou t in you r
contract (e .g. via registe red mail, email, phone call, band meeting, e tc).
The contract shou ld also indicate th e amou nt of time the member or artist
has to attempt to remedy the situation , and what you shou ld do if the
deadline passes wi th no resolu tion. You sh ou ld att empt to work th ings ou t
intern ally and get the situ ation resolved early . Try to keep ou t of the
cou rt system as mu ch as possible, u nless the breach involves large su ms of
money or potential damage to your repu tati on. A substantial and
intentional breach of the contract i s u su ally a sign that the marri age is
in trou ble, and often , ev en with the intervention of attorneys , this leads
to the complete breakdown of the relationship. If all the parti es involved
follow the spirit and word of the contrac t and commu nicate clearly and in
good fai th at ev ery opportu nity, breaches can u su ally be avoided .
It often takes a while to find a band or artis t that meets all you r
expec tations of what a band / artis t shou ld be, and when you find one i ts
qu ite easy to get lost in the magic al moments and move in to offer them a
management con tract before taking stock of y ou r resou rces. Initi ally, you
may think that great songs and good looks are all you need to get the band
to the next lev el. The band you sign may be extremely talented and exp ect
you to walk them ri ght into the Sr. VP or A&Rs office at a major label and
get th em a mu lti-million do llar d eal. Y ou may even believe th at m u ch
you rself, u ntil you find that there is more to the game than that and its
all taking mu ch longer than you exp ected .
At that poin t, you may start to feel like youre in over y our head and
have bitten off more than you can c hew. The best w ay to avoid this in the
first p lace is to not promise what you cant deliver. Talk to the band abou t
a realistic game plan before you sign them and let them know that you will
all need to do a lot of work before su ccess can be attained . You shou ld
take the time to build your d at a b a s e of contacts, which i n c lu d e s
influential voices and tastemakers within social networking ci rcles ,
attorn eys with mu sic indu stry contacts , rec ord produ cers with credi ts,
booking agents , publicists, music pu blishers, venue bookers and
promoters, media con tac ts, indu stry gatekeepers, and independen t label
A&R reps for when the time is ri ght to p res ent you r band / artis t for
revi ew. It will take you a while to gain the tru st of the people that you
need to have relationships with, so the sooner you start, the better. In
addition, the band / artist will be looking to you for career advice, so the
more you know abou t every mu sic bu siness-related topic, the more
confident y ou will be abou t the answers you giv e. Bein g know led geable
abou t all aspec ts of the mu sic bu siness and having lots of indu stry
contacts wi ll help you feel in control of you r situ ation , and p reven t y ou
from feeling lik e you re in ov er you r head.
Every once in a while you will come across somebody who is trying to
cu t-in on you r mana gem ent du ties. So me times th is is u nintentional ,
while at other times it is inten tional and maliciou s. It cou ld be a fri end of
the bands, a clu b booker, a pu blicist, a radio promoter, a record label
proposing a 3 60 deal with in-hou se management, or even an A&R rep; bu t
most of the ti me it will be an attorney. Many attorneys fail to reali ze that
their job, i f a band or artist already has a manager, is to give legal
advice, not c areer advic e. Many attorneys have been known to overs tep
t h e i r b o u n d a r i e s a n d c u t - i n o n ma n a g e m e n t d u t i e s , s o y o u s h o u l d b e
aware of this as you retain an attorney to draft or n egotiate con tracts for
you.
To prevent this kind of behavior, instru ct you r cli ents that all
commu nication mu st go th rou gh you for revi ew and discu ssion before any
action is taken. As a manager, you will need to act as a bu ffer agai nst
these types of individuals and approaches.
In addi tion, things at the major label level c an mov e v ery fast, and
windows of opportu nity can close before a manager with no clou t or
connections can take advan tage of them. A- lev el managers c an get thei r
calls retu rned by top booking agen ts, sponsors , brand partners, pu blicists,
attorn eys, media personnel, pu blis hers, c oncert p romoters , tastemak ers,
ga tek eepe rs, and so on. An u nknown manage r, e ven with a band on a
major record label, may wait hou rs before their calls or emails are
retu rned, often at the cost of a major financial or p romoti onal
opportu nity. Major labels also know that it is easier to commu nicate with
an A-level management fi rm that theyve done bu siness with before. Th ese
managers have repu tations arou nd the world and know what to tu rn down
and when to take advan tage of opportu nities. A new man ager may be
temp ted to go after ev ery offer, often dilu ting the pres tige of the artist
and the major label. A new, inexperienced man ager may also acc ept offers
that shou ld be d eclined , or d ecline offers that shou ld be acc epted .
Of cou rse, if y ou feel strongly abou t keeping the band si gned to you r
management company and feel that there are better ways for the band to
achieve lon g-term su ccess withou t takin g adv antage of the opportu nity
presen ted to them, then you shou ld make you r feelings known and exp lain
the way forward to the band.
As a new manager, you may find you rself wi th very few seriou s mu sic
industry connections in the beginning. If you intend to be in the bu siness
for a while and retain artists on you r roster, you will need to remedy this
situ ation as soon as possible. Start in you r local region and attempt to get
t o k n o w e v e r y b o d y w h o i s i n t h e m u s i c bu s i n e s s , i n c l u d i n g l o c a l c l u b a n d
venue owners , p romoters , record p rodu cers, recording/masteri ng
engineers , club DJs , other managers, record labels, publishing
companies, mu sic editors from local pu blications, radio station person nel
(especially college radio), mu sic indu stry media, and so on. Attend all
local mu sic seminars, w orkshops or conferences that co me throu gh you r
area, and join any local mu sic associations and organi zati ons that are
available. Uti lize the internet and follow (and be-friend) influ ential mu sic
industry voices and tastemakers within social netw orkin g ci rcles .
You will have to spend time on th e internet bu ilding you r mai ling
list and workin g on pu tting together an independent street team for
additional help . Dont c ou nt on the label to d o ev erything for you , and
keep in mind that any addition al in vestment you make should pay off for
you and the band in the lon g-term in terms of CD, download and
merchandise sales, gig attendance, licensing fees, sponsors hip
opportu nities, and so on.
Decent progress has been made , but you seem to have reached a
plateau.
Another common p roblem that you may encou nter is one where you
feel that, even thou gh decent progress has been made, you r artists c areer
seems to have reached a plateau . Y ou might find that the indu stry bu zz is
fading, the social networking campaign isnt gaining any more momentu m,
you arent getting any new gigs, CD/down load sales have peaked,
intervi ew requ ests are down , radio airp lay has stopped , and in general
th ings a re ju st som ewh at fl at . A t th at point , y ou sh ou ld take stock of w h at
you have accomplished so far and try and get you r hands arou nd what the
problem might be. There cou ld be any nu mber of things that cou ld be
h a p p e n i n g . Y o u r c o n t a c t s m a y n o l o n g e r b e a v a i l a b l e t o h e l p y o u ; th e
industry may be done with you r artists sou nd (or not ready ye t for your
artists sound); you r bu dget may n ot be su fficient for the tasks that n eed
to be done; the bu siness models for si gning or booking artis ts may have
changed; the indu stry may be flooded with artists that sou nd ju st like
you rs; you may be h aving a h ard ti me makin g enou gh of a bu zz t o sta nd
above the crowd; you or you r clients are losing fai th in the project; youre
u nable to allocate enou gh time to the projec t to get i t to the next level;
you are having a hard time fi gu ring ou t new ways to sell CDs /down loads
and merchandise; you are u nable to formu late creativ e ways to mark et and
promote the grou p or the shows; you r client isn t ready to take advantage
of new revenu e streams avai lable in the mu sic bu siness; and so on.
Perhaps you might need to play less often in you r town, or more
often in other areas , or release a CD/DVD of the live show. Maybe you
need to chan ge the nu mber of people in the band, or replac e the lead
singer. Perhaps you r area is satu rated with bands ju st like you rs an d a
change of scen ery is whats requ ired . Maybe the A&R reps you knew all got
fired and you need to make new contacts at the labels who will listen to
your demos. Perhaps you need some unique items to add to your
merchandise list besides the same T-shirts and mu gs you ve been selling
all alon g. Mayb e you need to work on bu ying on to a tou r as an opening
act wi th an artist on a major label in ord er to inc rease you r exposu re.
Perhaps you need a more aggressive pu blicity campai gn or different
remi xes of you r s ongs for radio/internet ai rplay.
The bottom line is, dont keep doing the same thing youve been
doing and exp ect different resu lts. If you try a bu nch of new things and
nothing seems to be working a cou ple of years later, it may be time for
you and the band to move on to other things. They may need a new
manager, and you mi ght need a n ew band.
A great song does not hav e to take two years and $3,000,000 to
produ ce. Some bands are known to record never- ending albu ms, claiming
to be perfectionists and endeavori ng to get i t ju st right. Work with a
good produ cer that can help you get the record finished on time and u nder
bu dget, then spend the rest of the money on pu blicity, promotion and tou r
su pport. Remind the band that there comes a point when an extra hou r in
the stu dio wont necessarily sell an extra CD or conc ert ticket. Besides , all
that money is being charged back to the band and will very likely leave
them u n-recou ped (and u n-wanted by anybody els e) at the end of
contract term.
From time to time, you may find you rself having p roblems with other
members of the team that have been hired or retain ed to help wi th the
project. You shou ld first take s tock of what the problems are. If the
problems or issu es are personal an d the team member is valu able to the
project, then you will have to find a way to w ork with the team member
u ntil they can be replaced by somebody of equ al valu e.
There may come a time when, for one reason or another, the band or
an artist wan ts to get ou t of the management deal. As a man ager, you c an
u su ally prevent this from happening by no t p romising things you cant
deliver, by doin g everything you said you wou ld do, by keeping the band
bu sy and progressing, and by commu nicating well wi th the band or artist
at all ti mes (especially when the going gets tough and they start to get
disillusioned).
The most common reason why bands or artists want out of the deal is
that the manager has breached a clause in the contract, or hasnt managed
to get them where they w anted to go. It is c ru cial that you periodically
revi ew you r con tract to mak e su re that you arent breaching any of the
clau ses contain ed within. It is very easy to forget abou t a contract after
you ve signed it, especi ally if you pu t it away in a file cabinet somewhere
and never take i t ou t. It is you r responsibility to spend some time
e d u c a t i n g t h e b a n d o r a r t i s t a b o u t t h e r e a l i t i e s o f t h e m u s i c bu s i n e s s
before you r sign them. You shou ld stress the importance of formu latin g a
game plan that cu lminates in the band or artist bein g able to earn a livi ng
throu gh mu sic; with or wi thou t a major label con tract. If, despite all y ou r
efforts, they still wan t ou t of the deal, you shou ld probably consider
partin g ways amicably since it wi ll be almos t impossible to get th em
maintain f aith in you or to tru st you and participat e in th e plans you have
set ou t for th em if th ey are u nh appy with you and/or th e situ ation. Of
cou rse, you wou ld need to add res s issu es related to you r co mmission
owed, deals signed under your management su pervision, fu tu re
commissions, etc.
Another thing to keep in mind is that en tire books have been written
on the topic of copyri ght, and an in-depth discussion of copyright law is
beyond the scope of this e-Book. It is highly advisable to retain the
services of an experienc ed entertain ment attorney to revi ew all paperwork
relating to the copyri ght and p ublishing interests of your clien ts,
particu larly if contracts are exclu sive or involve the assignment or
relinqu ishing of ri ghts.
1. One copyri ght is that of the musi cal work. The copyri ght in the
mu sical work initially belongs to the auth ors of the mu sic and/or
lyrics (i.e ., write rs of the lyrics and/or composers of the music; or a
company if the song is a work- for- hire) .
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Among mu sicians and songw riters , there is often a lot of con fu sion
s u r r o u n d i n g t h e au t h o r s h i p s t a t u s o f s o n g s ( i . e . , w h o e x a c t l y w r o t e
what?) . Mu ch of this has to do with a combination of s trong egos and a
lack of knowledge abou t copyright law. In the know led ge v acu u m, a few
myths have been allowed to become fact, including the most famous one of
all that the lyrics make the song, everything else is simply
arrangement. In fact, this is what the copyri ght law s tates regard ing
su bject matter ( with some important elements bolded for effect):
1. literary works;
2. musical works, including any accompanying words;
3. dramatic works, inc lu ding any accompanying mu sic;
4. pantomimes and choreographic works;
5. pictorial, graphic, and scu lptu ral w orks;
6. motion pictu res and other au diovisual w orks;
You can u se the eCO system or fill ou t the Form CO to register you r
works onlin e by visiting the Library of Congress website at
http://www.c opyri ght.gov . On the Form CO (if you choose to use it),
selec t Performing arts work to register the mu sical work , and Sou nd
Recording to register the sou nd rec ording. Paper forms (e.g . Form PA for
the musical work and Fo rm SR for the sound record ing) are being phased
ou t, bu t you can order th em online at th e websit e if, fo r e xamp le , you
dont hav e a credit card to u se onli ne or dont tru st the online system of
making paymen ts. For all options, y ou will need to a) properly fill ou t the
form, b) inclu de a sample of the s ong or sou nd recording as instru cted,
and c) pay the fee.
You can signal you r copyri ght own ership on paper wi th the symbol
and/or the word copyri ght along w ith you r name and the year of creati on
(e.g., copyrig ht 2009 Jo hn Phillips). If you record you r words and /or
mu sic onto a CD or as a file (e.g ., .wav, .mp3, e tc), you can signal you r
copyright ownership with the symbol alon g with you r name and the year
of fi rst pu blication (e.g ., 2009 John Phillips) on the CD or in the
metadata of the song file.
The owner o f the sou nd reco rdin g is u su ally iden tified somewhere on
the recordin g itself, along wi th contact information in the form of a
mailin g add ress and/or a w ebsite. In addi tion, you will also have to get
permission from the owner of the u nderlying song; normally the
pu blisher. That means that you will have to get two permissions to u se a
sample that has been lifted straight off of a previou sly released recordi ng.
Failing to do so will constitu te an infringemen t of the copyri ght owners
exclu sive ri ghts. It is recommended to u se a mu sic clearance specialist to
assist with obtaining the ri ghts to u se samp les wi thin you r composition s.
As mu sic consu mption moves away from the CD model and towards
downloadin g, s treaming, su bscripti ons, mobi le technology and apps, and
cloud models, major labels have had to start thinking of ways to share
rev enu e from mu ltiple income streams with their artists (via 360 or
multiple-rights deals) in ways they never did before. This (wanting a
share of income derived from multiple sou rces) is cau sing artists w ith
contracts up for re-negotiation to leave the labels and cou rt non-
traditional investors , partner with brands and sponsors , or release their
projects themselves directly to thei r fans .
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With shrinking profits and a redu ced nu mber of artist signin gs, the
major lab els h ave laid of f sta ff (i ncluding some A&R reps), ou tsou rced
some work done by their own departments (li ke lega l and marke ting), and
sold off some real es tate (includin g office space and recording studios);
fu eling specu lation that the labels are goin g ou t of bu siness.
su perstars . The standards of cool shift with the times, and the stars of
today mu st make w ay for the su perstars of tomorrow; therefore there is a
need to dev elop new on es ev ery few years to replace the older ones .
Even thou gh there are few er A&R reps at the major labels , thei r
expertis e is still something that the labels rely on to help them figu re ou t
who to sign . Althou gh the process i s now very s tatistics- and d ata-d riv en,
the signing process generally begins by the A&R rep finding (or bei ng
presented with) an artist that they think has that certain x-fac tor that
is necessary to develop into a su pers tar artist. Artis ts or bands almost
alw ays come to the attention of maj or label A&R reps from solicited ( i .e.
known or well- respected) sou rces. Even when an A&R rep discovers talent
that they find promising, it almos t alw ays takes a second or third opinion
from a respec ted and tru sted sou rce, along with some du e diligence,
before the rep considers making a move towards si gning. Solicited sou rces
inclu de upstream deals from independent labels, talent scou ts, other A &R
reps , attorneys, produ cers, managers , pu blishers, bookin g agents , song
writers , si gned artists or mu sicians, and now more frequ ently from
contest winners or artis ts benefiting from high lev els of TV/in ternet
exposu re.
A&R reps also spend a lot of ti me d oing thei r own research. As far as
most A&R reps are concerned , except for the occasional internet
sensation, news head liner, or reali ty TV break ou t star, no artist worth
signing today ev er comes completely ou t of nowhere. Ind eed , most major
lab els already h ave a go od idea ab o u t wh ich artists th ey want to sign, yet
they keep an ey e open for talen t that pops u p on thei r radar. Every
active artis t leaves a trail of some kind , and emerging talent always
appears on th e indu stry radar in s u ch a way th at th e reps begin to take
notice.
The A&R reps check ou t data and statistics abou t artists on line
activiti es, soci al n etworkin g profiles, information gathered from mu sic
industry data aggregators, feed back from respec ted indu stry sou rces,
tastemak er reviews , influ ential bloggers rec ommendations , sales d ata ,
artists performance and tou ring history , college/in ternet/satellite radio
station playlists , bu zz on the street and on the internet, repu table mix-
tapes , and on occasion (though ra rely) live shows or artist showcases .
A&R reps also tak e notic e of artists that other A&R reps at major labels
are interested in.
The A&R rep must tru ly believ e that the artis t is going to be a
su perstar for the label and be able to perform hit son gs, become a brand
ambass ador, and positively i mpact the comp anys fin ancial bottom line
immediately. In ord er to minimize the risk, an A&R rep will condu ct
research and take into accou nt the age of the artist, the presence of the
X-factor, the abi lity of the arti st to hav e an imp act at radio, the
brandin g potential of the artist, the writin g and performing abi lities of
the artist, sales from any independent releases , any existing radio ai rplay ,
revi ews and articles in major regi onal or nation al mu sic pu blications,
show attendance figu res , television and/or intern et exposu re, word- of-
mouth in the clubs, mailing list size, artists team (e .g. manager,
attorney, agent, etc), p reviou s deals and their outcomes, past and
potenti al merchandise sales , past and potential sponsorships deals, p ast
and potential movie roles, pas t and potential mod elin g gi gs, past and
potenti al endorsemen t deals , p reviou s or pending lawsu its, etc .
In ord er to faci litate this arran gement, some labels have hired
people to ru n management, tou ring, merchandising, sponsorship,
brandin g, etc, divisions in their offi ces or ou tsou rced some of the work to
ou tside label s ervic es companies .
A mere fraction of the artists that pu rsu e major label d eals ever
achieve the objective, and it is a mathematical certainty that the
overwhelmin g majori ty of artists wi ll n ever si gn a deal of any kind with a
major label. Pu rsu ing a major label deal to fu nd an artists recordin g and
tou r today is akin to p laying the lottery. You cou ld chase the deal for
many years yet nev er get within a hu ndred miles of si gning a deal; all the
while squ andering countless opportu nities to get things done
independently . In addi tion, most d eals that get don e at the major label
level are deals with artists who are already in the pipeline (e.g. ,
upstream deals from independent labels, sources with connections to
people in the major labe l system, signed songwriters with publishing
deals, producer-signed or recommended acts, backg round
singers/instrumenta lists on major label projects, etc) or otherwise
appear on the major labels radar (from music sales figures, fan base size,
touring history, merchandise sales, social network sta ts, industry buzz,
television contest positions , etc) . Taking all this u nder consideration,
you r efforts as an independen t artis t are mu ch better sp ent setting things
u p to release rec ordin gs and fu nd tou rs on you r own.
But, as mentioned earlier, major labels are always lookin g out for
the next rou nd of su perstars that can replace the cu rrent ones once the
fans ti re of them. They look for arti sts that can be dev eloped into a brand
that can be monetized; for example, branded magazines, ni ghtclu bs,
artist-branded ad-su pported video c hannels, recorded produ cts, electronic
gad gets, c lothes, footwear, cosmeti cs, etc. Wi th the introdu ction of 3 60
deals , the major labels are looki ng forward to sharing in the inc ome
generated by the artis t from mu ltip le sou rces.
The P&L will give the label an idea of the amou nt of money they can
make signing the artis t as well as where to draw the line once negotiati ons
begin . If a bidding w ar ensu es with other labels , or the artists attorn eys
ask for too much money, the label (unless they REALLY want to sign the
artist) will know when to back ou t and look to si gn another artis t instead.
The fou r major labels are cu rren tly not good at ( or interes ted in)
artist dev elopment; i .e. workin g wi th artists in the early stages of their
careers (as well as artists in most genres with sa les under 10 ,000 un its
or so), yet they are the only ones that can tak e an artist wi th some
exposu re, buzz and/or sales and break them on a national and
intern ational lev el at radio, on TV, in print, on the internet and at retail.
Some of the labels u nder the u mbrellas of the majors (particu larly those
with ups tream deals in place) do a better j ob of artis t dev elopment than
their corporate parents . Bu t, bec au se of the enormou s expenses involved
in the endeavor, the music the major labels release must appeal to the
largest s egment of the mu sic-bu ying popu lation in order to c reate a large
enou gh fan bas e to provide a good retu rn on the labels inves tmen t. Nic he
projects do not work well in the major label sys tem, and therefore ideally
sh ou ld be re le ased independ ently , o r m atch ed u p with a b rand , connec t ed
to a sponsor, or shopped to an independent label with major label
distribu tion.
You ng fans are i mpu lsive and respond very qu ickly and p assionately
when they feel emotionally connected to someone in the entertainment
field . Bec au se they are most su sceptible to peer-pressu re, you ng people in
large nu mbers follow the trends of what is considered cool in terms of
mu sic and entertainment at any giv en moment and wou ld rather ju mp on
the bandwagon of what everybody els e is listening to than be left ou t.
They are also most likely to pu rc hase artist-brand ed produ cts that the
label c an generate additional income from. You ng people in gen eral spend
most of their money on entertain ment (including music, sports, video
games and movies), since their parents are responsible for their welfare
(food and c lothing needs, not to me ntion a place to live) .
In addition to generating bu zz, some other rou ndabou t ways you can
go abou t getting in the back door at major labels inc lu de:
Approaching produ cers who have major labels credits . You can find
contact information for Record Produ cers from directories lik e the
one available at Hi tQu arters (http://www .hitqu arters .com/) and
others . You can offer you r services as a demo singer, backgrou nd
vocalist or instru mentalist/mu sician, or ask (or p ay/hire) them to
produ ce you and/or forw ard a demo to their contac ts.
Approaching published songwri ters (w riters si gned to major
pu blishing companies) . A gain , approach them and o ffer them you r
services as a demo singer or back grou nd vocalist/instru mentalist.
Signed son gwri ters are a little more difficu lt to locate, so you will
have to do a little digging arou nd in order to get contac t information
for them. Try the Mu sic Pu blisher Regis try from the Mu sic Registry
(http://www.mu sicregis try .com) as a starting poin t. Many artis ts on
major labels began thei r careers as signed son gw riters fi rst, and
then work ed thei r way in as artis ts once a few songs they w rote
became hits.
Shopping your demo to independent record labels that have
u pstream deals wi th major labels (a situ ation where artists on
independent labels get u pstreamed to their major label
distribu tion partner once certain sales thresholds are met at the
indie level). Pollstars Record Company Directory also lists the
independent labels that have dis tri bu tion throu gh major labels that
you can approach.
If you are interested in getting the atten tion of major labels and
cant ge t in th rou gh th e back door, t h en you can u tilize t ech niqu es th at we
will discu ss later on in this man u al and elsewhere to c reate the bu zz
necessary to appear on major labels rad ar.
Pursuing a deal with an independent record label (with major label distribution)
If you lack the resou rces and (wo)manpower to release you r own
records , then you might want to look into the option of signing wi th a
major label-distribu ted independ ent label. If y ou opt to take this rou te, it
is in you r best in teres t to seek ou t i ndependent record labels that have the
necessary resou rces avai lable to ad equ ately promote you r records to the
general pu blic, as well as the maj or label distribu tion deals in plac e to
enable people to find you r produ cts both at retail and in all the major
digital s tores . If the label can on ly offer you digital dis tribu tion (e .g. CD
Baby, Orchard , Tunecore, etc) , then you are better off rec ordin g and
releasing you r produ cts you rself throu gh those same digital distribu tion
channels.
In this age of mu sic streaming and digital d eliv ery (and considering
that both retail s tores and CDs themselves a re predic ted to become
obsolete), taking into accou nt retai l distribu tion may seem like a waste of
time. However, i t is worth considerin g the fact that labels with major
label distribu tion in plac e have the financial resou rces necessary to fu nd
your tou rs and promotion al campaigns that their non-distribu ted
cou nterparts do not, and even if retail s tores and CDs become obsolete,
can re-di rec t the money that wou ld have gone to retai l mark etin g towards
tou ring and branding efforts instead.
You can also check the w eb si tes of the main distribu tors in the
United States here and locate contact and demo submission policy
information for the independent record labels whose p rodu ct they
distribu te:
So, what exactly attracts your band to a brand? The most importan t
thing to a brand is a stron g pers onality fi t betw een the artist and the
brand that enables them to c reate impactfu l, integrated multimedia
campai gns that connect and resonate with their target au dience. To avoid
a back lash from the brands cu stomers and the artists fans , there need s to
be a beli ef that the brand and the band / artist cou ld be friends in real
life. A brand will take their bu siness objectives in to consideration, along
with an u nderstanding of how their cu stomers relate to mu sic, when
deciding on what type of band (or artist) to work / p artner wi th.
Something else of importance that brands fac tor into the equ ation is how
easy or difficu lt it is to get all the ri ghts and permissions from the variou s
stakehold ers (music pub lishers , re cord labels , artis ts, e tc) nec essary to
m a k e a l a u n c h s u c c e s s fu l a n d p r o f i t a b l e . H o w a v a i l a b l e a n d a c c e s s i b l e a n
artist is (for performances, inte rvie ws, recordings , appearances, etc) and
how mu ch it costs for the artists to render their services also matters .
Brands also look for ways that they can measu re the resu lts of the
partn ership and calcu late the retu rn on investment in a reliable way . If
you r band is attractin g a demographic (of considerable size) that a brand
is also trying to reach, then that mi ght also mak e a good fi t in their ey es.
An interes ted brand wi ll w ant to k now the artists au dience profile and
ensu re that it matches wi th the brands campaign objec tives . Identi fying
the demographic to a brand requ ires bands and their managers to
proac tively su rvey th eir fan base i n order to get some demo graph ic data
(e.g., age , gender, geographical location, annual household income,
hobbies, spending pre ferences, etc) .
Some brands have gotten into the game of artis t dev elopment,
creating a new kind of record company that fu nds bands recordin gs and
tou rs. Some have even set up recordin g studios where their artist
p a r t n e r s c a n r e c o r d . I n t h e s e i n s t a n c e s , t h e r e l a t i o n s h i p i s mu t u al l y
beneficial, with bands contribu ting the hip factor and emotional
connection and brands providing large amou nts of money no lon ger
readily avai lable from tradi tional record companies.
Over time, most fans have come to u nderstand that brands and
sponsors are an importan t part of the equ ation when it comes to pu tting a
tou r together, and have come to tolerate a certain amou nt of brand
exposu re as lon g as the messaging and interaction isnt too heavy hand ed.
This is helping to create a new model where some companies are
considering coming u p with a particu lar sou nd for thei r brand ( like a
soundtrack to thei r product) , which cou ld work in you r favor i f the sou nd
they are lookin g for happens to be w hat you r band is already doin g.
With funding from an investor, recording your products and outsourcing all essential label
services
If you r artist has a track record (sales, buzz, touring, fan base, etc)
and you have an investor with adequ ate resou rces to fu nd a project, then
you migh t consider th e option of reco rding p rodu cts in-h ou se and th en
ou tsou rcing all the essenti al label services to another company to do the
necessary marketing, p romotion, publicity, distribu tion, radio, and
booking legwork . If this is an op ti on you wish to pu rsu e, make su re you
u ndertake the necessary du e diligen ce efforts nec essary to insu re that y ou
make the ri ght decisions in terms of the stru ctu re of the comp any, the
artists you sign, the investors you partn er with, the legal and accou nting
procedu res y ou employ , and the label services company you hire. Make
su re that ev erybodys expectations are not on ly realistic , but also
a c h i e v a b l e . A t t h i s p a r t i c u l a r t i m e i n t h e e v o l u t i o n o f t h e m u s i c b u s i n es s ,
it is extremely difficu lt to p rovide su bstantial retu rns on an inv estors
investmen t outside of the major label system.
The most c ru cial aspec t affec ting the su ccess of this endeavor will be
the artis t ( talent) that you sign. For this option to work su ccessfu lly, you
mu st have an artist that is not only very talen ted v ocally ( for recording s),
bu t mu st also be able to play w ell liv e, comfortably embrace soc ial
networking, w rite songs that have great lic ensing potential, and perform
songs that are in genres that are radio ( terrestria l, internet, sa telli te)
fri endly. In other words , the id eal artist candidate wi ll be one that is
similar to an artist that wou ld be si gned to a major label.
This model will requ ire the starting of a company (most like ly an
LLC) that provid es the stak eholders (artist, manager and investor) with
shares of all profits from all sou rces; similar to the 360 (multiple rights)
deals seen at the major label level. In that event, income will need to be
generated from CD/download sales, tickets, merchandise, licensi ng,
su bscriptions, sponsorships, endorsements , branding deals , etc . You will
need to be able to mark et, pu blicize and promote the proj ects u sing all
means nec essary (social ne tworkin g, radio airplay, media cove rage, live
shows, videos on the inte rnet, etc).
sponsors and/or brand partners) and fit in mu sic genres that can receive
radio ai rplay (pro viding bo th promotion from airplay as well as income
from ro yalties collected by performing rights organizations). A rtists that
dont have the abi lity to generate i ncome from mu ltiple sou rces will not
be a good fi t fo r a situ ation that involves investo rs . If you have a niche
project that you beli eve in that doesnt fit the mold of a mu ltiple sou rce
income gene ra to r, th en you sh ou ld consider st arting a rost er th at inc lu des
at least one major label type artist that c an generate enou gh income
from mu ltip le sou rce to provid e the necessary fu nding to bank roll the
other smaller proj ects on the roster.
If you choose to tak e this rou te, you will need to be able to p rovide
an investor with a bu siness plan th at sh ows th em wh at type of proje cts
will be fu nded, how mu ch fu nding is requ ired , where the money wi ll be
spent, what the risks are, what the competi tion is, and how profi ts will be
made. Bu siness plans for mu sic projects are difficu lt to wri te bec au se the
inner workings of a mu sic company are qu ite u nlike those of most other
bu sinesses. With valu able advice provided by a qu alified acc ou ntant and
experienced entertainment attorney , however, you shou ld be able to pu t a
decent plan to geth er. In addition to oth er resou rc es, th e Mu sic Bu siness
Regis try (http: //www .mu sicregis try .com) pu blishes a Music Attorn ey,
Legal and Business Affairs Guide that lists mu sic bu siness attorneys
you can consult with.
With fu nding or inves tors onboard , some label services / consu lting
companies you can look into include companies like My Rocket Sci ence
(http://www.myrocketsci ence.c om/) , Fahrenheit Medi a Grou p
(http://www.fahrenheitmediagrou p.com/) , Neu rotic Media
(http://www.n eu roticmedia.com/), EMI Label Servic es
(http://www.c arolinedis t.c om/) , A& R Worldwide
(http://www.anrworldwide.com/) , and other similar services. As they
become increasingly available in the fu tu re, companies simi lar to these
will be s tarted and/or s taffed with p ersonnel from the major label system
who have been laid off due to downsizing and consolidation. Some of them
will ( and some cu rrently do) op erate with the no u nsolicited materi als
accepted policies simi lar to those of the major labels , so prepare to
approach them from the back door as explained earlier.
If you r artist doesn t fit the major label p rofi le or you dont wish to
shop to an independent lab el o r partner with an investor, then you can
look to release the proj ect independently and realize income for you r
artist from mu ltip le sou rces inclu ding tou ring; licensing mu sic to film,
TV, etc; selling CDs /downloads/merchandise; negotiating endorsemen t
deals; and /or connecting with a sponsor or brand that valu es the arti sts
sou nd/look/fan base . You sh ou ld also look fo r ways to moneti ze any ot h er
talents /skills that the artist poss esses inclu ding, for example, ac ti ng,
painting, produ cing, d ancing, wri ti ng books or poems, or some other s kill
like martial arts , etc .
The rest of this manual is geared towards providing you with the
information necessary to successfully record an d promote your
own products.
If you are a s olo artis t, then you will p robably be u sing you r real
name or makin g u p a stage name. Sometimes solo artis ts hire mu sicians
with whom they want to perform (e.g. Sarah Jones & The Professionals).
In other instances mu sicians will get together and mak e u p a grou p name.
If that is the case, the name shou ld be something memorable and catc hy,
since it will be u sed on all adv ertising materials and in ev ery promotional
campai gn.
Before you decide on a band name (if youre not using your rea l
name), check on-line to see if the n ame c omes u p in a search, or if anyone
is u sing th e name in a U RL , h as a You Tu be ch annel u sing th e name, o r is
otherwise condu cting social networking camp aigns u sing the name. If
somebody els e is u sing that name, then try the name wi th a different
spellin g or try a di fferent variation of the name. A better su ggestion is to
u se another name altogether, otherwise peop le wi ll s earch for you and
keep coming u p with resu lts of the other person instead . This is important
since social networking is a v ery cost-effec tive w ay to p romote you r
mu sic, expand you r fan base, and keep people informed of what is going
on with the band. Also, don t name your band something popular that will
bring u p thou sands of search resu lts ahead of you rs; like New York , or
something.
P a g e | 118
Keep in mind that this will not necessarily p rotect you from someone
who has been u sing a name for a period of time withou t regis tering it.
What it will prov e in the event that somebody challenges you r u se of the
name is that you at leas t attempted to condu ct res earch abou t the name.
Even if you are u sing you r real n ame, it is not au tomatic that you will be
free of any trou ble. Su ppose, for example, you r name was Michael Jackson
and you were a mu sician. Su rely there wou ld be the likelihood of
confu sion if you pu t ou t ads anno u ncing you r gig as a Mich ae l Jack son
performance, or released a CD u sing the same name, even if it really was
your name.
Once you have regis tered you r band as a business, as well as applied
for a Ta x ID nu mber, you will be able to open u p you r bank account.
Having a band bank accou nt will enable you to rec eive checks or other
payments in you r bands name and write off band expenses . You can also
open u p a PayPal bu siness account attached to the bank accou nt and
collect pay ments on line for su bscrip tions, au tographed CDs , tick ets , band
merchandise, don ations , pre-orders , etc . You wou ld also be able to w rite
checks from the bu siness accou nt for equ ipment pu rchases and rentals,
su pplies, rehearsals , band member payments , etc ., and keep the recei pts
for you r tax records.
Keep in mind that any income you make is su bject to taxation . Work
first wi th an accou ntant to establish the correc t legal stru ctu re for you r
band bu siness (e.g., sole proprieto rship, partnership, corpo ration , etc),
and then set u p a rou tine for k eeping track of all you r income and
expenses. Rather than wait until the end of the year to come up with the
fu nds to pay you r taxes, it is advisable to pu t aside a certain percen tage of
all you r income in a band accou nt as you earn it. If you keep all you r
rec eipts for pu rchases, expenses , etc, you can work with an accountant to
figu re ou t what i tems are dedu ctable. U tili ze softw are solu tions like
Bandize (http://bandize.com/), or Qu icken (http://qu icken.intu it.com/)
and others to help you keep you r bands financial information organized.
Pre-booking Gigs
Even if you dont have y ou r band together, now wou ld be the time to
try and pre-book some gigs i f you can. Doing this will provide the
incentive to take au ditions, rehears als and gi g p romotion seriou sly from
the beginning. Pick u p a copy of the Indie Venue Bible
(http://www.indiev enu ebible.com), the Musicians At las
(http://www.mu siciansatlas .com) , B illboards Musicians Gui de, or
Billboards International Ta lent & Touring Gui de
(http://www.ord erbillboard .com) , or simi lar di rectori es in you r cou ntry
of residence to find c lu bs/venu es with a cap acity of 150 300 that wou ld
be happy to have you brin g 40 80 people on a slow Mond ay, Tu esday, or
Wednesday night.
Ask the venu e booker if they cou ld let you play there on an off night
and retain 100% of the $5 - $ 15 cov er charge to pay the band members and
any equ ipment ren tal costs (and the venue can make money from drink
sales). You can cou nt on each band member to brin g at least 5 10 p eople
to the fi rst gi g, and the rest wi ll be people that respond to you r social
networking camp aign , mailin g list ou treach, and s treet team promotional
efforts. Book at least 2-3 gi gs if you can, bu t dont schedu le them too
closely together (or at least not closely toge ther in the same town) sin ce
fans may opt to go to one show or another, bu t not both (or all thre e),
thereby redu cing the nu mbers that you are cou nting on to both pay the
band members and impress the venu e book er.
Another op tion is to visi t you r favorite clu bs or v enu e and see i f you
can find a grou p th at comple ments you r sou nd to talk to abou t an open ing
slot. Call u p a local charity or non- profi t organization to s ee if they need
a band to p lay for a fu ndrais er or chari ty ben efi t.
P a g e | 121
Hiring Musicians
With a few gigs on the calend ar, the next step wou ld be to hire the
mu sicians for th e perfo rm ances. Yo u sh ou ld care fu lly conside r th e nu mber
of mu sicians you need to accomplish you r goa l. Don t get to o ma ny
musicians under the assumption that a fuller sound will be achieved. The
more peopl e you h ave in you r grou p, th e mo re pe rsona lities th e re wi ll be
to deal with, the hard er it wi ll be to coordinate schedu les, and the more
expensive it wi ll be to book. You want things to go as smoothly as possi ble
in the b eginning, so the fewer mu sicians there are to referee, the better.
You can alw ays get more mu sicians for bi gger gigs later on or when the
pay justifies it.
You cou ld search fo r bands and mu sicians in you r local area via
online classifieds like Band Mi x (http://www .bandmix.com) , Band &
Crew (http: //ww w.bandandc rew .com), C raigslist
(http://www.c raigs list.org/abou t/si tes), or on MySpac e and others, and
emai l them to see if they are interested in p laying in you r band or know
somebody who might be. On some social n etworkin g sites , you can search
by city and s tate, or even n arrow it down to a particu lar zip code. If you
find somebody you think you might be interested in, i t is always a good
idea to go to a gig and actu ally watc h them perform before offering them a
position in your band.
A n o t h e r w a y t o f i n d m u s i c i a n s i s to l o o k t h r o u g h t h e c l a s s i f i e d s o f
you r local free w eek ly pu blications and/or thei r associated w eb si tes . In
the music section of the classifieds you will find musicians who are
available and seeking gi gs . You can call them u p or email them and ask
them to send you a link where you can hear thei r performance alon g with
information on what gi gs theyve done (if any) . Once you ve n arrowed
down you r selection to a few can didates , try to set u p a meetin g (or
audition) where you actually talk to them face-to-face as well as hear
them play. Never tru st a recording of a mu sician withou t actu ally hearing
them play liv e in fron t of you or at a gi g.
You cou ld also place an ad in you r local free weekly or on Crai gslist,
etc ., looking for mu sicians. You can find these free weekli es in newspaper
stands and some coffeehou ses/cafes located arou nd town. Many of these
p u b l i c a t i o n s w i l l n o t c h a r g e y o u t o r u n a mu s i c i a n s w a n t e d a d . I f y o u
ru n one, be VERY specific as to wh at exac tly you are lookin g for. Exp lain
what type of mu sic you will be play ing and what type of instru mentali sts
or voc alis ts you need, as well as what you r bu dget is and the fact that y ou
are ju st setting u p th e band. Th is will na rrow down th e nu mber of peo pl e
who will respond.
You cou ld also s earch on-line for mu sicians referral services. Once
again, make su re you get p ackages or websi te links from mu sicians and
meet with them before you decide to hire them for you r band. Many of
these services wi ll be free to post and view classi fieds, bu t some of them
charge a fee. You cou ld also try calling recording s tu dios or placing fly ers
in mu sic stores, rehearsal stu dios, and other places where mu sicians hang
out. Descri be what you are looking for in terms of mu sical instru ments,
mu sicians style, and so on . Inclu de you r hotline nu mber or web site U RL
where mu sicians can find ou t more information abou t au ditions, positi ons
yet to be filled , di recti ons, etc .
Auditions
Take detailed notes at the auditions and when possible, tape each
mu sician (audio and video). You shou ld also make su re you ask a lot of
qu estions du ring the au dition.
Use these qu estions and any others you can think of to help you pick
the ri ght members for you r band .
A good way to save you rself some time after the au dition is to have
everybody c all a voicemai l hotline or visi t you r w eb site a w eek after the
audition for updates on who got selected. There you will have the n ames
and band positions of all the people who made it. You can then call only
the ones who made i t in ord er to giv e them in formation abou t the
meeting. That will save you from having to call or email all the other
people that didnt mak e it. If thei r names are not on the list, they will
know they didnt make i t and won t expec t any commu nication from you .
Another option is to create a rejection email template to send to
everyone th at didnt m ake th e cu t. Wh ich ever op tion you ch oose, make
su re you keep ALL th e names on file fo r fu tu re refe rence . You cou ld
always u se them in an emergency if one of you r mu sicians gets sick, qu its
the band , or c ant make i t to a gi g.
After you ve taken a look at and a listen to all the members that you
wou ld like t o h ave in you r band , yo u sh ou ld set u p a band m eetin g. Th is is
where everybody gets to meet all the other members of the band and
where you tell everybody what you r goals are.
Goals You shou ld tell peop le what you r short and long- term goals
are. For examp le, you r short- term goal may be to record some material
and get good paying gi gs arou nd town to create a bu zz. You r lon g-term
goal may be to either get a record deal or su ccessfu lly releas e you r own
record and tou r arou nd the cou ntry (or internationally). It is also cru cial
that you ask each of the band members what their short and long term
goals are.
If you have a seriou s conflic t in goals, now wou ld be the time to take
care of the issu es and either get on the same page or let the person go.
This agreement isnt w ri tten for what happens when every thing goes
rightit is wri tten for what happens when everything goes w ron g! It is
mu ch better to w rite this while ev erybody is s till respec tfu l and on good
terms than to try and figu re things ou t in the middle of a major band fi ght
or lawsuit.
The name of the band partnership (which can be the band name);
Each band members contribu tion ( money, equipmen t, expertise,
rehearsal space, recording space , web/graphic design, photography,
etc);
What each band member shou ld rec eive as a resu lt of su ch
contribu tion;
The natu re of the band ac tivities ( performances, merchandise, etc);
What other activiti es each band member can engage in ou tside of
this partn ership;
Who owns the band n ame and logo ( trademark/service mark)?
What happens to the band name and logo shou ld the band
partn ership dissolve?
Who owns the recordings of the band (the master sound recordings);
How are the son gwri ting du ties shared, and how are the son gw riting
and pu blishing royalties assign ed?
How do the mu sicians share in the bands profi ts and losses?
As you can see, things can get comp licated if you want to s et things
u p properly . You can tak e the abov e issu es and write u p a contrac t in you r
own words , and as lon g as you all agree with the terms and si gn the
docu ment, you will have a bindin g agreement.
Equipment issues This is where you ev alu ate the condi tion of
each members equ ipment. For example, what type of d ru m kit does the
dru mmer have? What is the condi tion of the bass p layers ri g? Do you
have a mixing board , monitors , ou tboard gear, microphones, and speak ers
to use at venues that dont have sound?
Song list This is where you discu ss and hopefu lly set the band
song list. A song list is literally a list of all the songs that you will be
playing as a band. A long with this song lis t shou ld be recordings of all the
songs so that each band member can listen to ( and even learn and chart)
their parts before the firs t rehearsal. If possible, have chord charts
available for mu sicians that can read them. If you are doing cover songs,
you sh ou ld h ave made a compil ati on of a ll th e songs f rom th e va ri ou s
sou rces for all the band members . If you are doing ori ginal songs , th en
you sh ou ld eith er h av e th em al re ad y writ ten o r be prep ared t o wri te th em
togeth e r as a band f rom sc ratch . If you are writin g from scratch you wou ld
need to set asid e the n ecessary time to w ri te.
Writing Sessions
As soon as you have finished the writin g proc ess, copy right the
materi al. This is bec au se many manu factu ring plants requ ire that y ou
provide p roof of son g / master ownership before they can agree to
manu factu re any CDs for you . Copyrightin g you r material is a good thing
to do anyway , ev en if you will on ly be recording son gs as singles for
downloadin g and dont ev er intend to manu fac tu re any CDs . Sometimes
bands break u p before ever getting a chance to releas e any produ ct, and if
the breaku p is messy it may not be possible to get everyone to agree as to
who wrote what and who qu alifies as a writer or pu blisher. The time to
deal wi th th is is now, wh en you are not only stil l on good te rms , bu t wh en
the songwri ting p rocess is still fresh and everyone can agree as to who
the wri ters on each of the songs are (even if its on ly one pe rson). Revi ew
the earlier chapter on Copyright basics, and then fill ou t the necessary
copyright forms online at the copyright office web site at
http://www.c opyri ght.gov .
Setting up Rehearsals
Rehearsing
Try and book space a few w eeks ahead of time so that all the band
members know the schedu le. Keep in mind the traffic and parki ng
conditions and dont schedule times that will prove to be inconvenien t for
some of the band members . Mos t rehears al spaces have cancellation
policies that you should find out about ahead of time.
Usu ally, you will h ave 24 - 48 h ours to cancel a time slo t th at you
previou sly booked or else get charged the rehears al fee. If you book time a
cou ple of weeks in advance, you will have time to coordinate the schedu le
with all the band members and still have the flexibili ty to c ancel the
session if you are u nable to get everyone together for a rehearsal. If,
however, you are having too mu ch trou ble c oordin ating the mu sicians
schedu les, book the date that most people can attend , and then fi gu re ou t
an extra rehearsal to get everybody else u p to speed. If you take the
advice offered earli er, you will have spoken to potenti al band members
about their schedules before hiring them, thereby minimizing the
frequency of scheduling conflicts.
Try and record you r rehears als , and then review the rec ordin g or
footage later in order to evalu ate how the rehearsals are progressi ng.
Sometimes magic al things happen du ring rehearsals that are u nplanned.
Once recorded , it is possible to add it into the repertoire at fu tu re
rehearsals. If you have a sou nd engineer who will be doin g most of you r
live mi xing (and/or recording), con sider inviting them to a few rehears als
so that they can familiarize themselves wi th you r sou nd and song ord er,
mu sical sections, instru mentation , etc. Once you feel that you have the
show pretty w ell rehearsed , ask th e engineer to come by and record one
full shows worth of music that y ou can mix down and make a mas ter
recording from. You can u se this to make copies or create EPKs to send to
promoters, venu es, bookin g agents , etc ., or even create a fu ll len gth live
CD/DVD for sale at gi gs or as downloads on you r web site.
Think abou t that phrase as you continu e throu gh the res t of the
manu al. Mu sic is the sou ndtrack of peoples lives, and i f you can w rite and
perform son gs that c onnect with people emotionally, they wi ll wan t to
listen to y ou r songs frequ ently an d mak e the mu sic part of thei r liv es.
Once that happens, y ou can fu rther moneti ze that relationship throu gh
live performances and merchandise sales, and partner with sponsors and
brands to reach consu mers throu gh mu sic.
If you need assistance raising fu nds for you r recordin g (or bu ilding
you r own stu dio), consider resou rces like Power Am p Music
(http://www.powerampmusic.com/), K ickstarter
(http://www.kickstarter.com), Slicethepie (http://www.sliceth epie.com/),
feed the muse (http://www.feedthem use.net/ ), ArtistShare
(http://www.artistshare.com), SellaB and (http://www.sellaband.com/), an d
others .
If you are interes ted in pu rchasing you r own gear to enable you to
record you r own projec ts, the learn ing cu rve is pretty steep (and beyond
the scope of this manual) , bu t doing so will allow you to record new
materi al any time you feel like. Keep in mind that u sing equ ipment and
softw are isnt something that ev eryone can do instinctively , and if it
doesnt come natu rally to you , you might be better off coming u p with a
bu dget each time you need to rec ord something or teaming u p with a
produ cer or somebody else who has access to a stu dio.
Also, you mi ght consider letting you r fans hear some of you r d emos
and gather feedback from them regarding which songs to record .
Providing a two-way conversati on abou t you r mu sic with them can help
cement the artist- fan relationship and bu ild a solid base of virtu al s treet
team members that you can activ ate later to sp read the w ord abou t you r
music.
While you are in recordin g mode, you might also w ant to consider
taking the time to record volu mes of ori ginal mu sic for sale on spec ial
occasions (e.g., Valentines day, Mothers /Fathers day, Birthda ys,
W e d d i n g s , e t c ) a n d P u b l i c D o m a i n ( P D ) C h r i s t m a s / H o l i d a y m u s i c fo r
Film/TV produ ction licensing pu rposes.
Make su re that the mu sic you record is ori ginal, or is in the pu blic
domain; and doesnt contain any un-cleared samples. Beginning you r
licensing efforts early is important becau se it generally takes s everal
months to rec eive royalty checks from your Performin g Rights
Organization after y ou r songs hav e been u sed in a p rodu ction.
If you dont hav e a produ cer assi gned to you r p rojec t, it can be
benefici al to have somebody els e presen t at the recordin g session who
knows the bands sou nd and can act as that third ear to help p rodu ce the
recording. This is becau se it is difficu lt to be su bjective abou t you r own
performances while you are in the process of recording. It is important to
have somebody whose opinion you respect ( like a co mpetent reco rd
producer or ano ther trus ted music ian) otherwise you will merely end u p
argu ing with each other over takes and wasting a lot of ti me in the stu dio.
The next step in the proc ess is mastering . This is where you
arran ge the songs into thei r correc t albu m order, apply final equ alizati on
and compression, perform any additional processing that is necessary to
achieve a p rofessional sou nd, remove excess noise from the recordi ng,
perform fade-ins and fade- ou ts, check for au dio anomalies , create a
u niform sou nd and volu me level from one song to the next, in sert
copyright, ISRC and UPC information into the son g files, and so on.
Wh eth er you ch oose to master you r songs after you mix th em will
depend largely on what you intend to do wi th the finished produ ct. If all
you are doin g is making a recordin g to send ou t to talent bu yers , book ing
agents, promoters, etc., then you can ju st make copi es after you r mi x and
send them ou t. If, as is rec ommended, you want to ac tu ally sell y ou r
produ ct or of fe r m aste rs fo r Fi lm /T V licensing pu rposes, th en you sh ou ld
go ahead and spend a little extra money mas tering you r recordings afte r
you mix them (even thoug h it is de batable whethe r or not a lis tener can
appreciate the mastering e fforts in ear buds, on laptop speakers , or out
of a smart phone).
If you wish to have an ISRC for you r songs (unique numbers that
identify each individua l song) , then you can do so by requ esting the
necessary info rm ation f rom th e agency in you r cou ntry of residen ce
(http://www.i fpi.org/conten t/s ection_resou rces /isrc _agencies .html).
If you have the money , now wou ld be the time to call arou nd and
decide which pu blicist and/or rad io promoter you want on you r team.
Some radio promoters also provid e pu blicity services. The reason you
sh ou ld contac t th em now (if you c h oose to pursue t his op tion) is th at t h ey
are u su ally interested in working with you on deciding wh ich songs to
service to radio (co llege , internet, satelli te), what promotional materi als
to manu factu re, where to rou te you r tou r, which distribu tion channels to
pu rsu e, etc. They u su ally prefer to consu lt with you before you pu t you r
package together so that they can make s ome su gges tions and allow you
time to make any changes . If you waited to contac t them u ntil afte r
designing you r artwork and record ing and manu factu ring you CD/DVD,
merchandise and p romotional materials, it w ou ld be too late to mak e any
correcti ons that are deemed nec essary . Of cou rse, you always have the
option to do things the w ay you want to, regard less of what a pu blicist or
promoter thinks.
If you intend to manu factu re you r p rodu cts, try and get a good
photographer to take some pictu res for y ou , as well as somebody who
knows abou t graphic design to desi gn you r CD and merchandise artwork
a n d l o g o s . A t t h i s s t a g e , y o u s h o u ld c o n s i d e r h a v i n g a l l t h e p h o t o g r a p h y
and graphic design work done for n ot only you r CD/DVD cov er (or digi tal
e-cover), but also for your website gallery images,
posters/postc ards/flyers images , and merchandise images (logo desi gn,
photog raphy, and graphic design for T-shirts , etc). The best way to fi nd
photographers is also to ask loc ally (o ther musicians, record stores,
recording studios, publicists , modeling agencies, local photography
schools, etc) , or search onlin e c lass ifieds like Craigs list and others . Make
su re you see the photographers p reviou s work and talk to them abou t
you r vision before hiring them for a shoot. Once again, make su re you
discu ss wh o owns th e copyrigh t on th e design or ph otograph ic mat eri als
produ ced.
CD Manufacturing
If you intend to manu factu re CDs or DVDs and plan on doing so for
a while (even though many artists and labels today are recording and
releasing single downloads only), you might consider getting a bar c ode
for you r comp any. Most distribu tors will requ ire you r produ cts to have
UPC codes on them, so keep that in mind as well if you intend to
distribu te you r CDs to retail (as opposed to only selling down loads on
your own site).
If interested, you can begin the process by visiting the GS1 US site
and applying for a bar code for your company here
(http://www.gs 1u s.org/joinpc). There is an annu al membership fee that
you will need to pay , which is determined by the nu mber of u niqu e
produ cts you need to identi fy an d you r companys gross annu al sales
rev enu e, so on ly get one if you plan on manu factu ring several releases .
When it comes to manu factu ring you r finished produ ct, you will have
to shop arou nd and allow plenty of time before schedu ling a release /
listening party or annou ncing a street (release) date for you r produ ct. Its
not u nu su al fo r problems to occu r du ring the manu factu rin g proc ess and
you ll need extra ti me to correct problems that mi ght occu r. P roblems
ran ge anywhere from the company taking longer than promis ed to d eliv er
the produ ct, to them prin ting th e wron g materials or qu antities and
shipping packages to the wrong ad dress . Make su re you shop arou nd for
differen t manu factu rers and, when possible, ask other people who h ave
worked with the manu factu rer how their proj ect tu rned ou t.
Since most people now adays prefer to pu rchase (if at a ll) down loads
i n s t e a d o f C D s , y o u m i g h t c o n s i d er o f f e r i n g m u s i c d o w n l o a d c a r d s f r o m
companies lik e FizzKicks (http://w ww.fizzkicks.com), or Dropca rds
(http://www.d ropc ards .com) and others; or consider c reating delu xe
produ cts (like custom USB produ cts -
http://www.cu stomu sb.com/mu sic.html) out of the materials you are
manu factu ring. Delu xe p rodu cts cou ld also inclu de bonu s material in the
form of addi tional songs and/or videos, enhanced packaging/artwork,
bonu s merchandise (e.g. pos ter, t-s hirt) , exclu sive recordings , or CD/DVD
combos. Thinking abou t these items now will enable you to manu factu re
all the produ cts at the same time and inclu de them all as part of you r
initial release. You can also take these items with you to sell at shows and
earn extra income.
You can search on line for manu fac tu rers or pick u p a con tact
directory from Billboard (http://www.orderbillboard.com). Your local free
weekly sometimes co ntains advertising from manufacturing plants. The
Musician s Atlas (http://www.musiciansatlas.com) is also a source for
contact information that includes manufacturers. Some popular manufacturing
options include Disc Makers (http:// www.discmakers.com/), Oasis Disc
Manufacturing (http://www.oas isc d.com/), Crystal Clear Media Group
(http://www.crystalclearcds.com/), and others.
Dont nec essarily make a d ecision based en tirely on the p rices you
see, bec au se some of these p rices dont inclu de everything that you migh t
need. Manu factu rers sometimes pu t low p rices in their advertisin g in
order to get you to commi t, and then hit you with extras. Asking arou nd
and getting referrals is sti ll the best way to go abou t finding a su itable
vendor. You mi ght also consider making a short ru n ord er (of perhaps 100
or so CDs) and printin g you r inserts and j-cards from a manu factu rer,
and then pu rchasing CD cas es separately.
Some manu fac tu rers also offer graphic design services. This can be
of help in terms of one-s top shopping. They can also offer lower costs for
the desi gn in consideration of y ou using them to manu factu re. This
u su ally works ou t ok ay, so i f you dont have too mu ch time or mon ey, you
can look into this option.
Once you rec eive y ou r CDs from the manu factu ring plan t and
release them for sale, you may also want to track you r s ales by registeri ng
you r titles wi th Nielsen SoundScan (http://en-
u s.nielsen.com/tab/indu stries /medi a/entertainmen t).
Merchandise
You can manu factu re a minimu m set of i tems (e.g. t-shirts) from
companies lik e Sell Merch (http://www.sellmerch.com/) , Zazzle
(http://www.zazzle.com) , or Extra Mile Merch
(http://www.extrami lemerch.com/) and others. You cou ld also u se
services like CafePress (http: //w w w.cafep ress .com) to c reate and sell t-
shirts with li ttle u pfront cos t, althou gh the qu ality of the merchandise
may be of sli ghtly lower caliber than those offered by some of the other
vendors .
The battle rages on abou t when exactly CDs will become obsolete,
with some s aying they already hav e become so and others s aying that it
will happen wi thin the next 3-5 years. In the meantime, many people are
still bu ying CDs , even if at lower levels than in the past. The choice is
you rs as to whether or not you want to manu fac tu re CDs at all or j u st
stick to recording individual songs (singles) for di gital down load
pu rposes.
With some fans fi rmly in the dow nload camp while others stick to
the old school world of physical CDs, i t mi ght be wise (a t leas t for the
time being and depending on the style of music you
write /record /perform) to offer as many options as financially possible for
you r fans of all ages to pu rchase you r mu sic. Another thing to k eep in
mind is that many college radio stations (fo r those o f you pursuing ra dio
airplay) still p refer physical CDs to be submitted for airplay
consideration over mp3s and download links . This may change in the
fu tu re, bu t is gen erally sti ll the c as e as of this writin g.
Do not set you r release date u ntil AFTER you have receiv ed you r
produ ct from the manu fac tu rer. Once you have the produ ct actu ally in
you r hands, you need to give you rself enou gh time to effectiv ely pro mote
th e releas e, plan and sch edu le you r release / lis tening party , send ou t
packages to you r radio / medi a / retai l / indu stry contac ts, and book
sh ows for you r band . Th is u su ally me ans you sh ou ld set a re le ase d ate
abou t six to ei ght weeks after you r CDs arriv e at you r door. In that time,
you sh ou ld h ave all th e ite ms you need fo r you r packages alon g with al l
the directories you need for you r contact in formation.
Now th at you h ave you r band togeth er, you sh ou ld immediate ly be gin
t o p u t t o g e t h e r y o u r m a i l i n g l i s t . I n f o r m a t i o n y o u c o l l e c t s h o u l d i n c lu d e
at least the persons name and e-mail add ress . It is sometimes a good id ea
to also inclu de a phone nu mber and a space for commen ts. If you can
collect a zip code as well, that wou ld be helpfu l in terms of gig or tou r
promo tion since you can target fans within specific geo graphical loc atio ns
for each show. Get each of the band members to contact all the p eople
they know and add them to the mailing list.
Once you have the beginnings of you r mailing list started , you
sh ou ld make an on-goin g ef fo rt t o add names to it . Use socia l netwo rk ing
campai gns to expand you r circ le of fri ends and fans . Everywhere you go
offline, mention to peop le the fact that you have a band and a CD coming
ou t. If they exp ress any interes t whatsoever, offer to add their names to
the mailing list so that you can keep them updated about shows and
merchandise and CD avai labi lity . This applies whether you are at the
grocery store, coffee shop, office bu ilding, ball game, or anywhere else.
C r e a t e a m e t h o d w h e r e y o u c a n qu i c k l y a n d e a s i l y a d d s o m e o n e s n a m e
and emai l add ress to the lis t. If you have the capabi liti es to do so on you r
website, offer you r fans some of you r songs (streamed or downloaded) in
exchange for their email add ress .
It is gen erally easier to get an e-mail add ress from someone you ve
ju st met than a phone nu mber. Most peop le feel that e- mails are less
intru sive on their privacy than phone calls. H aving a lot of names on y ou r
mailin g list is not only imp ressive to talent bu yers, v enu e bookers, labels,
etc ., bu t is also the easiest way for you to promote you r firs t show and get
people to attend . If all the band members make this an ongoing effort, you
sh ou ld be a bl e to add two o r th re e names to you r m ailing list eve ry d ay.
Th is wou ld amou nt to sixty to eigh ty new names a month , even if you
arent doing any gigs .
If you dont have a system of you r own for collecting fan data and
sending ou t emails , you cou ld try solu tions like FanReach
(http://www.reverbnation.c om/fan reach), FanBridge
(http://www.fanbrid ge.com/) , Ban d Letter
(http://www.bandletter.com/) , and others .
Before you begin you r ou treach campai gn, mak e su re that you ve
created a Media area on you r site that provides access to a di gital media
kit or electronic press kit (EPK). E ven thou gh this area is designated as a
media a rea , you sh ou ld make it ac cessible to oth e r peop le th a t mi gh t be
interested in the information , inclu ding potential sponsors and brand
partn ers , concert promoters and talen t bu yers , etc. Alternativ ely , y ou
cou ld create sev eral differen t areas for each interes ted p arty to enter, bu t
have them access the assets (e.g., music, photos , biographical
informa tion, etc) from a common area.
P a g e | 150
Physical Kits
For the occasions where a physical kit is requ ested , there are some
basic items that you should have available at all times for presentation.
As we go ov er this list, reali ze that not all of these items go into every kit,
or are app ropri ate for every occasion. Generally speaking, less is more; so
c a r e f u l l y c u s t o m i z e y o u r k i t f o r e a c h r e c i p i e n t w i t h t h e m i n i m u m n u mb e r
of items p rovided that are necessary to s atisfy the needs of the recipient.
In the case of an Electronic Press Kit, many of the i tems desc ribed
below can be presented in a section of you r website or generated in the
form of a PDF docu ment. If you plan to send physical packages , here are
some of the items you might inclu de, depending on the circu mstan ces
(and carefully following the in structions provided to you by the
recipient):
Cover letter For occasions where a cov er letter is requ ired, make
you rself some band stationary (le tterhead, business cards, envelopes)
u tilizing you r band logo that can be u sed for bu siness corresponden ce.
When requ ired, you r cover letter will basic ally describe what you have
sent, why you have sent it (e .g. fo r booking consideration, for a possi ble
review, for money from a sponsor, etc) , a brief breakdown of any
important informati on (e.g. u pcomi ng release party, i mportant showcase,
etc), you r contac t information (where you can be reached), and a notice
of when you will follow up.
M u s i c W h e n s e n d i n g mu s i c i n a p h y s i c a l p r e s s k i t , c a r e f u l l y f o l l o w
the instru ctions provided by the recipient. If the recipient requ ests a
manu factu red CD complete with artwork and liner notes , dont send in a
CD-R d emo or links to mp3s; and vice vers a. In addition , you r best 3
songs from the CD shou ld also be u ploaded to you r EPK for revi ew or
download.
Photo If you are sending someone a kit in the mai l, the indu stry
standard for photographs is 8 x 10, black & white, glossy photographs. Of
cou rse, i f you have an on line EPK , the pictu res will be in the form of high-
resolu tion JPEGs. If you are a band, you will need a photo of the entire
band. If you are a solo artist with band members / mu sicians that are
h ired gu ns, th en you sh ou ld h ave a pictu re of ju st you rself . It is alw a ys
a good idea to have two types of photos taken that cater to the needs of
the recipient. One type is the studio or location shot, which is basically a
set of posed photos of the band in a photo studio or out at some location
(indoors or outdoors). The other type is the live shot, which is a set of
photos of the band perfo rmin g liv e, p referably in front of enthu siastic
fans. Regard less of the type of photo you create and send, mak e su re that
the personali ty of the band or artist comes throu gh in the pictu re.
Topics that indu stry people find interesting in you r bio inclu de
famou s produ cers you ve worked wi th, gu est appearanc es or du ets on the
recording, famou s family members you might have, major deals you v e
signed, tou rs that you ve been on , college or commerci al radio airp lay
you ve receiv ed, artic les that hav e been wri tten abou t you in major
publications, famous songwriters involved in the recordin g, film
sou ndtracks to you r credit, intern et bu zz you ve receiv ed, sponsors or
brand partn ers you ve sign ed with, etc . If you dont have a lot of c redi ts,
you sh ou ld inclu de informa tion ab ou t th e stre et d at e and /or avai la bilit y
of you r produ cts, where you re from, what sty le of mu sic you perform,
you r backgrou nd or the back grou nd of the band members, etc . The bio
that you send to industry people need not be the same as the one you
pu t on you r website for you r fans to read .
You may write the bio you rself i f you have a way with words. If not,
there are several op tions you can look into. You can pay someone ( like
Dan Kimp el - http://www .dankimp el.com/) to wri te a bio for you . Another
option is to call y ou r local college radio s tation, newsp aper, or televis ion
station and ask if they can recommend a writer. Many of these individuals
are making their w ay u p the ladd er and may be wi llin g to w rite artic les or
biographies for little or no money . Dont bother c alling a major radio
station or newspaper, thou gh. They barely have time to respond to
legitimate news articles and are bu sy trying to meet d ead lines. Y ou cou ld
also try talking to a stu dent who is attending some type of jou rnali sm
cou rse. Of cou rse, you cou ld also ask other mu sicians who they wou ld
recommend .
Quote sheet Not ev ery mu sician has a qu ote sheet, bu t if you can
put one together it would add to the package. This is basically a collection
of qu otes from revi ewers, editors , promoters, radio personnel, writers,
etc ., which are collected and condensed onto one page. If you dont have
revi ews o r qu otes , you shou ld consider u sing resou rces like Re view Y ou
(http://www.reviewyou .com/) , the Indie Contact Bible
(http://www.indiebible.c om/), and others to get a few qu otes together for
media kit pu rposes . If you get a revi ew or qu ote, you dont hav e to inclu de
the entire qu ote. Ju st tak e the best part of the qu ote and credi t the person
who made it. For example:
If you can manage to get 5-7 of these together you cou ld pu t them all
on one 8 1/2 x 11 sheet of paper. As with every thing else, you shou ld
inclu de you r band name. Pu t Qu ote sh eet as th e h eading, and inclu de
you r mailing add ress, con tact name, phone nu mber, fax nu mber, e-mail
address , and web page URL ac ross the bottom.
Y o u c a n th e n g l u e o r s c o t c h - t a p e t h e s e c l i p p i n g s o n t o a s h e e t o f
plain white paper. Ti tle the page press c lippings. A t that poin t, you can
make ph otocopies f rom th e mas t er and inclu de th e copies in you r
package or sc an them for you r EP K. Dont pu t too many clippings on a
sheet, and dont pu t too many sheets in you r package ei ther. If at all
possible, try and fit them all on one page, and inclu de only the most
impressive featu res . Ju st like qu ote sheets, if you dont have any fabu lou s
fea tu res , don t inclu de any at a l l. Bu t if you do, inclu de you r mail ing
address , con tac t name, phone nu mber, e-mail add ress, and web site URL
across the bottom.
Lyric sheets Only include these if specifically asked for them. For
example, you may be asked to prov ide lyric sheets for you r songs if y ou
are sending a pack age ou t to a mu sic pu blisher or a talen t bu yer for a
charity ev ent; or even i f you are sending a mu sic video ou t to a television
or intern et s tation for potenti al ai rplay. It is possible that a venu e might
ask for lyric sheets to see if they are interested in booking you r type of
band or not. In any case, hav e them handy in the even t you are asked . Y ou
cou ld also h ave you r lyrics av aila bl e on you r web site wh ere you can point
people to.
You will also need to be consistent and persistent with you r efforts
over a pe riod of time t o ach ieve resu lts. With all th is in mind, you sh ou ld
begin promoting you r band and rec ordings long before you r firs t gi g and
even before any official release d ate. This is becau se it takes people a
while to warm u p to something they ve never heard before.
Mainstream radio is sti ll the nu mber one way in which most people
find ou t abou t mu sic, and it influ ences them to then go on line to find ou t
more abou t what they ve heard, wh at that artist is u p to, and what other
people are s aying abou t the mu sic they have heard. People also respond to
mu sic recommendations made to them by people that they lik e, know,
respec t, or tru st (i .e., friends , family members, associa tes and
acquaintances, and people within their networking circles).
Since you will most lik ely not ac hieve the airp lay satu ration on
mainstream radio thats necessary to make y ou rself well-known to the
general pu blic, encou raging word- of-mou th recommendations from you r
fans and positioning you rself to benefi t from chance encou nters will be
the way that most peop le find out about you. That means that you will
have to be in as many places as possible in ord er to increase that
likelihood that somebody bu mps into you or you r profi le somewhere, and
then ends up tellin g someon e else about you and pu rchasing CDs ,
downloads , show tick ets , and merchandise.
Social Networking
Consider hobbies or speci al in terests that you may have, and then
find networks that allow you to soci alize with like- minded people to wh om
you can display you r mu sical skills and tal ents. Th e re a re doz ens of
special interest social networks you can find . For examp le, Acti on Profi les
(http://www.actionp rofi les .com/) is a social networking commu nity for
action sports enthusiasts. PatientsLikeMe
(http://www.p ati entslik eme.com/) is a commu nity of patients, doctors
and organizations to inspire and empower persons with life-changing
diseases, and so on. Use services like Simler (http://simler.com/) , Ni ng
(http://www.nin g.com/) or Twine ( http://www.twine.com/) and others to
discover in formation arou nd you r interests , and then connect with lik e-
m i n d e d p e o p l e t h a t c a n b e c o m e f a n s a n d bu y e r s o f y o u r mu s i c , t i c k e t s ,
and merchandise.
Y o u c a n u s e t h e d a t a c o l l e c t e d b y t h e s e s i t e s i n f u tu r e n e g o t i a t i o n s
and dealings with venu e/talen t bookers, promoters, brand p artn ers ,
labels , sponsors, etc .
Keep in mind that social networki ng, done effec tively, is not abou t
sellin g. The ri ght cou rse of acti on is to spend time investin g in the
re la tionsh ip between you and you r potenti al f ans so th at th e re la tionsh ip
can be moneti zed later. Treat people in social networkin g circles they
same way you wou ld treat them if you met them at a bar, restau rant,
nightclu b, library , caf, groc ery store, etc. In those instances, you
wou ldnt lau nch into a high-pressu re produ ct sales pitch, so dont do that
while in social networking ci rcles. If you do, you ll tu rn people off and
end u p with few follow ers or fri ends. Instead , paint a pictu re of you rself
by being interesting, en tertaining, inspiring, or edu cational (depending
on your personality); contribu tin g meaningfu lly to conversations; and
providing something for other peop le in the network to gravi tate to.
While netw orkin g, you can occasionally mak e reference to the fac t
that something interes ting happened at a show, or offer some other
conversation-generating tit-bi t that will tu rn the conversation towards
you r mu sic. Keep in mind that w hile you are conv ersin g you are also
mark etin g and branding you rself. Interact with people in social
networking ci rcles in ways that make them feel part of a two-way
conversation and action (like running contests or suggesting meet-ups at
interesting places). Show your p ersonality by sharing photos u sing
services like Twitpic (http://www.twitpic.c om/) or DailyBooth
(http://www.d ailybooth.c om/) and others; and images and video u sing
services like yfrog (http: //www.y frog.com/) and others . Once you begin
to attrac t a bas e of fri ends and followers , open u p a two-way dialogu e and
interact with them frequ ently.
Once you get you r soci al netw orkin g campai gn u nder w ay, research
variou s methods of s treamlining you r campai gn by u tilizin g resou rces like
the Involver Social Marketing Suite
(http://involver.com/gallery .html) and others.
Word-of-mouth
Engage you r fans to p lay leading roles in you r virtu al street team.
Encou rage them to spread the word abou t you r mu sic to their circ le of
fri ends, fami ly members , and associ ates . Remember that each one of these
fri ends, fami ly members and assoc iates hav e thei r own larger circ le of
fri ends, family members and associates, all of whom tru st
recommendations made from within the circ le. This effort can generate a
more loyal fo llowing than can be do ne fro m simply pu shing propaganda on
foru ms, blogs , social networks, etc . Give you r fans instru ctions on what to
say abou t you r produ ct availabi lity and shows, while at the same ti me
listening to what they have to say and collectin g feedback on what they
are hearin g from people in terms of fav ori te son gs, opinions of liv e show
performances , su ggestions for new recordin gs or p rodu cts, etc .
Have a two-way convers ation with you r fans and u se them as focu s
grou ps. Withou t being too pu shy, try to get some demo graphic data from
them (e.g., age, loca tion by zip co de, gender, etc) in order to cu stomize
you r mailin g list ou treach.
Blogs
As with everything else, read some of the blog archives to get a sense
of an individu al bloggers likes an d dislikes before reaching ou t to them
about your music. If they live in your area, invite them to a show and
offer to pu t them on the gu est list and p rovide them wi th some d ri nk
tickets.
Allowin g some free low er qu ali ty downloads offers the listener the
opportu nity to enjoy you r mu sic anywhere they have the ability to p lay
mp3s even when they dont have access to the internet to hear the
streams on y ou r site. You dont nec essari ly have to offer them all of y ou r
songs, bu t the offer shou ld allow you r fans (for a limited time) the ability
to down load mp3s from you r site, not ju st to listen to free son g s treams
or hear 30 sec ond song samples . If possible, c reate a system where you
collect p eoples email addresses in exchange for access to the s ong
downloads area of you r website so that you can send ou t gig informati on
and other news (Bandcamp, men tioned above, allows you to do this).
Locate websi tes of charities , individu als and companies that have
produ cts or services that cater to p eople that are of similar d emographics
to you r fans. When you find a site that is su itable, contact the owner and
inqu ire as to whether they wou ld be interested in incorporatin g a mu sic
player into their si te that will allow visitors to play (and/o r e ven
download) you r song (or some songs). Inform the owner that doing this
will not cos t them or thei r visitors anything, and that the mu sic will be a
nice fit for the type of people that visit the site. You can then have them
(or their webmas ter) add a player similar to one of the Reverbnation
widget players (http://www .reverbn ation .com/main /widgets _overview) to
their site. Dont worry abou t moneti zing the mu sic directly from thei r w eb
site. If peop le lik e the mu sic, they will have all the necess ary information
from the song description metatags to get to you r site and make a
pu rchase or sign u p to you r mai ling list. Make su re that the son gs have
the correc t tags (artis t name, song name, album title , keywords , U RL)
and inclu de you r pictu re. Y ou can allow p eople to ju st stream the s ong
from the play er, or enable them to d ownload the son g.
Some of the listed music pools are no longer in business, but once
you ve located a u seable list you shou ld gather the addresses and phone
nu mbers of all the record pools in you r promotion region. The preferred
approach is to send a copy of the song (CD, vinyl, or mp3, depending on
the pool) alon g with a response / bou nce back card to the record p ool
director to see i f you r mu sic is something that wou ld be app rop riate for
their record pool. If it is su itable, they wou ld then send back the response
card (o r call / e mail you back) and instru ct you to send enou gh prod u ct
for all their members to be serviced. Each pool may have anywhere from
50 to 200 members, so you wou ld have to have enou gh promotional
produ ct to service all the pools in you r area. If you r songs are not su itable
or i f you r produ ct isnt avai lable i n their preferred format, they wou ld
send back the response c ard or c all/emai l you to let you know that you r
mu sic is not a good fit for their pool.
Now that you have material that is recorded (and more i mportantly,
mixed and mastered), you shou ld pu t aside some time to res earch places
to su bmit you r material for licensi ng in Film, TV, Advertising agenci es,
Games, etc . It tak es many months for the resu lts of you r licensing efforts
to pay off, so the sooner you begin the process, the soon er you will s tart
to see the checks. The details of music licensing are beyond the scope of
this e-book, bu t you can find ou t mu ch of the information from man y of
the mu sic library websi tes as you condu ct you r research.
If you have the right material, you stand to potentially earn tens of
t h o u s a n d s o f d o l l a r s a y e a r f r o m t h e u s e o f y o u r mu s i c i n a v a r i e t y o f
produ ctions and formats . A good place to begin researching places to
submit you r material is the Music Library Report
(http://mu siclibrary report.com/) . There you can find u sers revi ews of the
differen t mu sic libraries before deciding where to su bmit you r material.
You can also pick up a copy of the F ilm & Tele vision Music Guide from
the Mu sic Registry (http: //ww w.mu sicregistry.com/) .
You can also license mu sic to u sers directly from you r own websi te
u sing services like LicenseQuote (http://www.licensequ ote.c om/) and
others , or p rogram you r own solu tion that enables you to do so. Before
you su bmit you r material to mu sic li braries , howev er, dont forget to
copyright all you r material (http: //www.copy right.gov) and affili ate wi th
a performing rights organization of your choice (e.g.,
http://www.bmi .com, http: //www .ascap.com, etc) as both a w ri ter and a
pu blisher member, as well as Sou nd Exchange
(http://www.s ou ndexchange.com) as a recording artis t / sou nd recordi ng
copyright owner.
You dont have to pu rchase all these items for you r camp aign , or
even all of them ri ght away, d epending on what type of mu sic you
write/rec ord and what bu dget you have available. The thing to keep in
mind, however, is that if nobody knows about you or your product, how
can they possibly decid e i f they li ke it enou gh to bu y it? You mu st find
ways to promote you r i mage and you r produ ct to the p eople on the street
as well as online. A lso, retail stores like to know that you are finding
differen t ways to promote the CDs that you are asking them to carry on
consignment.
There are many places that offer these items and the fi rst place you
sh ou ld ch eck is on-line . Si tes like D ropcards
(http://www.d ropc ards .com/) , FizzKicks (http://ww w.fizzkicks.com/)
and DiscRevolt (http://www .discrevolt.com/) offer mu sic download
cards that you can u se ei ther as p romotional giveaways or as w ays to sell
downloads . Services like CustomU SB
(http://www.cu stomu sb.com/mu sic.html) en able you to create cu stom
USB mu sic produ cts that you can sell to you r fans or u se as p romotional
giveaways to vi rtu al street team members and /or su bscription members .
You can also manu factu re a minimu m set of merchandise items ( e.g.
t-shirts, etc.) from companies like Sell Merch
(http://www.s ellmerch.com/) , Za zzle (http://www .zazzle.c om) , or Ext ra
Mile Merch (http://www .extramilemerch.c om/) that can be u sed for
promotional giveaways as well as made avai lable for s ale at you r website
or merchandise tables at you r gi g. Y ou cou ld also u se servic es lik e
CafePress (http://www .cafep ress.c om) to create and sell t-shirts with
little u pfront cost in ord er to fi gu re ou t which designs sell before ord ering
a minimu m ru n from the other si tes for sale from you r website or at gi gs .
Subscription Area
If y ou dont have a pu blicist w ork ing for you , now is the time to
contact or send ou t press packages to the medi a in order to attemp t to get
some revi ews, intervi ews, or articles. The reason to s tart early is that the
media operates on set schedu les and deadlines . You cant ju st send a
package and expec t to have an article w ritten the same day it arri ves
there. Ev en if you get one w ritten, it will tak e a while before a review or
article appears in print. So start the media ou treach process early and
attempt to have a bu zz c reated by the time you r performances begin and
you release y ou r CD/DVD.
If you are handling pu blicity you rself, you can u tilize services lik e
The Virtu al Pu blicist (http://www .thevirtu alpu blicist.com) or resou rc es
like the Indie Contact Bible (http: //w ww.indiebible.c om/) and others to
make the job of finding indie-frien dly medi a ou tlets and contacts easi er.
The main pu rpose of s ending you r packages to the media is to pu blicize
you r reco rd rel ease / st re et da te , alon g with any sh ows you may have
coming u p. You sh ou ld h ave already set th e rel eas e date by now (if you are
releasing physical CDs/DVDs).
Always check what the submission policies are, and to whom you
sh ou ld send you r media packet . N ot ice if a pu blication w rit es revi ews, a nd
if so, who gen erally w rites these reviews. If you send a package ou t to an
entertainment editor, for examp le, you may have to follow u p before any
revi ew or artic le is w ritten. The thing to remember is that the bigger the
publication, the less likely it is that you will actually get a review or
article w ritten . Start with the smaller, more independent pu blications and
web sites where your response will be better. In addition, most
pu blications fill thei r space wi th advertising fi rst, and then fill the left-
over space with news , articles , revi ews, etc .
Sponsors and brand partn ers in particu lar like to know what type of
mark etin g and promotion efforts you have u ndertaken previou sly, and
what strategies worked or didnt work so that they know how to move
forward with you r p rojec t if they choose to sign you .
If you ve paid attenti on to the mu sic scene in you r region (or any
other region , for that ma tte r), you ve no dou bt noticed the abu ndance of
m u s i c i a n s i n t h e mu s i c a l j u n g l e o u t t h e r e . C h a n c e s a r e , w i t h a c o m p u t e r , a
microphone and s ome cracked softw are, you r next d oor nei ghbor is
probably w orkin g on a hit record i n their bed room ri ght now .
With all the ac tivity going on , how does one break throu gh the
clu tter and bu ild a large enou gh fan base to mak e a mu sic career
w o r t h w h i l e ? I n o u r z e a l t o e m b r a c e t h e m u s i c bu s i n e s s 2 . 0 m o d e l s , w e
have lost app reciation for some of the old-school pu blicity methods that
worked so w ell fo r so m any mu sicians for so long. Good , old- fash ioned
articles and interviews seem like old dinosau rs to tod ays independ ent
musician community, yet even with the gloomy economy and the scuttling
of some once- venerable pu blications, there has n ever been a time when
su ch a variety o f pu blications (bo th in print and on the web) existed in
su ch large nu mbers .
So, the qu estion on most mu sicians minds is: how exactly do I get
an article or s tory written about me?
P a g e | 176
Following are some steps for you to follow in your quest for
coverage:
The firs t s tep is to find a story an gle of in terest abou t you rself
(if you are a self-managed artist) or you r clien t (if you are a
manager). Consider something other than your music for an
angle. For example, aside from bei ng a mu sician, perhaps you
are also an exp eri enced diver, or have su rvived a hu nting
accident, or operate a graphic design bu siness from a tree
house, or are seekin g financin g in an economic d owntu rn, or
are an expert in a specific area, or have overcome a medic al
condition, or have been the victi m of a work-at-home sc am, or
traveled to 40 cou ntries in 40 d ays, or any other angle you can
think of.
The next step is to si gn u p for servic es lik e epresspass
(http://epresspass.com/) , or Help-a-Reporter-Out
(http://www.helpareporter.com/) , and others that alert you to
Jou rnalis t Requ ests. In the s ame way that compani es pu t ou t
classified ads looking for employees, jou rnalists put out
requ ests for su bjects for stories they are working on for thei r
newspaper, publication , website, TV station , or Radio station .
These requ ests inclu de a description of the type of person they
are interested in as a su bject, th e type of artic le they are
writin g or in terview they are condu cting, their contact
information , and the deadline for receivin g the n ecessary
inform ation . Th is is wh ere you h ave a ch ance to match u p you r
story with a jou rnalist looking to wri te abou t i t. Remember,
thou gh, that ju st like James Frey discovered on the Oprah
Winfrey show, it doesn t p ay to li e abou t you r story.
While peru sing the listings , look for as many jou rnalist
requ ests as specific ally apply to you r story, and then carefu lly
follow the di recti ons as requ ested by the jou rnalis t.
Even thou gh you or you r client has a lot in common with other
mu sicians, th e re ason wh y you sh ou ld th ink of angl es u nrel at ed to y ou r
mu sic is that mu sic pu blications are largely interested in w ri ting abou t
major label artists and mu sicians, so you r chances of gettin g articles or
s t o r i e s w r i t t e n i n m a j o r m u s i c p u b li c a t i o n s a r e s l i m t o n o n e . T h i s d o e s n t
mean, however, that you s h o u ld ignore jou rnalist requests that
s p e c i f i c a l l y a s k f o r m u s i c i a n s u b j ec t s , s i n c e t h e s e p r e s e n t o p p o r t u n i t i e s
for the exc eptions to the ru les .
As with most musicians, your music sales will take place initially and
mainly at gigs and/or from you r w ebsite and other sites s erviced by you r
distribu tor. As an immediate solu ti on, you can arran ge it so that people
c a n b u y au t o g r a p h e d p r o d u c t s d i r e c t l y f r o m y o u r w e b s i t e u s i n g s e r v i c e s
like PayPa l (http: //www .paypal.com) and others for a low er price than
from other sites ( for example, $8 -$10).
If you have an acc ou nt registered , y ou can also s ell mu sic direc tly
from you r Facebook accou nt u sing Nimbits Mystore
(http://www.nimbit.com/mystore). In addi tion to offerin g mu sic for sale
on your website, you should look into companies like TuneCore
(http://www.tu necore.com), The Orchard (http://www .theorchard .com),
ioda (http://www .iod alliance.com) , CD Baby (http://www .cdbaby.c om) ,
RouteNote (http://rou tenote.com/), and others for digi tal distribu tion
since most p eople prefer to make pu rchases from iTu nes and Amazon , etc.,
than from an individu al artis ts website.
Other options for di gital dis tribu tion inclu de Universal Moto wn
Republic Groups http://www .u nimodigitaldis tri bu tion.com/ and
http://www.repu blicdd.com/, Is land Def Jam Music Groups
http://www.idj firs tlook.com/, and Interscope/Geffen/A&Ms
http://www.in terscopedi gitaldistribu tion.com/ (all powered by
TuneCore).
P a g e | 179
These distribu tors wi ll handle all the secu red c redi t card order
taking and fu lfi llment for y ou . They will issu e checks for CDs and
downloads bi-mon thly, monthly or qu arterly (depending on who you sign
up with) for all sales that tak e place in the previou s month or qu arter.
Make su re you read the contracts c arefu lly beforehand since some of the
abovemention ed sites offer exclu sive services , which means that you can
only sign wi th them for all of you r online mu sic distribu tion.
Consignment
Not all record s tores accep t independent produ cts for consi gnment.
Most mom-and-pop stores wi ll acc ommodate this arrangemen t, bu t most
of the larger chain stores on ly acc ept produ ct from real dis tri bu tors . The
normal way to get you r CDs in national chain stores is to go throu gh a
distribu to r wh o h as an accou nt with th e store . Som e ch ain stores o nly
order p rodu ct from thei r corporate headqu arters . It d oesnt hu rt to try
asking a manager at a major retai l chain ou tlet (e .g., Barnes & Nob le,
Borders Books & Music, etc) abou t consignment, as some stores in you r
area mi ght be wi llin g to take a chance. Most likely , however, you will be
told that thei r corporate policy is to not accept consi gnmen t produ ct from
independent artists . Getting real distribu tion is bes t left to labels that
have mu ltiple artists on their ros ter, a su bstantial marketing bu dget,
retai l exp eri ence, predic table s ales, and a sales track record . One way to
get you r produ ct distribu ted nationally even withou t a track record is to
find an independent rec ord label that has national distribu tion and shop
your CD to them. If interested, they will license your record and
distribu te i t throu gh their distri bu tor to the retail stores. In these
instances it still helps if you have some mon ey to contribu te to the
mark etin g since this will help your projec t gain traction amon g all the
other labels releases .
Start off by pu tting together a lis t of retai l accou nts that you wou ld
like to h ave you r produ ct in. You can u se a directo ry like Th e Mu sicians
Atlas (http://www .mu siciansatlas.com/) and The Musicians Guide to
Tou ring and Promotion (http://w ww.orderbi llboard .com/) or resou rces
like Mu sic Arsenal (http://www .mu sicarsenal.com/) and others for a list
of stores that take p rodu ct on consignment. You shou ld also consider n on-
mu sic retail stores for consignment consideration (depending on the style
of mu sic you write/perform) , inclu ding, for example, new age stores
(http://www.n ewagedi rec tory.com/) , tattoo parlors
(http://www.everytattoo.com/tattooparlors .shtml), su rf shops
(http://www.su rfline.com/su rfology /su rfshops.cfm) , art galleri es,
chu rches and Christian bookstores , etc . You can also driv e arou nd you r
local area and stop by every mom and pop record store (or sp ecialty
store th at p lays o r wou ld be inte rested in playin g mu sic in you r gen re)
that you come ac ross and ask them i f they tak e CDs on consignment.
If you are getting any radio airp lay (particularly co llege and non-
commercial) , ask the radio stations that are su pporting y ou r mu sic to
recommend retai l s tores where you can pu t you r CDs in . You can also ask
them for the name of the parti cular buyer (independent buyer or
consignment rep) so that you can as k for them di rectly when you call.
The stores wou ld love to hear that a radio station thats playing you r
mu sic recommended them to you , and that cou ld help with the high-
visibility positionin g of you r CDs w ithin the store.
Keep in mind the fac t that you dont want you r CDs /DVDs sitting in
stores f or month s with ou t sel ling, so you sh ou ld only h ave a f ew sto re s
stocking you r p rodu ct. Select s tores in you r area in su ch a way that each
store is no closer than fifteen minu tes or so from the next one selling you r
CD. Call ah ead o f time to set u p an appointment with th e bu yer in ch arge
of consignment p rodu cts. You cou ld also go by the store and ask for the
person in charge of acceptin g con signments . They will u su ally tell you
whether or not they are acceptin g c onsignments , who to talk to, what ti me
to come in, and what to bring with you (i.e., CDs , posters , samplers , one-
sheets, etc .) . Th ey u su ally work b y appointment so you sh ou ld be very
flexible and able to accommodate th eir schedule.
Retail s tores are taking a risk stocking you r CDs /DVDs becau se
those produ cts wi ll be takin g u p li mited shelf spac e wi th no gu arantees
that any will be sold . It is you r job to let them know how you are
promo ting you r produ cts and wh at sh ows you h ave coming u p. Th e more
they know abou t you r promotion and mark etin g efforts, the more lik ely
they are to s tock you r p rodu ct. A lways brin g an extra p romotion al c opy
for in-store airp lay . Some stores wi ll also accep t posters i f they have the
wall space, and samplers , stickers and postcards for you to leave at a
designated cou nter. Each store has differen t policies on consignment, so
work wi th each one to find ou t the mos t effectiv e way to promote y ou r
produ cts. You shou ld also take this time to ask the store manager i f y ou
can perform in the store, or even i n the store p arkin g lot, as part of y ou r
promotional campai gn . Not all s tores will be open to this, bu t it does nt
hu rt to ask . You can offer to share the cost of a local ad in the newspaper
promo ting you r CDs avai la bility a t th e store . Do as mu ch as you can
afford to show the lev el of c ommitment you have to you r p rojec t.
Make su re you read the consi gnmen t contrac ts very carefu lly. In the
contract, you will have all the information regarding how mu ch you will
rec eive fo r each u nit sold, wh en you will receive th e mon ey, h ow long th e
consignment term is, and who is res ponsible for checking the produ ct. Y ou
sh ou ld ask th e store fo r somewh e re betw een $7 and $10 for you r CDs. T h e
store will add on a certain amou nt, usu ally $5 to $8. As a new artis t, you
sh ou ld not expect peop le to pay $17 .9 9 fo r you r CDs , so keep th at in m ind
a s y o u c o n s i d e r y o u r p r i c i n g o p t i o n s . Y o u w i l l b e a b l e t o s e l l m o r e u n i ts i f
you price you r CDs low, and the fans you make now wi ll bu y you r next CD
for mo re money , as w el l as go t o y ou r sh ows and bu y you r me rch andise.
Some stores will pu rchase a few u nits from you u pfront for c ash. Since
you are s elling di rec tly to the s tore and not going throu gh a distribu tor,
all th e money from s ales wi ll go d irectly to you . Retai l sto res are m u ch
more repu table than distribu tors when it comes to getting paid, bu t mak e
su re you hold onto you r contrac t an d tak e it in to the store with you when
it comes time to collect.
Remember to keep track of which stores you have you r p rodu ct in.
Periodically check to s ee i f you r produ ct has sold ou t and if y ou need to
re-stock. Some s tores don t wan t you to pester them by coming by too
often, bu t be p rofessional and let them know that you simply want to
help them to help you . Check if they wou ld like more posters , or i f you
can pu t some s amplers at the c ou nter for free giveaways. Also, notice
which stores people are bu ying a lot of CDs from and which stores s till
h ave all th e u nits you left th em with . Th is will allo w you to decide
whether it is worth it to k eep you r produ ct in certain stores, or where you
need to spend more ti me p romoting.
Make su re you do not rely enti rely on consignmen t sales from retail
stores. It takes a lo t of promotion for people to go to a store and bu y you r
CDs, and it takes a while to get pai d from the retail stores .
The Distributor
The distribu tor is the midd leman betw een the record label and the
retai l stores. Distribu tors provide the network to place you r produ ct into
retai l ou tlets . They will attemp t to convince the retai l stores to bu y and
stock you r produ ct. They provide the warehou se space and inventory
management, and ship produ cts to the retai l accou nts that place orders.
An additional distribu tor fu nction is to invoice the retai l stores and
collect money for p rodu ct sold. Distribu tors proc ess retu rns (unsold
products) from the retailers, generate sales reports, and pay money owed
you according to the terms of you r distribu tion contract. It is you r job to
produ ce and provide the finished p rodu ct, as w ell as promote you r rec ord
to the general pu blic to make them aware of where they can make
pu rchases.
Most independ ent artis ts and rec ord labels will not qu ali fy for
distribu tion u ntil they have pu t ou t several su ccessfu l (i.e., mone y-
making) releases, have a 2 3 year operational history, and have good
management in place. For those that dont qu alify for direct distribu tion ,
the su gges tion wou ld be to approach other independ ent labels that have
major label distribu tion deals in place and pi tch you r recording to them
for dis tribu tion . If you have some money to contribu te to the marketin g of
you r projec t, that cou ld help move the deal forw ard .
When thinking abou t dis tribu tion , you shou ld alw ays keep you r
street date (or re lease date) in min d. The s treet date is the day (as close
as you are able to predict) that your CDs will be made available to the
pu blic. Since i t tak es a lon g time to set u p distribu tion (anywhere from
two to si x mon ths) , you shou ld start the p rocess lon g before you r street
date in order to give the distribu tor enou gh time to have the produ ct
available at retail.
A Pressing & Distribu tion deal is a type of distribu tion deal in which
an independent label delivers fini shed masters and artwork to a larger
label / distribu tor, and the label / distribu tor then assu mes responsibility
for manu fac tu ring, packagin g, an d distribu ting the finished produ ct.
Generally , P&D deals also provide that the major label / distribu tor
handle all marketin g of the produ ct, and the independent label is paid a
royalty (typically 15% to 20% o f the produc ts re tail price) . These d eals
are typically ou t of ran ge for mos t independent artists / labels with no
previou s sales or distribu tion track record .
1. You r CDs wi ll need to be bar coded. You can get a bar cod e by
becoming a member of the GS1 U S, formerly the Uniform Code Cou ncil
(http://www.u c-cou ncil.org) . When you become a member, you r comp any
will be assigned an identification number for your company's use
(company prefix). You will need this number to create your own bar
codes. Th e nu mber of u niqu e produ cts you need to identify , alon g w ith
you r companys gross sales revenu e will determine the fee you will pay for
your bar code. Even thou gh you can get bar codes from some
manu factu ring comp anies, pay the cost of getting you r own bar cod es if
you are goin g for real dis tri bu tion. It is possible that you have already
manu factu red you r CDs withou t the bar codes on them. In that even t, y ou
can remedy the situ ation by prin ting stickers (or deca ls) with the codes
on them and sticking them to the back of your CDs .
2. You will need to have a su ggested price list for all you r p rodu cts.
3. You will need a mark etin g plan and proposed bu dget for you r
u pcoming releas es. The distri bu tor will n eed to see that you u nderstand
the tru e costs of distribu tion and that you have the n ecessary bu dget
committed for all the tasks. Y ou will n eed to show that you are able to
create a demand for you r artists CDs.
5. As mentioned earlier, most nati onal distribu tors will requ ire you to
have a sales track record for mu ltip le artists . To p rove that, you will need
a sales report for at least the previ ou s two years. You will need to lis t in
the report each ti tle (account) individually, and lis t sales by account.
You will need to show the retu rn ratio by title as well as gross sales
per ti tle. The retu rn ratio wi ll id entify how many of you r u nits shipped
were retu rned to the distribu tor by the retai ler. Retailers (stores) acc ept
produ ct on a 100% retu rn privilege basis. This means that if a retailer
orders 75 CDs from you (via your distributor) bu t is u nable to sell th em,
they can ship them back to you for fu ll c redit or a refu nd of the p rice it
paid for the records. Records sent back to the distribu tor as u nsold from
the retai ler are known as retu rns . Since the rec ords are bein g bou ght
from and retu rned to the distribu tor, i t is the distribu tor who will have to
refu nd the money or offer the c redit, which comes ou t of you r accou nt
u ltimately bu t means that the distribu tor has not made any mon ey on
those u nits. Having too many CDs retu rned is a bad sign, and a good
reason for the distribu tor to be c au tious abou t signing you . In order to
deal effectiv ely wi th retu rns, distribu tors will hold a certain percentage of
the money paid by the retai ler in reserv e (on hold) u ntil su ch time as
they are confident that the stores will not retu rn any more produ cts for
credit. Only at that point wi ll you get paid on records sold at retai l.
8. Some dis tribu tors wi ll ask you for a bio / history of the label and i ts
k e y p e r s o n n e l . I t h e l p s i f y o u h av e p e o p l e o n y o u r t e a m w i t h r e t a i l ,
distribu tion, p romotion, and marketing experience and c red entials. Most
distribu tors will want to know how many people you have on s taff.
9. Most distribu tors will wan t to know who has distribu ted you before.
This can prove to be awkw ard if you ve had a bad experi ence with a
distribu tor and are looking to sign with another one. Mak e su re that, if
you leave a distri bu tor, i t is becau se of something they did wrong (e .g . n ot
paying you on time, not distributing your products to accounts as
required, etc) . Sometimes distribu tors go ou t of bu siness, forcing you to
look els ewhere for distribu tion.
10. Almost all nation al distribu tors will w ant you to sign an exclu sive
agreemen t with them, meaning that no one els e can distribu te you r
produ cts as long as you are u nder contract wi th them. This mak es sense
s i n c e w i t h m u l t i p l e d i s t r i b u t o r s t h e r e w o u l d b e t o o m u c h c o n fu s i o n f o r
the retai lers regarding who to ord er and re- ord er from, where to s end
retu rns, who to coordinate retai l programs with, etc . It is often possible
to sign an exclu sive nation al and non-exclu sive international deal w ith
the same distribu tor, thu s retaini ng the option to sign wi th different
distribu tors in territori es ov ers eas .
11. You will be requ ired to remove all p rodu cts you have on consignment
or p reviou sly distri bu ted before si gning with a dis tri bu tor. Keep this in
mind since it may take a while to track ev erything down and make su re all
produ cts are removed .
12. You will need to p rovide the dis tri bu tor wi th promotional copi es of
you r CDs as well as one-sheets to send to the retai lers. It is important
to mak e su re th at you r promo tional copies h ave h oles pu nch ed th rou gh
them in the area of the bar code, and the shrink wrap is removed to
preven t any u nnecessary retu rns. Some copies wi ll also be needed for in-
store play . A one-sheet is an 8 X 11 page that provid es essential
information abou t the releas e to dis tribu tors and retailers .
13. Most distribu tors deal only wi th replicated CDs as thei r format of
choice, and not CD-Rs, cass ettes or vinyl (although vinyl seems to be
making somewhat o f a comeback lately) . For certain types of mu sic,
however, cassettes or vinyl may be acceptable (e.g ., vinyl for record pool
DJs, cassettes for people in countries where access to cassette players is
still dominant, e tc).
14. Each of you r CDs shou ld have a c atalog nu mber on the spine. This
catalog nu mber identi fies the CD as you rs for the sake of record keep ing
and accou nting and is usu ally prin ted on the spine of the CD along w ith
the artis t name and albu m title.
15. Many distribu tors wi ll want to know certain things abou t the artist
and label. For examp le; is the arti st well known; does the label have an
adequ ate co-op bu dget; does the label have di gital and internati onal
rights to the proj ect; what are the key mark ets the label expec ts to sell the
produ ct in; is there a radio and retai l camp aign schedu led; is there a
publicity campaign involving th e media, is the artist tou ring or
performing; does the artist / label have any sou ndtrack or TV placements,
does the qu ality of the recording measu re u p to standard within the genre;
are there any w ell-known gu est mu sicians on the albu m; can the label
manu factu re enou gh CDs qu ickly if there is a su dden demand for them; is
the label c ommitted to mark etin g th e projec t for u p to a cou ple of years if
necessary; does the label have any more u pcoming releases; does the label
have any material in its catalog that can also be sold; does the label sell
produ cts to one of the distribu tors competi tors; does the label already
have CDs stocked in the stores? These are the types of qu estions that will
need to be answered.
16. Becau se distribu tion is a risky proposition, many distribu tors are
known to ask the label for u p-fron t fees that help cover c osts. Some even
ask for a bond or take a lien on the masters. You will have to be aware of
this before movin g forward.
17. You r CD artwork will have to meet the standards of other produ cts in
the same gen re avai lable at retail.
Research
Once you ve commi tted the finances for a roster of three or fou r ac ts,
and each act is performing extensively with active p romotion and
pu blicity, it may be the ri ght ti me to pu rsu e retai l promotion and
distribu tion. Most importantly, you will need to have the fu nds necessary
to see the projects throu gh. When analy zing you r fu nds, decide whether
you will start wi th a region al c ampai gn before expanding nation ally
(recommended) or pu sh immediately for a nati onal dis tribu tion camp ai gn
(not recommended for new artists) . Many things will have to be in p lace
in order for you to go national; so dont be too anxi ou s to head that rou te
right away .
If you r bu dget is limited and you only have one or two ac ts (projects,
albums, etc .) , you might want to consider consignment, shopping you r
projects to independent labels with distribu tion in place, or on e of the
many regional distribu tors for a regional campai gn. Regional distri bu tors
are sometimes more wi llin g to d eal with artis ts with on ly one or two
releases as long as they are willing to commi t some resou rc es to helpi ng
promote the record. These regi onal distribu tors often partner with
distribu tors in other regi ons, so i f you r sales do well and you need to
expand beyond your local area they will be able to help you expand your
distribu tion.
Read all the mu sic and bu siness pu blications avai lable in order to
ascertain the financial status of potential distribu tors (particula rly
Billboard http://www.billboard .biz). The last thing you wan t is to be
exclu sively tied to a dis tri bu tor that goes ou t of bu siness a few mon ths
into you r c ampai gn, leavin g you w ith u npaid invoices and merchandi se
locked in the warehou se as assets i n bankru ptcy cou rt. Before committing
to a specific distribu tor, make su re you contact some of the labels on thei r
r o s t e r t o f i n d o u t w h a t t y p e o f r e l a t i o n s h i p th e y h a v e . A s k t h e l a b e l s i f t h e
distribu tor is shipping ou t produ ct as requ ired , making pay ments on ti me,
withholding too mu ch in reserve, requ esting too many p romo copies, etc .
You will not get this information from the distribu tor.
Align you rself with distribu tors that deal with produ cts from within
you r genre and u nderstand you r style of mu sic. Also, condu ct some
research to evalu ate whether or not the distribu tor deals wi th stores that
stock you r type of mu sic. Try to establish how many s ales and marketing
reps the distribu tor has on s taff since these are the p eople who wi ll be
pitching you r products to the retail stores . Another important qu estion to
ask is how many labels the company cu rrently distribu tes, sinc e a
distribu tor with too many labels and too few sales reps is one you
definitely want to avoid.
Initia lly , you sh ou ld select independent dist ribu tors ove r m ajor
label/distribu tors becau se they do essentially the same thing, bu t fewer
sales will be requ ired of you from an independent distribu tor. Major
distribu tors prefer artists/labels that have nation al exposu re, not j u st
regional recognition .
Not all dis tri bu tors are cap able of gettin g you r produ cts into every
retai l accou nt. If you have p rodu cts that need to be sold to sp ecialty
stores, th en you will need to c ondu ct research th at enab les you to find o u t
wh ich distribu tors service or h av e relationsh ips with th e specialty sto res
you re interested in. The best thing to d o in this case is to d ecide whi ch
s t o r e s y o u w a n t y o u r p r o d u c t i n , an d t h e n f i n d o u t w h o t h e d i s t r i b u to r s
are that service that store (i .e., which distributo rs the sto res order fro m).
The distribu tors that are sympath etic towards independent labels
will usually have a submission policy displayed on their website.
Otherwise, call or email the distrib u tors and ask abou t their su bmission
policy. Revi ew th e policy and pay close atten tion to th e instru ctions. Th e
policy will indicate what materials they wan t you to send and what you
need to have in place in ord er to qu alify fo r distribu tion. Condu ct some
research in order to find ou t whom to contact at each distribu tion
company. Once you v e sent in th e information , expec t some type of
correspondence with the distribu tor regarding whether or not you ve been
accepted . If you get acc epted , keep in mind that this is ju st the beginning
of the distribu tion road, and the jou rney ahead wi ll be lon g and hard .
You r distribu tor will have a contract that they will want you to sign.
It is extremely important to have you r contrac t review ed and negotiated
by an experienced en tertainment attorn ey. There are many things abou t a
distribu tion contrac t that are beyond the scope of this manu al and that
you will not u nderstand on you r ow n; grant of rights , term, p rodu cts and
terri tory, p rices and payment, man u factu rer and distribu tor obligations,
relationship of the p arties , reporting, trad emarks , service marks , and
trade n ames , c onfidenti ali ty, termination, pu blicity, warranti es, li ability ,
modification, assignments , etc . One of the more i mportan t items to
d i s c u s s w i t h th e d i s t r i b u t o r i s h o w m u c h m o n e y ( a s a p e r c e n t a g e o f t h e
amount owed you) they will hold in res erve in case retail accou nts
retu rn produ ct to them, and when that money will be liqu idated ou t of the
accou nt and paid to you . If they hold too mu ch of a reserve for too lon g a
time period , you may end u p seeing very little money for a very long time.
To worsen the situ ati on ev en fu rther, dis tribu tors are notoriou s for not
paying independent labels u nless the labels hav e other proj ects in the
pipeline that the distribu tors are in terested in. Talking to other labels on
their roster may help shed some light on this situ ation.
It is also very important that you discu ss the retai l bu y-in with
you r distribu tor. This is a cru cial step tow ards a su ccessfu l retail sales
campai gn and will have to be d one in each city where you intend to have
distribu tion. These retail bu y-in campai gns (also known as placement
programs) can be expensive, often costing from $3,500 to $20,000 per
city. Most retailers and distribu tors produ ce pu blications in which you
will p lace advertising for your p roducts. You will also include in this
effort the cost of P rice and P ositioning, Co-op, and Point of
Pu rchase (POP) advertising.
Price and Positioning is a strategy whereby you r produ cts are p riced
to entice the consu mer to make a pu rchase (e.g. $12.99 SALE) , and you r
produ cts are positioned so that they are easy to find. Co-op adv ertising is
when the ad costs are divided between tw o or more comp anies. In a
typical label / distribu tor / retai ler Co-op relationship, the retailer agrees
to pu rchase a certain number of rec ords from the label (via the
distributor) in exchan ge for ads th at p romote the records on sale at that
retai l store. Co-op ads c an be p rod u ced for radio, TV, or print media. Co-
op strategies c an also inc lu de pricing discou nts, store displays , TV sp ots,
or any other way to increase visibility and p rodu ct sales. Point of
Pu rchase typically refers to the promotional graphics focused on
influ encing consu mer behavior at the moment of the pu rchasing decision.
These inclu de posters, pos tcards , i n-store signage, cu stomer giv eaways,
and other related cu stom graphics that let peop le know abou t the artist
and album availability.
In addi tion to keepin g you r sales rep informed abou t all you r
promotional efforts , it is also wise to encou rage them to offer incentives
to the retai l accou nts in ord er to help gen erate more ord ers . Incenti ves
inclu de offering discou nt prices on CDs bou ght in box lots ( la rge
quantities), delayed bi llin g, discou nts on money du e if paid on time, free
records (e.g . 1 free CD for every 10 the retaile r purchases at wholes ale
price), and so on.
You r distribu tor wi ll place an initi al pu rchase ord er for you to ship
CDs (or any other produc ts) to their warehou se. The shipment you send
sh ou ld inclu de a packing slip detai ling wh at was o rde red , wh at h as be en
shipped, the nu mber of u nits in the shipment, and the distribu tors
pu rchase order nu mber. You r shipment will also inclu de one-sheets and
any other materials that c an be u sed to help sell you r CDs to the
distribu tors retai l accou nts. P romotional CDs ( DJs) wi ll be inclu ded in
you r sh ipment so th at th e retai l st ores can t ry ou t you r CD and possibly
place it in their listenin g station. Make su re, as explained earlier, that the
artwork on these CDs is clipped , pu nched, or otherwise mark ed to
discou rage stores from retu rning the CDs as u nsold produ ct (for credit)
at the end of the lis tening station p romotional period .
You r distribu tion contract shou ld spell ou t what the billing cyc le is.
You will bill you r distri bu tor by sending them an invoice for the amou nt
they owe you.
The invoice is sent to the distribu tors Accou nts Payable department,
a n d s h o u l d i n c lu d e t h e i n v o i c e n u m b e r ; i n f o r m a t i o n r e g a r d i n g w h a t w a s
shipped; shipping date; u nit pric e; amou nt du e; and the distribu tors
pu rchase order nu mber. If you ve shipped the distribu tor several different
CDs, each one shou ld have its own pu rchase order and invoice.
Depending on you r contrac t, the distribu tor will normally have 30,
60, or 90 days after receivin g the invoice to pay the amount owed you.
They will hold in reserv e (i.e ., not pay you) a c ertain percen tage of the
amou nt owed in case their retai l ac cou nts retu rn u nsold produ ct to them.
For obviou s reas ons, if produ cts are retu rned as u nsold, the distribu tor
cannot pay y ou for them since n o money was made. In addition , the
distribu to r will only pay you (less the reserve) for produ ct actu ally
shipped to the retai l accou nts and not for you r produ ct that is still sitti ng
in their warehou se waitin g to be shi pped. This means that if you sent you r
distribu tor 5,000 CDs and 3,000 of them are shipped to the stores , the
distribu to r will only pay you for the 3,000 units shipped to the stores and
not for the 2,000 CDs still sittin g in their warehou se. Keep in mind that,
u nless you have a sales track- record and more p rodu cts in the pipeline
that need distribu tion, it will be u nlikely that a distribu tor will pay you
promptly what you are owed; if they pay you at all.
Once you r dis tribu tion is u nder way, you shou ld make su re that you
are doing all you can to promote the record and send p eople to the stores
where you r p rodu cts are s tocked . K eep in mind that you cannot promote a
reco rd indefinit ely , so you sh ou ld h ave oth er reco rds o r projec ts in t h e
pipeline so that y ou have enou gh materi al to follow the cu rren t release
and keep the distribu tor happy. Dis tribu tors are more lik ely to pay you if
you have other p rodu cts that mi ght interest them.
Changing Distributors
There may come a time when, for one reason or another, you have
problems wi th you r distribu tor. It c ou ld be that the distribu tor is refu sing
or u nable to pay you money ow ed; or the distribu tor is u nable to get y ou r
produ cts into the kind of retai l stores you are in terested in being in; or
you feel lost in the shuffle among dozens of other labels on the
distribu tors ros ter; or the distribu tor is goin g ou t of bu siness.
1. Review you r contract, and then i nform you r ori ginal dis tribu tor
abou t the change in distribu tion (fo llowing the procedures set out in your
distribution contract).
Otherwise, you will pay the shipping fro m you r o ri ginal distribu tor
to you r own loc ation , and then from you r loc ation to a new distribu tor.
3. You sh ou ld issu e credit to you r origina l dist ribu tor fo r produ cts
shipped to you r new distribu tor.
4. Expect a p aymen t from you r ori gi nal distribu tor for money ow ed
you . Do not exp ect 100% of all the money owed since the ori gi nal
distribu tor may sti ll have to deal with retu rns from the stores . You can
expec t about 85% of the money to be paid at this time.
5. After abou t six mon ths, the origin al distribu tor shou ld make a fin al
payment and retu rn any produ ct it has remaining to you . You shou ld pay
close attention to all the things that made you leav e you r first distribu tor
once you have you r new distribu tion in place. At this point, you shou ld
work even harder to k eep good commu nication lines op en and do all you
can to help the new distribu tor sell you r records. The las t thing you wan t
is to sever yet another distribu tion arrangement and have to start things
all over again .
Finally , k eep in mind that distribu tion is what every mu sician wants ,
bu t not what every musician needs or can afford . In addition (as
mentioned previously) , the fu tu re of mu sic consu mption will take p lace
away from retail stores, so the mo re you invest in this option at this time,
the more you will be ti ed to a system that will soon become obsolete. The
bu lk of you r financia l ou tpu t sh ould pro bab ly be in o th er areas at t h is
time, inclu ding tou r su pport and social n etworking efforts. Think lon g and
hard abou t what the tru e costs of di stribu tion are before ju mping in.
In addition to info rmation fou nd in print directo ries lik e the Indie
Bible and search en gine resu lts , you can u tilize lis ts lik e the one at Fat
Campus (http://fatcampu s.com/collegeradio.htm) and the
Intercollegiate Broadcast System list
(http://www.frontiernet.net/~i bs/Stati ons1.html#Stati on%20Top%20A nc
hor) to loc ate college radio stations to send you r material to.
Start wi th college radio stations wi thin the region where you will be
performing wi th you r band and promoting you r p rodu ct. Also look into all
the on-line radio stations that p lay you r type of mu sic. Make su re you
research the type of mu sic that each radio station plays, and only
highlight the ones that play you r style of mu sic. Check the station website
and/or call or emai l ahead of ti me and find ou t whom to send y ou r
package to. As an independen t artist, don t be afraid to ask what y ou
sh ou ld send in you r package . Th is will avoid a l l th e w asted ex tras t h at
most peop le send that u su ally have no impact whatsoever towards
increasing the chances of receiving airplay.
Making contact
Ask you r fans or get f eed back f rom people in oth e r cities abou t
which radio stations shou ld be contacted . They know their ci ty better than
you do. Use the internet to do mu ch of you r research since p rinted
directory information can qu ickly become ou tdated.
The package
Once you ve sent you r package, don t call the station end lessly to ask
why they arent playing you r song yet. Make one follow u p call to the
Mu sic Direc tor 2-3 weeks after you ve sen t the p ackage to make su re the
CD is at the station , then p robably ev ery other w eek to check on its
progress. Some stations are ok ay with an email to the MD letting them
know when you will be callin g (which also allows them to e mail you back
before you call wi th a status updat e). Wh en you call, m ention th e nam e of
the band, the date you sent the package, and what sty le the mu sic is. If
you r package hasnt been rec eived or revi ewed yet, ask when wou ld be a
good time to call ( they will probably review the package now tha t you ve
mentioned it) . Take down the notes and call back then. If they reviewed
the package and want to add a son g to the play lis t, ask for which song
they have in mind and when they expect to add it.
Most p eople wou ld agree that commercial radi o is the sin gle best w ay
for major label artis ts to reach millions of fans . Most people wou ld also
agree that, becau se radio is this powerfu l, major record labels spend
enormou s amounts of money promotin g their artists to radio and
influ encing the radio station playlists. For independent artists , even
airplay receiv ed from mix shows or achieved by su bmittin g songs to
individu al radio stations or a p ool of stations u sing resou rces like
iheartradios New!
(http://www.iheartradio.com/new2/signu p/index.html) and others is n ot
the same as the ai rplay that artists on major labels receive.
Major labels hav e a lot more to offer radio stations (e .g. exclusives ,
artist visits, listener prizes, mee t-and-greets, concert ticke ts, music
availability at re tail, nationwide marke ting, etc) than independent
artists , even if an independen t artist has the money to spend in radio
promotion fees. The radio stations can also cou nt on the fact that i f they
su pport a single, the major labels have the mark etin g and distribu tion
mu scle to mak e su re i t wi ll be av ailable for listen ers to pu rchase in all
available formats. Radio stations can also count on a steady supply of hit
songs from major labels, the same of which cannot be s aid of independent
labels.
Having said all this, howev er, pu rsu ing radio ai rplay can serve a
pu rpose for the artists that have ac cess to adequ ate levels of fu nding and
a connection to a major label (via a distribution deal, etc). There are s till
many bookin g agents, promoters, v enu e bookers, retail accou nts, labels,
pu blishers, etc, that are influenced in their decision-making by
information abou t radio ai rplay from an artist. Having some radio airp lay
information to pu t in a media kit or EPK can sometimes help an artis t to
get attention from the abovemen tioned people. If you pu rsu e radio
airplay, mak e su re that you have adequ ate fu nding to do all the other
things that are nec essary (and even more important) for you to su cceed in
bu ilding a large fan base and sellin g mu sic produ cts and merchandising.
The most cost-effective ways for independent artists and labels to submit
their mu sic to radio stations (whe ther or not it results in actual pla ys)
is to use services like NEW! Discover & Uncover
(http://www.c learchannelmu sic.com/new2/si gnu p/index.html) ,
Yangaroo (http://www .yan garoo.com/Produ cts/DMDS.asp x),
RADIODIRECTX (http://www .rad iodirec tx.com/index.php), Airplay
Direct (http://ai rplaydirect.com), Music Submit
(http://www.mu sicsu bmit.com/) , etc. You can also u se the Radio Stati on
Worlds global station directory ( http://radiostationworld .com/) or the
Radiogu ide direc tory (http://www .radiogu ide.de/) and others to loc ate
radio stations arou nd the world to manu ally su bmit y ou r mu sic to. Keep in
mind the fact that sending you r mu sic to radio s tations is differen t from
promotin g you r mu sic to radio station . Sendin g you r mu sic to the
stations simp ly means that the mu sic is su bmitted in the hopes that
someone at the station will listen to it and play i t. P romoting the mu sic
means that someone (a promo ter) will commu nicate with the approp ri ate
people at the radio station in an attempt to convince them to p lay the
music.
If you have an adequ ate bu dget to d o so, some op tions for paid radio
promotion services include companies like Planetary Group
(http://www.p lanetary grou p.com/in dex.php) or Howard Rosen
Promotion (http://www .howiewood.com/) , among others.
If you r situ ation warrants it and once you have the bu dget set u p,
the fi rst s tep towards promoting to commercial radio is mailin g you r CDs
or d eliv erin g sin gles via digi tal d ownload to the stations. If you are
working with an independent radio promoter and op t to do the maili ng
you rself (to save some money), they will give you a list of stations to mai l
to or do the mailin g for you.
The next step involv es a radio p romoter or you rself (if you are
taking the DIY rou te) callin g (or fa xing / emailing) all the stations where
CDs were mailed ou t to (or d ownloads delivered to) and giving them
information abou t the son g / proj ect. This information inclu des adds and
/ or spins already happening at other stations , sales fi gu res from the
albu m, live shows, print reviews or articles , TV appearances, street
promotion, distribu tion information, positive indu stry comments , soc ial
networking bu zz, and so on. This information has to be fed to the stati ons
continu ou sly (usually week ly) fo r as l ong as th e ca mpai gn is in ef fe ct;
normally three to si x mon ths.
In any event, before you send you r songs off for potenti al radio
airplay, make su re you have joined one of the Performance Ri ghts
Organizations (PROs) of you r ch oice. Th ese PROs are set u p to negoti ate
performance fees with the radio stations, handle all the collec tion du ties ,
and pass on what is owed to the w riters and pu blishers. Wi thou t getting
too technical, radio s tati ons are requ ired to obtain a performance license
and pay songwri ters and pu blishers a performance fee in ord er to play
(perform) thei r songs on the ai r. It wou ld be a major pain for songw riters
and pu blishers to negotiate individ u al licenses wi th and collec t fees from
each and every radio station in the world. The best solu tion is to have one
company handle all this for you.
Once you ve got you r produ cts in place (avai lable on your website
and on iTunes, Amazon, etc ., and at retai l) and have the beginnings o f a
pu blicity and radio campai gn goin g, then it is a good time to tu rn y ou r
attention to live performances and tou rs.
How many PAY ING peop le ( prefe rably o f drin king age) do you
normally draw to you r p erformanc es?
Do you have a large mailin g lis t of LOYAL fans that wi ll c ome ou t to
see you perform?
Do you have a promotion/pu blicity /mark etin g plan for you r shows?
Depending on whether or not they receive a cu t, how mu ch
merchandise d o you sell per show?
Have you created any signific ant amou nt of local (or regional)
bu zz in the area?
What other v enu es have you performed in (and is the venue size
similar to theirs)?
What is you r repu tation amon g other agents, promoters, venu e
bookers, indu stry personnel, etc . (i.e. are you a pain in the a**)?
What slots has your band play ed (opening slot, headliner, e tc)?
P a g e | 217
Most independen t artis ts will not have many of these things in place,
and therefore wi ll not be able to attract the attention or interes t of a
major booking agent. Booking agents work on a commission basis
(generally 10% of boo king fees generated by a booking). Consider that
major label artis ts command su bstantial fees per show (e.g ., A licia K eys
gets roughly $100 ,000+ per show; Brad Paisley gets up to $300,000 per
show, etc) , from which a 10% commission can yield the booking agent
$10,000 - $30,000 per show. Mu ltiply those figu res by the nu mber of
differen t artists and the total nu mber of shows in a year, and y ou can see
why the larger booking agencies w ork with es tablished artists on ly. An
independent artis t gen eratin g $500 - $2,500 per show, on the other hand,
w o u l d y i e l d t h e b o o k i n g a g e n t c o m m i s s i o n i n th e r a n g e o f $ 5 0 - $ 2 5 0 p e r
show; hardly what wou ld be consi dered worthy of pu tting in time for.
Once you estab lish a tou ring t rack reco rd , h oweve r, you sh ou ld be a bl e to
attract the interest of a smaller booking agen t.
You will have to have good mu sic and compelling conten t online to
attract fans that will do more than ju st download you r mu sic for free.
Once you get goin g, plan to do a few of these u ntil you have d eveloped a
decent size draw and mailin g list as well as a repu tation for hard work
and promotion al savvy . Then videotape a few of these shows and u se the
foot a ge to crea te a liv e sh ow DVD (and foot age fo r you r EPK) wh ich you
can then send to venu e bookers along with testimonials , sales fi gu res , gig
attendance nu mbers , etc.
You can find contact and booking i nformati on for venu e book ers and
promoters in resou rces like the Indie Venue Bible
(http://www.indiev enu ebible.com/) , Billboard s Musicians Gui de to
Touring and Promotion (http://www .orderbillboard.com/) , Pollstars
Talent Buyer Directory (http://www .pollstar.com/) , The Musicians
Atlas (http: //w ww.mu siciansatlas .c om/) , and others.
As temptin g as it may be, do not lie abou t you r d raw . Remember that
the bookin g commu nity in each region is not that that large, and people
can find ou t whether you really did draw 500 peop le to you r gig the
previou s week end or not. If you cannot draw a big enou gh crowd all by
you rself, consider making fri ends with a more popu lar band in you r area
and offerin g to open u p for them. Do this by going to their gi gs with you r
CD or DVD demo (or pointing them to your website) and talking to th em
abou t pu tting on a show together or opening u p for one of thei r gigs .
When you make an offer, however, you mu st indicate that you are
bringin g something to the table as well. Promoting the gig throu gh you r
mailin g lis t and vi a you r social networking sites shou ld at least be able to
draw 40 60 people to the show. Dont plan on the more popu lar band
letting you feed off of their fans, thou gh. If they accept, tak e the initiative
and call u p some c lu b bookers or promoters in the area with this solid
offer.
You now will be pitching a well-known band as the headline with you
as the opening act. Sell the booker or p romoter on the d raw of the
headlining band in addition to the people you will draw . You now have a
mu ch stronger pack age to s ell.
If y ou are handling the phone calls you rself, you shou ld write ou t a
phone script that you will u se with bookers , agen ts, and / or promoters.
Th is will h elp you keep on track wit h wh at you need to say and not wande r
off on a tan gent with u nnecessary chatter. Nev er ju st wing i t when you
call v enu e bookers , agents o r pro moters . You sh ou ld custom design a
script for the different peop le you will be talking to, althou gh you will
almos t always have a similar theme: the size of your draw and the
effec tiveness of your promo tion. Before you call, try and think abou t
things from the point of vi ew of the booker, promoter, or agen t. They are
ru nning a bu siness and are in teres ted in making money from drink ( and
sometimes food) s ales, as well as a portion of the cover charge and
sometimes (though rare ly) a percentage of merchandise sales. Keep that
in mind as you convers e.
Some venu e book ers book bands from pack ages sen t to them in the
mail or by checking ou t EPKs from links in band emails . This is u sually
the case with smaller venu es. In ad dition to inclu ding them on you r own
website, you can utilize resou rces like SonicBi ds
(http://www.s onicbids.com) and Live Music Machine
(http://www.livemu sicmachine.com/) and others to create EPKs that
venu e bookers can review on line. The larger venu es u su ally book their
bands th rou gh a booking agency and are less interes ted in individu al
bands calling them on the phone. Indeed, some of the larger venu es book
throu gh their corporate promoter and it is virtu ally impossible for an
u nsigned band to get thems elv es booked withou t going throu gh the
promoters.
The approach
While you have them on the phone, tell them that you have ju st
released a record that is avai lable online and at you r local retail stores
(via consignment), and that you are receivin g local radio ai rplay and
revi ews in some mu sic pu blications. Tell them that you have a mailing list
and a fan base that you can leverage to help you with promotion .
If you have any relevant data from sites /services like Ne xt Big
Sound (http: //www .nextbigsou nd.com/) , eventful
(http://even tfu l.c om/), or RockDex (http://www .rockdex.com) and
others , now mi ght be the time to mention some statistics that cou ld help
convince a booker that you have a loy al fan base in the region . A lso
mention the fact that you are available to step in for any cancelled gi gs
that occu r at the v enu e (i.e., you r band is ready to pe rfo rm on short
notice if anothe r band cancels their appearance at the venue).
You sh ou ld h ave some definite d ays in mind for gig opti ons, ju st in
c a s e t h e y a r e i m p r e s s e d w i t h y o u r i n f o r m a t i o n o n t h e p h o n e a n d h av e
some dates available. Know you r availabili ty so that you can ju mp on an
offer i f one is giv en. If you dont have a tou ring track record, the only
days you may be offered mi ght be weekdays . Take any day you can get in
the beginning and use social networking ou treach and street team
promotional efforts to bu ild a fan base and generate interest in the show.
Once you ve p roved that you have a followin g and have a tou ring and sales
history you will be able to get booked for a Friday or Satu rday ni ght. In
case you get asked , make su re you know how mu ch you want to get paid
(e.g., 100% of the door, a fixed guarantee, etc) . If you dont have a track
record you wont have much leverage in the conversation about
compensation; bu t be prepared to discu ss this if it comes u p. In any
event, you should have a booking section on your website with
information abou t you r avai labi lity as well as you r requ irements (fees,
production , accommodations , trave l, food, etc) that you can forward the
booker to.
Inform the booker that you will be able to p romote the show online,
on the street, on radio, on telev ision, and throu gh the media. Also
mention that you only want to play in a few venues as possible locally so
as not to dilu te you r ticket sales . Dilu ting you r ticket sales means that
you are performin g so often in one area that you r fans have little reason
to go to every single show you book. In the larger v enu e circu it it is the
kiss of death to tell a book er that you are performin g a gi g in the same
town on the same w eek as a gi g they ju st booked you for. Venu es will be
very imp ressed that you know an d u nderstand this principle. Indicate
you r openness to present a strong lineu p by booking a cou ple of local
bands with decent fan bases to open up for you. Then offer to send them a
package, get the correc t spelling of their name, and mention when you
intend to follow up.
The package
The follow-up
Most book ers have a lot on thei r p lates and dont always have enou gh
time to listen to every thing that comes in immediately . Y ou can follow u p
with a ph one call or an e-m ail , espe cially if you said th at you wou ld. Do nt
call them fou r times a day for ten weeks strai ght. That wou ld become
extremely annoying and probably get you nowhere. Having said that, you
may have to call or e-mail several times before you get a respon se,
probably every two to three weeks. Try to balance between being
persisten t and bein g a pest.
The negotiation
If you dont have you r own si te or are otherwise u nable to add a form
to your site, you can utilize resou rces like Live Music Machine
(http://www.livemu sicmachine.com/) and others to let v enu e bookers
know abou t you r avai labi lity and make offers .
However, if you are able to bring a lot of peop le to you r show and
mana ge to ne go tia te 100% o f th e door, you cou ld end u p with a more
money than the venue could have paid you by the end of the night.
Imagine promotin g a show effec tively and having 250 people show u p with
a $ 1 0 c o v e r c h a r g e . I f y o u n e g o t i a t e d 1 0 0 % o f t h e d o o r , y o u w o u l d h av e
$2,500 for you and you r band. Sometimes all the bands on the bill share
in a perc entage of the door, and people are ask ed at the door which band
they came to see in ord er to fi gu re ou t how mu ch each band gets . P romote,
promote, promote, regard less of what percen tage you get at the d oor.
Keep in mind th at if you are ge ttin g paid 100% of th e door, th en th ere is
no need for somebody other than one of your people to handle the money;
so get someone you tru st to collect the money at the door even if the
venu e has a door person .
This arrangemen t is u su ally a safe middle- grou nd since the band will
at leas t know they have a gu arantee ($700) while the venu e knows that if
nobody shows u p they can still afford that gu arantee.
Wh en you play th e smalle r venu es, you will very oft en find th at th e
gig is don e on a handshake. Very few c lu b bookers ev en bother wi th
writin g ou t or pres enting a contrac t to the bands they book . You shou ld
make a point of at the very least writing down all the items that you have
agreed to and faxing i t to the book er to keep for thei r records. This can
protect you if you show u p at the venu e and somebody tries to wiggle ou t
of his or her commitment to p ay you. Clubs have been known to double-
book bands (intentionally or unintentionally book two bands for the same
time slo t) , and u su ally the band wi th the bigger name o r the contrac t in
hand wins out; sending the other one packing.
Some u nscru pu lous clu b bookers in tention ally dou ble- book bands in
order to get more people to the clu b, and then send one of the bands away
withou t paying them. They then keep the extra mon ey from the door and
the bar that was generated by the extra peop le.
The technical requ irements or rider (any required lig hts , equipmen t,
etc)
The hospitality requ irements or rid er (any required lodging, food ,
etc)
The cancellation policy
The way disputes will be handled (mediation, a rbitration , court,
etc).
You sh ou ld always be p rep ared t o find addi tional and al te rna tive
sou rces for live p erformanc es. Y ou will definitely need to u se a book ing
agent for certain types of work , as we will discu ss later. Most major
booking a gen ts will not b e inte res t ed in booking you if you are not wel l
known already or hav e an impressive performance / tou ring track rec ord .
So, it is u p to you to get some momentu m and bu zz going b efo re you
consider trying to get one of the larger agenci es to tak e you on as a cli ent.
There are some local or regional booking agen ts who are op en to heari ng
fro m independent bands , so you sh ou ld seek th em ou t as you pu t begin
you r live p erformanc e campaign .
Try and schedu le you r gigs to tak e place after y ou r release date (i f
you are releasing physical CDs) , s o that people who see you perform can
b u y y o u r p r o d u c t s i f t h e y l i k e w h a t t h e y h e a r . Y o u s h o u l d b e g i n w i t h th e
gigs that take the lon gest time to book fi rst; for example, festiv als , college
gigs , etc . In orde r to enjoy th e fu ll ben efi ts of perfo rming, you sh ou ld
look at all the differen t places you cou ld perform in , and then attempt to
book a vari ety of gi gs that comp lement each other. For examp le (and
depending on the style of music you write and record) , you cou ld perform
at a caf on e afternoon, follow ed by a chari ty fu ndraiser performance at
night. The next day cou ld be cou ld be a hou se concert in the evening with
a gi g at a college campu s later that night, and the night after that an on-
air radio station p erformance before a gi g at a c lu b venu e.
As you can see with this strategy , you can have multip le
opportu nities to perform in front of different peop le constantly , which
gives you th e ch ance to practic e and perfec t you r sh ow, sell mo re C Ds and
merchandise, as well as add fans to you r mailin g list.
P a g e | 234
In addi tion to c lu bs, there are sev eral other op tions you have when it
comes to p erforming. Looking into as many of these as possible will help
you raise you r visibility, add to y ou r track record , sell more CDs and
merchandise, and increase you r fan base. Some of these requ ire very li ttle
work , while others will requ ire some research and expenses in terms of
making phone calls and sending packages , etc. When research ing
performance opportu nities, k eep you r options open, and u se this list to
spark some id eas . You sh ou ld be ab le t o add mo re pe rfo rmance and ve nu e
options to the followin g lis t as you condu ct you r research and depend ing
on the sty le of mu sic you perform.
Holiday events
Weddings
Opening s lots / sid e-stage
Private parties
Corporate parties
High Schools
Cru ise Ships
Chu rches
Gig swaps
Farmers markets
Bu sking
College gigs
There are a cou ple of ways to attempt to get college gi gs. One way is
to attempt to book the gigs by y ou rself, while the other way is to go
throu gh an agen t / p romoter to book campu s gigs for you . It is also
sometimes possible to u se some combination of the tw o. If you are
attemptin g to book you r own college gi gs , you can search on- line or look
throu gh some of the contact di rec tories for a list of colleges.
Find the contact information for the Direc tor of Stu dent Activities or
Stu dent Activiti es board at the colleges , and /or the contac t information
for any other c ampu s organi zations. If you are doin g this by you rself, you
will find this to be rather ti me con su ming, bu t if you dont have an agent
working on you r beh al f th en you sh ou ld go ah ead and b egin compil ing
your list and makin g some phone calls and sending out emails.
You can make better use of your time by either lookin g over the
college web site or the contact di rec tory in formation before c alling to fi nd
ou t who the responsible booking person is and what the best time to reach
them is. That information may already be at the site and you can mov e to
the next s tep . Getting the ri ght person to mai l you r p ackage to mi ght be a
challen ge at some colleges , bu t keep you r logbook or d atabas e handy and
write down or enter notes as you call or emai l.
Make su re you pu t you r p rice ran ge in the flyer or brochu re. You
cou ld say, for examp le, that you charge $400-$1,500 per show depending
on trav el. Compile 4-5 minu tes worth of footage of you r bes t performan ces
that inclu de au dience reactions an d comments , which can go both on a
DVD as well as in you r EPK. Inclu de information on the flyer or brochu re
abou t how the person interes ted in booking you r band can get access to
you r DVD/video. Do not actu ally s end the DVDs u nless asked to do so
since this can become qu ite expen sive in the long ru n, especially i f you
dont get booked. You can always initially point them to a location onli ne
where they can access you r elec tronic press kit (EPK) containing sou nd
clips and video footage.
This brings u s to the second way you can attempt to get college gi gs.
You can su bmit you r artist package throu gh a booking agent who attends
conventions where college reps (campus buyers) go to book their campu s
gigs .
Festival gigs
In-store appearances
Every time you meet with a retail s tore man ager to discu ss stocking
you r produ ct on consignmen t, ask abou t the possibili ties of performing
live in their store. Not every s tore will be interes ted , bu t you wont kn ow
u ntil you ask. As you might expec t, you r chances are better with a store
that is already carrying you r produ ct. Be flexible, and offer to perform a
smaller, ac ou stic set that isnt too lou d for their cu stomers , or even to
perform in the store parking lot. This will also show the store manager
how committed you are to the promotion of you r projec t. They may also
carry more of you r produ ct in anticipation of increased sales from the
u pcoming store appearance.
The Mu sicians Gu ide to Tou ring and Promoti on, and The Mu sicians
Atlas (a long with other directories) have sections on local s tores that will
carry you r CDs on consi gnment an d information on those that allow in-
store performances . Don t forget to u se the internet as a powerfu l
research tool. When you find su itable retail candidates , c all or email all of
them and ask abou t performin g opportu nities. Also, driv e arou nd town
and stop at any independent music store that you see to ask if they can
stock you r produ ct and let you perform. Keep in mind that the store d oes
not necessarily hav e to be a mu sic store; specialty stores that cater to a
clientele bas e that is simi lar to you r fan base will work as w ell.
When you make the rou nds of you r local c ollege, pu blic, and non-
commercial radio stations, offer to perform live on the air for the stati on
listeners . Most commercial stations will not let you perform on the air if
you are not already well-known maj or label artist who is promotin g to or
rec eiving ai rplay on the station. Most of thei r lis teners want to hear from
major lab el artists , so you r ch ances as an independent artist are m u ch
better at college and non-commerc ial radio. Once again, the chances of
performing live on the air increase greatly if there is already a
commitment from the college or non-commercial station to p lay y ou r
songs, or i f you have an u pcoming gig either at a large venu e in town or
on the college campu s. Let the people at the station know of any
u pcoming shows you may have and which stores in their area are stock ing
you r CDs. Try and get the college newspaper to wri te an artic le on you
and you r band, and ti e this in with the live performance. Give the radio
stations a reason to have you on the air.
Most radio stations sponsor events . Usu ally , the larger commercial
radio s tations have major label recordin g artists performing at thei r
events , bu t there is always the chan ce that a well-known local act will get
to open up for a national act on a side stage. The smaller local stations
are mu ch more open to having local bands perform at their even ts.
Usu ally, the radio station p ersonnel pu t together these events as a way to
promote their radio s tation to the local or regional commu nities . In that
regard , getting to perform at these even ts is mostly something that is
organized internally at the radi o stati ons. Howev er, if you have done a
good job promotin g you rself locally they may be interested in inclu ding
you as part of th e pe rfo rm ance lin e-u p. Th is cou ld be grea t exposu re if
you could make it happen.
If you have enou gh money (or an investor) , you can pay to become a
(co-) sponsor of on e of these station events. As a sponsor, you will be able
to h and ou t you r band CDs, samp le rs, post ers , T-sh irts , and postcards , or
even perform as p art of the stati on event. This option is not cheap,
however, u su ally costin g in the low to mid fiv e figu res . These shows are
not easy to get into, and a lot of ti mes there is a lot of politics involved .
All the radio stations have web sites where y ou can find informati on on
wh at events th e sta tions h ave coming u p. You can also find informati on
abou t which clu bs their mix show DJs perform in, and you can then
approach them abou t who to talk to regarding thei r station even ts.
House concerts
W h e n d o i n g h o u s e c o n c e r t s , k e e p t h i n g s c a s u a l a n d fu n . F i n d a
loca tion in th e h ou se th at is intimate ye t we ll ven til at ed. Make su re you
can adju st the lightin g to fit the mood, and have ample access to the
res troom or somewhere for people to freshen u p and relieve themselves.
Offer refreshments when possible. Many peop le who come to these shows
will be wi llin g to pay $3 to $10 for the entertainmen t.
In addi tion to other on line resou rc es, Russ & Julie s House
Concerts Presents provides an excellent list of resou rces and Hou se
Concert information located at http://w ww.j rp-
graphics.com/hou seconcerts/resou rces.html.
Shopping centers and malls are good places to perform i f you r band
performs acou stic, all-ages , kid s mu sic, or family- fri endly mu sic or
cover tunes. Performances at shopping centers and malls must be
coordinated throu gh the mall management office.
Many of them are also concerned abou t insu rance for you r event (in
case a monitor fa lls on some kids head and injures them and they get
sued by the parents, e tc) and also the issue of having to pay you to
perform. If you can get your own event insu rance (e.g.,
https://ww w.mu sicproinsu rance.com/Speci alEv ent.aspx) , and offer to
perform for free, you r chances of p erforming will be greatly enhanced . Of
c o u r s e , s o m e c e n t e r s o r m a l l s w i l l b e m o r e t h a n h a p p y t o h a v e y o u p la y
withou t any of the conditions mentioned above, so talk to the management
before you make an offer.
Search for malls in you r area on-lin e. Y ou can begin you r search at
the Wikipedia list of malls in the U nited States here:
http://en.wikipedia.org/wik i/List_of_shopping_malls_in_the_United_States
Once you find a su itable mall, get the contact information for the
management offic e and call du ring bu siness hou rs. Most managers are so
bu sy th at th ey probab ly wont retu rn you r call if you leave a voicem ail . If
you call and they are not avai lable, ju st keep calling back u ntil you get
them on the line. Remember to start c alling early bec au se you wont be
able to ju st set up a performance w ith a weeks notice. If you do perform
at a mall or shopping center, see i f you can have you r CDs avai lable for
sale on consignmen t at a record store near the location of your
performance. In addition, ask the manager if you can sell some
merchandise at a table next to you r performance.
Cruise Ships
The most effec tive w ay to get gigs on cru ise lines is to go throu gh
booking agents like Proship Entertainment
(http://www.p roship.com/) , Ocean bound Entertainment
(http://www.oceanbou nd.ca/) , and others .
Some of the c ru ise lines you cou ld contact individu ally inclu de:
The pay for performances on cru ise ships ranges from abou t $1,800
to $2,200 per month, and room, board , and transportation is provided by
the cru ise line. Payment is u su ally made in cash, and besides a small tip
(roughly $1 per da y) to y ou r cabin steward , you get to keep all the money
you make. K eep in mind, howev er, that you will be responsible for
reportin g that income and paying taxes on it. Another thing to w atch ou t
for is that any money you spend w hile on the c ru ise (souvenirs, drin ks,
purchases off the shi p whi le dockin g, etc) will leav e you with very little at
the end of the contrac t, so make su re you spend (or save) wisely.
Depending on the type of mu sic you play, you can always consider
performing at weddin gs and private parties as a w ay to su pplement y ou r
income. Ke ep in mind th at you will h ave a mu ch easier time booki ng
weddings and private parties i f y ou play cover tu nes. You can always
inclu de a few of you r original tu nes in the set list. You can book wedding
or priv ate party gi gs throu gh agents, w edding vendor web si tes , or
event/party planners .
As soon as you get a show confi rmed at a venu e and /or comp lete a
reco rding th at is being mad e avai l abl e to th e gene ra l pu blic, you sh ou ld
th ink abou t h ow you are goin g to promot e th e sh ow/produ ct . If you fail to
adequ ately p romote you r show or produ ct av ailabili ty, few peop le will
show u p or make a pu rchase.
You can u se sites like eventful ( http://even tfu l.c om/) to promote
your shows and even have fans demand your show in their town. Sites
like these also allow you to provide venu e book ers with evidence that y ou
have fans that are willing to come to you r shows and pay a cov er charge.
You sh ou ld get in th e h abit of prom oting you r produ cts (CDs , downlo a ds,
merchandise, etc) at the same time as you promote you r shows. Review
the earli er chapter on Publicizing and Promoting Your Reco rdings for
other ideas that you can utilize in addition to the ones in this chapter.
Most mu sicians completely ignore many of the old-school , off- li ne
promotion methods becau se of the i ntern et and technological advanc es in
widgets and gadgets . Fortu nately for you , you will be ahead of the game by
incorporatin g some of the old-school methods along wi th the newer mu sic
b u s i n e s s 2 . 0 t e c h n i qu e s . W e w i l l d i s c u s s m a n y d i f f e r e n t p r o m o t i o n a l i d e a s
and techniques in this chapter.
P a g e | 249
While keepin g your fans up to date, don t emai l too often and make
su re the information you send is actu ally newsworthy or interesti ng.
Avoid u sing th e same words in you r su bject line th at scam artists a nd
spammers u se (look a t the emails in your junk mail folder for examples),
or else you r emails wont get throu gh most peop les spam filters .
Withou t access to mainstream radi o and television , the best way for
you to bu ild you r fan base is to harness the enthu siasm of you r existi ng
fans to help you grow .
Encou rage fans to u tili ze soci al networking tools that are mu sic-
centric , like Blip.fm (http://blip.fm/) , Twitty Tunes
(http://www.foxytu nes.com/twitty tu nes/), imeem
(http://www.i meem.c om/), and others. If you r son gs are av ailable on
iTunes (via CD Baby, the Orchard, Tunecore, ioda , e tc), ask your fans to
create iMi xes and inclu de you r son gs in the p lay list that they send to
their fri ends. They can do the same thing with Amazon Listmania lists
if you r songs are avai lable at Amazon. Ask you r fans to create and share
video ringtones u sing video footage of you r band provided by you (or from
clips from your You Tube channel) u tilizin g services like Vringo
(http://www.vrin go.com/) and others. Make su re you rew ard the most
active fans with exclu sive download s, au tographed items, live chats , free
tickets , merchandise, p remiu m prod u cts, etc .
Of cou rse, you will have to be carefu l to not infrin ge where you re
not wanted, and indeed some ev ents will only allow produ cts to be p assed
ou t by sponsors. It may be pru dent to speak with the radio s tation street
team personnel and ask them how they feel abou t you handing ou t
samplers . You can give these s amplers aw ay on the street or to clu b
patrons a cou ple of weeks or so before you r gi g, or at any time du ring the
life of you r releas e. Most p eople have a lot of things going on and a short
attention span , so dont hand ou t samplers more than three w eeks before a
show.
Make su re that the son gs you have in mind fit well with what the
videos are portraying. Mu sic alw ay s adds an extra dimension of emotion
t o a v i d e o , s o i t e n d s u p b e i n g a w i n - w i n s i tu a t i o n a l l a r o u n d : y o u g e t
some exposu re, and they get to u se qu ality mu sic at little (or no) cost.
This will not n ecessarily get you a lot of direct sales , bu t cou ld get you
some exposu re and indirect s ales ( and/or sign-ups to you r mai ling li st,
downloads and merchandise sales, etc) if somebody likes the song and
asks the acc ou nt holder who the ban d/artis t is.
Radio station events What radio stati on(s) do you listen to?
Chances are the mu sic you write and perform sou nds like the mu sic on
you r favorite station . Most radio s tati ons have station even ts that th ey
annou nce on the ai r or on thei r web site. These even ts are desi gned
primarily to p romote the radio station to peop le on the s treet, and cou ld
be anything from a store grand op ening to a movi e premier. Whatever the
event, many station listen ers show up in order to win station prizes. In
keeping wi th the bi rds of a feather flock together theory , i t goes to
reason that many people who show u p will like you r mu sic. In that c ase,
y o u s h o u l d s h o w u p w i t h a bu n c h o f s a m p l e r s a n d g i v e t h e m a w a y t o
people at these even ts. Of cou rse y ou will remember to hav e informati on
on you r u pcoming shows as well as i nformati on on where you r CDs are for
sale alon g with you r samp ler. H ave you r web p age URL and band
information hotline on the samp ler so that people can find ou t more
information once they get back home.
Flyers & postcards You can pri nt some flyers or postc ards that
h ave informa tion on you r u pcoming sh ows and CD av ail abili ty. Y ou sh ould
limit you r flyer / postc ard dis tri bu tion to cars or people within a few
blocks of the venu e where you will be performin g.
Most areas requ ire p ermits for fly er distribu tion, so make su re you
are able to do this before you proceed. Don t hand ou t these fly ers
indiscriminate ly. You sh ou ld only hand th em ou t to people wh o look li ke
they wou ld lik e you r type of mu sic. Do this a cou ple of weeks or so before
the gig. Mos t people throw flyers away, so try and get postcards instead.
Most p eople feel a li ttle bit gu iltier abou t throwing away a pos tcard, or at
the very least will look to see what its abou t before tossing it. Always
inclu de you r site URL and you r band h otline in case someone wants some
more information. The flyer / postcard itself should have all the
information abou t the gi g, inc lu ding venu e address, d ate, and cover
charge (if applicable) . Also men ti on where you r CDs are being sold,
especially if they are available on consignment at a local retai l s tore.
You will have to be stealthy because a lot of times you will find
you rself gettin g chased aw ay by the secu rity in certain areas. H and ou t a
few and move on before you get bu sted. T-shirts and s tickers can also be
given away on radio st ations o r as part o f a cont est . Y ou sh ou ld also pu t
aside some T-shirts & stickers for sale at you r gigs . You can get these
from plac es like Extra Mile Merch (http://ww w.extrami lemerch.c om),
Zazzle (http://www .zazzle.com) , J akPrints (http://www .jakprin ts.com) ,
or Sticker Guy! (http: //www.s tick ergu y.com) .
Most independent record stores and other stores that carry you r
CDs on consignmen t will be happ y to pu t u p posters . If there are no
zoning or permit restrictions , posters shou ld also be pu t u p on the streets
su rrou nding th e venu es wh ere you will be pe rfo rming as we l l as th e stores
t h a t c a r r y y o u r C D s . T h e r e a r e s o m e c o m p a n i e s t h a t c a n p u t u p p o s te r s
for you fo r a fee. They u su ally know the areas where you can pu t u p
poste rs with ou t get ting in trou ble , bu t you will need to rese arch wh ich
companies have a good repu tation before hiring them.
Band hotline - Believe it or not, some peop le still dont have access
to the in ternet, or are c ompletely i ntimidated by technology that is more
complicated than a CD and a simp le CD p lay er. Many of thes e peop le still
love music but have given up trying to stay on top of the latest
technological adv ancemen ts of mp3 players and other gad gets , and prefer
instead to stick to what they know. Even thou gh they are intimid ated by
technology, however, these peop le are completely comfortable with phones
- having u sed them for many years and cou ld possibly be interested in
bu ying you r mu sic if they heard it and liked i t.
You can create brochu res or postc ards with order forms attached
th at can be h anded ou t du ring you r street team camp aign along with
flyers , etc ., that peop le can u se to make pu rchases from y ou . You can also
sign u p for PayPa ls Virtua l Terminal (http://www.p aypal.com) and
take orders from p eople via phone, fax, or mail and p rocess the pay ments
on you r compu ter be fo re sh ipping ou t you r produ cts. You can set up a
separate voicemail where su ch people can listen to some of you r songs
before sending in a payment.
Fol lowing are som e ideas o f th ings you sh ou ld do bef ore, du ring, and
after you r gig that will help you r shows run smoothly, and make people
rem emb e r you , sh ow u p at you r oth er gi gs, and ev en pu rch ase you r CD s
and merchandise.
~ Once you r gi g is confi rmed , mak e su re that you DO NOT book any
other gi gs in that area for at leas t a cou ple of weeks before and after. This
is becau se booking gi gs close together wi ll redu ce you r draw by givi ng
fans the op tion of attending one of a few shows instead of givin g th em
only one option to see you play in that area. The u rgency and hype of the
event wi ll be redu ced if you are performin g in the same place 4 ti mes in
one month, and some fans will miss one show because they can attend the
next one, and then miss the next one because they can attend the next
one, and so on until they actually end up missing all of them. Make an
event or show special, and more people will attend for fear of missing it.
~ Ask the venu e booker or promoter if there are any extra things you
can do to help p romote the show. Inform them of some of the things y ou
plan to d o and have them offer some addition al things that you can do in
coordination with them. Offer to ei ther send them some posters to pu t u p,
or go down to the venu e (if it is your hometown) and pu t posters up
you rself as the gig approaches. This will leav e a good impression with the
bookers as well as ensu re a su ccessfu l gig and probably an o ffer to play
there again .
~ Find ou t h ow mu ch you are get ting paid and h ow you are get ting
paid. Are you being paid a gu arantee? Are you being paid a perc entage of
the door? Who is c ollec ting the money? If mu ltiple bands are p erformi ng,
who is counting which fans are coming to see which band?
~ Find ou t what the policy is on food and drinks. Is the band getting
a discou nt on food and d rinks? Is th e band getting food as part of the pay?
Do band members get d rink tickets?
~ Note down what ti me the doors open and what the venu es gu est
list policy is. H ow lon g before the doors open are you allow ed into the
venu e for a sou nd-check? What time does the show begin? Is there a bac k-
stage area or dressing room for the band?
~ Get all the details regarding p arking. Remember that you have to
park and load in all the gear & merchandise. It wou ld be a seriou s pain to
have to d rag all you r equ ipment fou r blocks to the v enu e in the rain /snow
and then have to d rag i t all the way back at 2.00 a.m. after the show. Fi nd
ou t if th e parking is secu re in case you h ave to leave som e stu ff in th e van
(not recommended).
~ Try and get as many lists from the venu e as you can (media list,
retailer lis t, sponsor list, e tc .). Inform the venu e that you wou ld like
these lists to help promo te the show by sending press releas es, pu t
posters u p, get ai rplay , etc .
In the worst-c ase scenario, you may be able to ren t some equ ipment
if you feel like the gi g is importan t enou gh for you to do so. It wou ld be
nice if the venue could pay for the rental, but dont expect to just show up
and ask them to rent all kinds of things for you . You shou ld take care of
all rental issu es at the beginning of the bookin g process.
~ Make su re that you get app roval for the u se of any py rotechnics or
specialty s tage props wi th the venu e ahead of ti me. Some elemen ts of you r
show may inclu de the u se of prohibited materials that ru n afou l of zon ing
laws , u nion regu lations , or the venu es insu rance policy.
If you r stage show requ ires mo re than the u su al items (PA, lig hts ,
backline, etc) , then mak e su re you ve discu ssed everything with the venu e
booker or p romoter prior to headin g ou t for the gi g.
~ Find ou t from the venu e booker or promoter what order you are on
the bill. Find ou t i f there are any other bands performing with you , and if
so, who is opening u p for whom. Also note whether you will have a DJ
playing in between and after your sets, or if you will be the only band on
stage all night.
If you r performance fee for the night is based on tickets sold at the
door, then you might want to have one of you r own people collecting the
money at the door. Some venu es wont have ei ther a PA or a sou nd pers on,
and if you dont bring you r own sou nd system you ll have to play ou t of
you r individu al amps, which isnt a desi rable option; especially for the
vocalist wholl hav e to sing throu gh one of the mu sicians amps.
~ Promote the show on all the social networking sites where you
have a pres ence. Make su re you ve set u p Facebook , MySpac e and Twitter
accou nts (and any other social n etworking sites of note) that you can u se
to p romote online. Mos t people p lan their entertainment activi ties in
advance, so give peop le time to pu t you r gig on their c alendar.
~ Send ou t a press release to the media as soon as you have you r gig
information con firmed . A press release is an annou ncement of you r gig
that you hope the media (newspapers, television sta tions, radio sta tions,
bloggers, podcasters , music publications, etc) pass on to their readers,
viewe rs, and list ene rs. Ke ep in mind th at th e decision to u se you r rel e ase
is entirely u p to the responsible entertainment editors. In other words,
they dont have to include your release unless they feel i t has something
of v alu e or interest to their read ers , viewers , and listeners .
You r release shou ld never be more than one page i f annou ncing a
gig. A lso, the reality is that you shou ld not exp ect too mu ch action from
the mainstream media regarding you r press releas e. They receive a lot of
releases from corporations and maj or labels that they perceive will have
more of an imp act on their readers, view ers , and listeners. H owev er, it
doesnt hu rt to try. An op tion is to send you r release throu gh mi 2n
(http://www.mi2n.com) or pu rchase the Virtual Publicist Toolkit
~ In order to k eep major rec ord labels abreast of where you are
performing, su bmit you r tou r itineraries to Pollsta r. You can email you r
tour itinerary to them at tou r_dates@po lls tar.com. There are no
gu aran tees that you will be inclu ded in their listings , bu t once they
research and cross-reference the dates you may be inclu ded. You can also
use ArtistData (h ttp://w ww.arti stdata.c om) to submit your show
information to concert d atabas es, or add you r gi g information di rectly to
sites like JamBase (http://w w w.jambase.com), Mojam/Wolfgangs
Vault (http: //mojam.wolfgangsv au lt.com/con tribu te/) , SonicLi ving
(http://sonic living.com) , clubvibes (h ttp://www .clu bvibes .com /) , and
others .
~ Send an email to all the rec ord stores that have you r CDs on
consignment within a 10-mi le radi u s of where you have you r gi g. If y ou r
gig is ou t of town , emai l all the record s tores that are stockin g you r
produ ct. Use the emai l to let the store manager know abou t the gi g, and
ask if they can mak e su re that they have you r CDs ou t on the shelves i n a
highly visible location. Ask if they can play you r CD in the store or even
h and ou t some sampl ers t o pat ron s on th e days leading u p to th e gig.
Off e r to pu t you r CDs on sal e, pe rh aps $2 off th e retai l price fo r peo ple
who bring a cou pon from you r gig to the store. Try and convince them to
pu t up some of you r posters u ntil after the gi g is ov er.
~ Send ou t an email to all the rad io stations in you r area that you
have promoted you r son gs to. Letti ng them know abou t you r live shows,
CD sales , revi ews, and interviews can help them d ecide whether or not to
play you r songs on the ai r. They are more lik ely to play a son g on the days
leadin g u p to the gig, as well as invite you to do an on-air performan ce,
intervi ew , or tick et give- away con test. Of cou rse, we are talking mai nly
abou t internet radio, college radio or some sp ecialty shows on you r local
commercial station .
~ Make su re you ve s ent ou t all you r gig invitations . Let all the
people on you r mai ling list know abou t the gi g, as well as any indu stry
people that you want to invi te. Invite media people to c ome and review
you r live show. Invite booking agents and promoters so that they can see
how you perform live and possibly offer you more gigs at other v enu es in
th e fu tu re. If you invite indu stry people to you gig, you may h ave to bu y
some d rink tickets from the venu e to offer them. Send invitations to all
the college newspapers and radio s tati ons, as w ell as to the members of
the stu dent activiti es or p rogram boards at the colleges . Go throu gh y ou r
directori es and invite people from record labels (bo th independent and
major) in you r area. Send invitations abou t three weeks before each gig,
that way they have about two weeks notice.
If you send ou t you r invitati ons too lon g before that you risk the
chance that people will forget abou t the gig, bu t don t wait u ntil too close
to the gi g either. Don t expect everybody to show u p, bu t inviting th em
keeps your name in their heads.
~ Get you r equ ipment and health insu rance needs in o rder. You
never know when you may have your equipment stolen from the van or
damaged du ring a gig. Lost or d amaged equ ipment can set you back
financially and totally ru in the momentum and spiri t of the band.
Insu rance coverage does not cost as mu ch as you think it does, and th ere
is absolu tely no excu se to not get some, especially if you are going ou t on
a tour. Try contacting companies like MusicPro Insurance
(http://www.mu sicproinsu rance.com), or Clarion Associates, Inc.
(http://www.c larionins.com) and others for you r insu rance needs .
~ Let all the other band members know abou t the detai ls that pertain
to them, inclu ding travel arrangements , direc tions, emergency phone
nu mbers, etc . Set u p a loc ation for everyone to meet before you travel to
you r show. When possible, organi ze a car pool.
~ Make su re that the band members have all the nec essary
equ ipment they need for the show. Write u p an equ ipment checklist. This
list should be used both when you set up and when you break down.
~ Confi rm the gi g one last time a cou ple of days before the show.
You ll be su rprised how many ti mes a gi g gets c ancelled and nobody
bothers to tell the band abou t it. It only tak es a cou ple of minu tes to c all
and confirm the fact that you are s till on the bill and bein g exp ected. If
necessary , have you r contrac t handy in case you need to fax it to
somebody at the venu e that has any qu estions abou t the gi g.
~ Ask fans in the area where you will be performin g if they can
recommend any good places to find inexpensive food, cheap gas ,
equ ipment rentals, affordable acc ommodations, etc . This will c ome in
handy especially if you dont live in that city and dont know where
everything is .
~ If you r show gets cancelled , make su re you let you r fans know
abou t it as soon as possible; especially if you have some fans driving in
from other cities .
~ Use a band stamp or wris tband Have the doorman stamp peoples
hands with the bands URL or issu e people wi th wristbands printed w ith
codes for them to text for a free download. Most venues use a stamp to
identify people who have already paid to get. These stamps u su ally stay on
peoples hands even after they wash a few times .
Try and arrange for a fu ll sou nd check with the v enu e ahead of time,
and arrive with enou gh time to p erform one. This will greatly affec t how
you sou nd, and since you want to bl ow eve rybody aw ay with th e fi rst so ng,
it would be a shame to waste it as sound check fodder.
~ If you brin g you r own sou nd person with you , make su re they work
close ly with th e h ou se sou nd person and respect th at pe rsons space . If a
conflict arises , u nless it adversely affects the sou nd of you r show, alw ays
yield to th e h ou se sou nd person. N ot only do th ey know th eir particu l ar
sou nd system better than you do, bu t they also know how things sou nd in
their room even i f things may sou nd weird to you at sou nd check. Of
cou rse, some venu es have peop le that have no clu e abou t mi xing li ve
sou nd, and in that instance it is ok ay for you to have you r sou nd person
take con trol of the situ ation. In those instances, most newbi es wi ll gladly
yield to a more experienced sou nd engineer and u se the occasion as a
training session and learning experi ence.
~ Have peop le in the venu e wearing you r T-shirts If you have any
band T-shirts or caps , it can be a good idea to have people in the venu e
(doormen, waiters / waitresses, club managers, patrons, band members)
wearing them.
Mention and point ou t the merchan dise table from the stage du ring
you r gi g. Hav e a laptop avai lable and allow people to pu rchase CDs ,
su bscriptions, and merchandise at the gig u sing credi t cards (via servi ces
like PayPal). You can even sell merchandise that you dont have available
at the gi g and then mai l ou t shipments when you arriv e back home (si nce
people can pay for the shipping with their order) .
~ Start and end the show with you r stron ges t material. Pick two ou t
of th re e of you r best songs and play th ose two first . End th e sh ow with
one that is hooky and memorable.
Avoid playing too many son gs bac k-to-back with the same tempo,
groove or key. The au dience cou ld get bored if too many of them a stru ng
one after the other. Keep dead spac e to a minimu m, and avoid things that
requ ire dead space like changi ng instru ments or stage positions.
Incorporate new sou nds or instru ments into the show for v ariety .
~ While performing, try not to do the same thing over and over for
each song. Vary you r ges tu res , facial expressions, body movements,
lighting schemes, banter, w ard robe, postu re, etc ., otherwise the au dience
will feel (even if its no t the case) as thou gh every son g is the same.
Mention y our websi te by telling the audience that they can find song
lyrics or other information there. Give them some insight as to perhaps
why you wrote a particu lar son g, or tell a fu nny story abou t something
that happened to the gu itar player du ring the rec ordin g session. Do some
research ahead of time and incorporate loc al ev ents , bi rthdays , etc ., i nto
the show. If the situ ation is su itable, try taking a few qu estions from y ou r
fans (wri tten down on pieces of paper) and answering them in grou ps
periodically throu ghou t the show. Think of all kinds of w ays that you can
interact with you r fans in additi on to performin g you r son gs for them.
~ Mak e you r show visu ally stimu lating Inco rpo rate something into
you r show that is visu ally interes ting. Besides merely performing y ou r
songs, you shou ld have some type of stage p rop or li ghting theme that
g i v e s t h e a u d i e n c e s o m e t h i n g t o r e m e m b e r . T h i n k a b o u t y o u r m u s i c an d
what type of image you re trying to portray. Ev en if you r mu sic sounds
great, try and have something els e happening on stage that makes y ou r
performance special.
~ Record you r show Depending on the venu e policy, try and record
you r show u sing a feed from the front-of-hou se (FOH) mixer. Most
professional mixing boards have the capabili ty of s ending ou t a 2- track
mix not only to the main monitors , bu t also to a record er. If you are able
to record that feed into a lap top w ith recordin g softw are, you shou ld be
able to bu rn CD-Rs of the show and offer it to peop le either free with a
CD or merchandise pu rchase, or ev en as a free gift for attending the show.
You cou ld also perform some basic mas tering to the tracks (or send ou t
the songs to be mas tered) for a liv e rec ordin g that you can sell on you r
website or su bmit for digi tal distribu tion/fu lfillmen t.
~ Work you r mailin g lis t Dont forget to get peop le to add their
names and contact informati on to your mailing list. Make the list
available at the merchandise table and have the band members men tion it
frequ ently from the stage. Have a laptop handy where people c an sign u p
directly to you r mai ling lis t if you are u sing something like FanB ridge or
FanReach as a mailing list solution.
~ The band man ager shou ld be des ignated the task of makin g su re
that all VIPs ( label A&R reps, media personnel, industry players, fan
club members, e tc) are well tak en care of. The manager shou ld walk
arou nd talking to anyone who need s to talk to the bands representati ve.
It is important to make su re that all deal offers go throu gh the manager or
designated band rep resen tative.
~ Allow fans to tape your shows (both audio and video) if the ven ue
allows the u se of cameras. Make su re to ask the venu e ahead of time w hat
the taping policies are, since some dont allow any taping at all while
others allow taping as long as the cameras (audio and video) are not
professional (i .e., poin t-and-shoot or cell phone cameras might be fin e).
Some venu es also have u nion gu idelines that mu st be adhered to.
At firs t blu sh, it seems like people who have a bootleg recording wi ll
not pu rchase the real CD, bu t you will be su rprised how many will become
long term fans, bu y fu tu re CDs, sp read the word abou t you r band to their
fri ends, and pu rchase you r merchandise. Also, they c an come in han dy
when it comes to you needing a place to stay while on tou r. You shou ld,
however, remember to ask for a c opy of the tape(s) for you rself when they
are done.
~ End you r show at the exac t ti me you where schedu led to end it
Unless otherwise directed by the v enu e booker o r promo ter, you shou ld
not play beyond the end time of your show, especially if there are other
bands schedu led to perform after you . Have somebody off stage keepi ng
track of the time who can give you a signal when there is only time for one
more song.
~ If there is another band playing after you , make su re you tak e you r
gear off the stage before heading ou t to mingle with fans and work the
merchandise table. If you need to do so, brin g along a roadie to help w ith
settin g u p and breaking down the gear who can also drive the van or mix
the sou nd, etc. If you are able to, ask the band performin g after you if
they need any help settin g u p their gear.
~ Min gle At the end of the gig, dont ju st pack u p you r gear and
leav e. Have a friend or roadi e break down you r gear, and min gle with the
crowd . Thank them for coming (eve n if they d idnt come to see you) and
try and mak e friends with some of the patrons . Remember that everybody
wants to be cool wi th the band, so take advantage of that. Talk to people
and ask them what they thou ght of the performance. Mention the band by
name so that the n ame gets stu ck in their memory . Most importantly,
meet peop le at the merchandise table and si gn both pu rchased items as
well as freebies (pho tos , CDs , t-shirts , e tc.) for fans. Ev en at this late
stage, its not too late to encou rage people to sign u p to the mailing list if
they havent already done so; therefore, don t forget to ask p eople to si gn
up as you talk to them.
~ Help out Help each other break down gear and ask the club
manager / booker if there is anything you can do to help them ou t. Most
of the time they will say no, bu t they will remember that as a nice gestu re
when it comes time to think abou t booking a band in the fu tu re.
~ Dou ble-check that you have all you r gear with you before y ou leav e
th e venu e Once you h ave lef t t h e venu e, it is almost impossible to
recov er equ ipment or c lothes that y ou have left behind. Have a lis t of the
equ ipment you brou ght in, and check that list off as you load the
car/van /bu s at the end of the gig.
Showing that you care abou t the situ ation will go a lon g way towards
bu ilding a good relationship with the bookers. Remember, its a s mall
world and w ord gets arou nd.
~ Pay the band members promptly as soon as you get back . Most
often, i f you receiv ed a check as payment from the venu e, you will hav e to
wait u ntil the check clears. If, however, y ou have gotten cash, p ay the
members ri ght away . Pay the band exactly what you said you would,
whether it is a percentage of the door, a gu arantee, etc . You can develop
problems if you gain a repu tation for not paying on ti me or for paying less
than you promised .
~ Once you get back , review the v ideo and au dio footage from the
gig. Take notes of all the things that work ed ou t well and make note of the
areas where you need to make improvements . Analy ze i f the recordi ngs
can be released as CDs/DVDs or downloads .
What does the band have to offer (image, fan base, la rge mailing
list, common message, etc)?
What is the bands p erformance and sales track record?
What are the bands overall tou ring goals (regional, na tional,
international)?
How often will the band perform?
How lon g wi ll the tour cycle be (one night, one wee k, one month,
several months long)?
What cities (and /or co untries) wi ll the tou r be rou ted throu gh?
What are the expenses involved (eq uipment renta l, band & crew
salaries and per diems , car rentals , accommodations , insurance,
etc.)?
Has the band recorded or tou red before?
What is the target demographic (or audience)?
How well do you know the target demographic?
P a g e | 290
You will ultimately n eed to answer all the questions above and more
in order to get a sponsor behind you . Remember that any company can be
a sponsor, and you can have more than one sponsor attached to your
project as lon g as they are not competitors . You can start with compan ies
that are interested in penetrating the demographic you reach (or plan to
reach).
If you are tou ring intern ationally, you can look for comp anies that
wish to extend thei r brand name beyond the bord ers of you r cou ntry . Y ou
may not a lways b e ab le to get cash . You sh ou ld keep in mind th at produ cts
and services given to you for free or at a discou nt can also be of valu e. For
example, hotel rooms , clothing, equ ipment, airline tickets , staff, mai ling
lists, or car rentals c an be part of what you ask for instead of (or in
addition to) cash.
If the artist is wi llin g to tak e a smaller adv ance, the royalty rate may
be negotiated higher. If the artist is in need for a larger adv ance, the
royalty rate may be lower.
When advances are p aid, they are u su ally paid in thirds; one-third at
the singing of the contrac t, one-th ird at the commencement of the tou r
and finally one-third after a specified number of shows h ave been
completed. Unlike label advances, many merchandising advances or
payments are retu rnable i f specified conditions in the merchandising
agreemen t are not met. For example, if the artist fai ls to perform in front
of a minimu m nu mber of attendees at thei r shows, or fails to perform a
specific nu mber of shows, the advan ce wou ld be retu rnable.
The royalty paid on sales of tou ring merchandise is usu ally between
25% and 3 5% of each item sold . The merchandising comp any will typically
pay the hall fees charged by the venu es on the tou r. The roy alties paid on
retai l merchandising is u su ally between 10% and 15% of the dealer price.
Most bands will on ly be able to get these types of deals following a second
or third albu m or after theyve tou red extensively ( 150 + da tes per ye ar) ,
bu ilt u p a large mai ling list/following and have a history of selling
merchandise.
Previou sly for bands , the on ly way to increas e you r fan base in other
regions was to tou r loc ally (sta rting small) , and then mak e several rou nds
over a cou ple of years before establishing enou gh of a repu tation to d raw
the necessary nu mber of fans to ju stify expanding ou tside the regi on.
Nowad ays, y ou can u se social netw orking on the internet to reach fan s in
areas ou tside you r home region and get some feedback abou t how many of
them would buy tickets to your shows.
Once you ve created a large enou gh mailing list from you r social
networking campai gn you can then send ou t newsletters and u se servic es
eventful (http: //even tfu l.c om/demand) and Live Music Machine
(http://www.livemu sicmachine.com/), or u tilize d ata from services like
RockDex (http://w ww.rockd ex.com) and others to find ou t how many
fans/listen ers /followers you have in different cities that might be
interested in comin g to you r performance; and then u se that informati on
to make smart rou ting decisions for you r tou r. You can also u se servi ces
like streamSerf (http: //ww w.s treamserf.c om) to track which radio
stations in which cities are p layi ng you r songs and rou te y ou r tou r
accordin gly .
You r local region is the plac e for y ou to test how well you r show is
pu t toge th er, mak e mist akes ea rly i n th e proc ess, and po lish u p you r act
b e f o r e t a k i n g t h e s h o w o n th e r o a d . T h i s i s a l s o t h e p l a c e f o r y o u t o
experimen t and find ou t exactly w ho you r au dience is, as well as make
some money to help you with tour expenses.
P a g e | 295
It is also the place for you to gain experi ence, create a bu zz, and get
cru cial references from venu e bookers and talent bu yers in you r area.
Once you have play ed at most of the important loc al v enu es; promoted
you rself to th e loc al fans and mu sic indu stry people; rec eived local radio
airplay; pu blicized you rself to the local media throu gh press releases and
intervi ews; and sold some records at you r local retai l stores; you can then
begin the process of planning a tou r.
For examp le, if you have a Friday or Satu rday night showcase slot at
a conference, you can try and book a Wednesday or Thu rsday night show
in the same city.
Start planning and rou ting you r tou r at least three to nine months
ahead, dependin g on the distance you are planning to travel; the gen re of
mu sic you perform; and the type of tou r you are planning. For examp le,
jazz fes tivals are often book ed u p to a year in advance, so s tartin g to p lan
you r tou r three to six months ahead wou ld be too late to be inclu ded. You
will need time to plan and rou te th e tou r, con firm all the dates , au dition
and rehears e the band, hire a road manager, hire the crew (roadi es,
driver, techs, etc .) , enlist the help of a trav el agen t, obtain the necess ary
visas or work permits , book you r accommod ations , pu rchase insu rance,
promote the shows, condu ct pu blicity campaigns , get the rec ords i nto
stores, send promotional items to the venues, etc.
You will also need to make su re th at you aren t breakin g any u nion
ru les if you are a u nion member (A FM, AFRTA /SAG) or if you are hiri ng
or performing with other u nion members. Do you r planning ahead of time
in order to avoid a situ ation where you are u nable to p erform s show at
the last minute.
Discu ss all the financing options you have available to you right now
(e.g. ticke t pre-sales, record label tour support, deposits , savings,
investors, sponsors, promote rs, ta lent buyers, brand partners, roya lties,
etc.) . Th is will h elp you to u nderstand h ow mu ch money you h ave on
h and, and h ow mu ch you need to make e ach day on th e ro ad in orde r to
break even on the costs of putting the tour together. Without
u nderstanding the financing, it is likely that you will lose money on the
tou r. You mu st know exactly h ow m u ch it costs you each day on th e ro ad
(air fare, bu s fare, train fare, gear and other miscellaneou s ren tals, hotel
rooms , food , gas , au to expenses, lau ndry, taxes , insu rance, medical costs,
phone / fax charges , crew salaries , venu e fees , ATM fees, commissions,
etc .).
Determine the ov erall cost of pu tting the tou r together and dedu ct
the cash you have avai lable at hand from that. For examp le, if the overall
cost of pu tting the tou r together is $75,000 and you have $8 ,000 c ash at
hand, the remainin g amount of money you need to pay for the whole tour
is $67,000 ($7 5,000 - $8,000 = $67 ,000). This $67,000 wi ll have to come
from ticket sales, merchandise sales, album sales from the gig ,
sponsorships, brand partn ership contribu tions, endorsements , donations,
miscellaneou s payments , and whatever other income sou rces you can come
u p with while on the road .
If you have access to a bu dget that allows for it, consider lookin g for
a tour buy-on or marketing co-op with an established band. This is
a scenario where you reach ou t to a headliners agent and/or manager
with an offer to pay them a certain amou nt of money (e.g . $500 - $1,0 00)
per day for the opportu nity to perform wi th them as a 1st, 2nd, or 3rd act
for a c ertain nu mber of d ates (e.g . 1 40) in venu es of a certain capac ity
(e.g. 2,500 10,000 people) on thei r tou r.
You will most likely be bidding with other people for the buy-on, so
make su re you dont get cau gh t in a bidding war. Only bid wh at you can
afford to pay , since, in addi tion to the cost of the bu y-on, you will also
have to take into account the additional costs of your bands travel,
accommod ations , rentals , p er diems , insu rance, etc .
Keep in mind that the p romoters of the tou r also have a say in the
matter, and the size of you r d raw will be tak en into accou nt as d ecisions
are bein g mad e. You will also likely need to make lots of pitches in ord er
to get one accepted. You can use the directories from Pollstar
(http://www.pollstar.com) and Billboard
(http://www.ord erbillboard .com/) to get contact in formation for
managers, agen ts, and promoters (a s well as tou r itineraries).
If you are workin g a radio camp aign , call the stations that are
playing you r songs and ask them which venu es in their mark et they can
recommend for y ou to play in. Some of these stations may be w ell ou tside
you r traveling range, bu t if i t makes sense to rou te you r tou r in that
directi on, i t may be worth the trip in the long ru n. If you are rec eiving
radio airp lay at the ti me you contact venu es (or boo kers / agents), make
su re you tell them which stations you are receivin g airp lay on and which
Program Directors or Mu sic Di rectors recommended the v enu e to you .
As you make you r calls , inpu t the date of th e conve rsa tion, th e
persons n ame, the venu e or company name, venu e capaci ty, add ress,
phone nu mber, fax nu mber, e-mail address , and commen ts (including
when to follow up and what was said). On you r calendar, mark a date
with a T if you have a tentative d ate and a C if you have a con firmed
date.
When planning you r firs t tou r, try and stick to between 2-4 states
su rrou nding you r home market or region (or a 100 mile or so rad ius
around your ho me to wn). If you are planning a Eu ropean or overs eas
tou r, it wou ld be wise for you to w ork with an agent or p romoter who is
well versed in the issu es of international trav el and is able to advise y ou
on all the legal, accou nting, visa, and langu age issu es associated with
su ch endeavors .
Look at a United States map (or a map of whichever area you plan
to tour) and map ou t a rou te th at m akes sense. Draw lines f rom you r h ome
throu gh you r target tou rin g region and back. Notice if and how the lines
make sense. You r rou te shou ld not zigzag randomly across the cou ntry (or
region). You r rou te shou ld ei ther be a rou gh circle or fi gu re ei ght.
Meand erin g back and forth betw een cities and zi gzagging randomly ac ross
the cou ntry is a was te of time, money, gas , and energy .
You will have to set some booking d eadlines and decide which venu es
are wo rth wai ting fo r. You sh ou ld consider v ariou s bookin g opportu nities
(e.g. high schools , colleges, radio station events, specia lty s tores, house
concerts, far mers marke ts, co ffee shops and cafes, fairs and festiv als,
opening slots, gig swaps, conventi ons, churches , malls, etc .) to help fill
in dates (and mak e some extra money) along the rou te. Remember that
every day on the road cos ts mon ey (hote l roo ms, gas , food, car or van
rentals, e tc.) . In that regard , you shou ld attemp t to make money one way
or another from as many additional sou rces as possible.
As calls are mad e and commu nication proceeds, mak e su re you set
booking deadlines. It makes no sense to wait for an answer from
somebody for months on end while you hold all your other booking
options. If somebody cannot giv e you the date you are requ esting, ask if
they cou ld recommend somewhere else in town for you to play that night
or on those nights. As you contac t venu es, try and research what time the
pu blic transportation system ru ns u ntil so that you can plan to end y ou r
show prior to the time the last train or bu s ru ns.
As you call arou nd, have you r media pack ages ready to send ou t, or
at least have a website where you can send people to view your Electronic
Press Kit (EPK). Always log you r phone calls and note down the date you r
package was sent out as well as the date you have scheduled to follow up.
Once you have a date confi rmed , note down all the bookin g detai ls you
agreed to (e .g. how muc h you are getting paid, wha t date and time the
gig is, what equipment is being provided, w ho else is on the bill, t he
load-in and sound check times , etc) and send this contract to the venue,
booke r, or pro mot e r. Do th is especial ly if th e venu e does not h ave a
contract of its own to s end you . Ask the promoter or booker for their
media list (a lis t of publications and media contacts in the area tha t
cater to music).
Ask them if they c an recommend any particu lar w riters or review ers
for y ou to contac t. Send the promoter or venu e book er any promoti onal
materi als they mi ght need (e.g., CDs, pos ters , samplers , postca rds,
flye rs, e tc.) at leas t 4 to 6 weeks ah ead of time.
Keep in mind that the media works on deadlines , so the sooner you
can send you r materials the better. Ask them i f they will be u sing you r
band name in thei r ads. A lso ask for them to link you r website to theirs .
Get equ ipment and h ealth insu rance coverage befo re you leave. You
never know when you r equ ipment might be s tolen from the van or at a
venu e; or damaged on the road or du ring a show. Insu rance is qu ite
afford able if you consider the cost of replacing all you r equ ipment
you rself, and there is absolu tely no excu se for not gettin g coverage for
you r equ ipment; especially when you are goin g on tou r.
There are many comp anies that offer insu rance, bu t a cou ple of good
places to s tart (in additi on to you r Homeowners insu rance comp any)
inclu de MusicPro Insurance (http ://ww w.mu sicproinsu rance.com) or
Clarion Associates, Inc. (http://www.c larionins.com) .
Make su re you clarify exactly what is covered before you pay for a
policy. You need to be as c lear as possible when desc ribing the natu re of
your needs, including the fact that your equipment will not be in one
place all the time since you are on tou r. Some insu rance companies will
not cover equ ipment that is tak en ou tside you r stu dio or rehears al sp ace,
or they may only cov er i t if its stored in a secu re location. Ask v ery
specific qu estions before you sign u p.
Try and get p eople in the other ci ties (street teams) to help you pu t
you r CDs on consi gnment in the retai l s tores, as well as hand ou t
promotional samplers and T-shirts to people on the s treet. This type of
promotion will help you get more people to you r shows.
Send gig invitations to the media and other indu stry people in the
cities where you will be performi ng. Invite members of the media to
revi ew you r show and interview you before the sou nd check or after the
show.
Provide d rink tickets to indu stry people i f you want them to show
u p. Call the local radio stations and see if they can p lay you r mu sic
arou nd the date of the show or condu ct an on-air interview wi th you on
the day you arriv e. Send promoti onal posters and fli ers to the venu es to
pu t u p a cou ple of weeks before you r show. Onc e the show dates are
confirmed, su bmit you r tou r itin erari es to Pollstars data proc ess ing
department at tou r_d ates@polls tar.com. There are no gu aran tees to the
entry of you r dates in to their database, bu t once they res earch and c ross-
reference the d ates you may be inclu ded.
Call and re-con firm all the dates before you embark on the tou r.
S h o w s s o m e t i m e s g e t c a n c e l l e d , o r v e n u e s g o o u t o f bu s i n e s s , a n d t h e la s t
person to know is u su ally the band. Dou ble-check each show befo re you
leave town, and take a lap top and smart phone with you on the road in
order to s tay abreast of all the latest information .
Following are some tips for what to do on the road (while touring):
Have a list of all you r equ ipment an d check it before you leave each
destination.
Give each band member a contact li st of all the v enu es, book ers, and
promoters involved in you r tou r. You will have backu ps if you lose
your master list.
Always carry road maps and bring along a GPS device if you have on e
(or rent one).
Join AAA and carry y ou r AAA card at all times.
Make su re you brin g you r medical i nsu rance card with you .
Make su re you have backu p equ ipment (guitar strings, dru mstic ks,
pedals, cables , mic rophones, fuses , picks, extension cords , e tc) in
case you lose or damage something alon g the way .
Carry a c redi t card for emergency si tu ations where a credit c ard is
needed for reserv ations , booking, or ren tal.
Carry a sec ond form of identi ficati on for ti mes where that may be
requ ired (e.g . banks , e tc).
Bring along a set of earplu gs and save you r hearing over the cou rse
of a long tou r.
Bring along some extra rolls of toi let paper (no e xplanati on
necessary)!
Let people at home know your tour route and schedule.
Shows get canc elled , so hav e a plan -B in place. Mak e su re you have
a way to le t fans know abou t th e can cell ati on (wh ich is wh y you
sh ou ld h ave a l aptop wi th wire less c ard or a s ma rt ph one avai lab le
for updates).
If you re going overseas , make su re you r passport and visa
paperw ork are in ord er. Also, ship you r merchandise over there
before you leave. It is also a good id ea to ren t mos t of you r
equ ipment once you get there instead of takin g it with you .
Try not to have any overt fav oritism in the band. Consider
everybodys id eas and p rovide good reasons as to why su ggestions from
band members are accepted or rej ected bas ed on the meri ts. Keep a log of
conversations in band meetings s o that you can refer to the notes if
somebody should have a comp laint of some kind.
Pick you r fights among band members carefu lly (based on principle),
and each time an incident arises , consider whether or not it is worth
fighting abou t.
Nev er, ever brin g u p an argu ment or issu e on s tage du ring a show.
This can be extremely hu miliating and annoying and c an lead to people
qu itting the grou p (or even coming to blows on stage). Always wai t to
address issu es at band meetin gs.
Wh en discu ssing issu es with band memb ers , offer solu tions instead
of argu ments.
Try and help each other break dow n equ ipment at the end of a gi g.
Offer to at least help c arry somebody els es equ ipment to the van if y ou
are done with your setup.
"To day is your day! Your mountain is waiting. So... get on your
way."
-Theodor Seuss Geisel ( Dr. Seuss)
B r a n d s , 113
B u r n s i d e D i s t r i b u t i o n , 112, 193
Business Manager, 8
a d d s , 221
s p i n s , 221
C
3 C c o r p o r a t i o n , 22
C a f e P r e s s , 149, 176
3 6 0 , 36, 48, 81, 82, 84, 99, 103, 104, 105, 117
c l o s e c o r p o r a t i o n , 22
3 6 0 d e a l s , 48
c o l l e g e r a d i o , 212
c o m m e r c i a l r a d i o , 216
A
c o n c e r t l i s t i n g , 267
A & R r e p s , 58, 101 c o n s i g n m e n t , 186
A & R W o r l d w i d e , 119 Consignment, 186
A D A , 112, 193 c o p y r i g h t b a s i c s , 93
A n t i - P i r a c y C o m p l i a n c e P r o g r a m , 148 c o p y r i g h t n o t i c e s , 145
A r t i s t S h a r e , 138, 307 c o - s o l e p r o p r i e t o r s , 19
A S C A P , 64, 65, 97, 122, 223, 243, 254 c o v e r l e t t e r , 155
Association for the Promotion of Campus C r y s t a l C l e a r M e d i a G r o u p , 148
A c t i v i t i e s ( A P C A ) , 247
Attorney, Legal and Business Affairs D
G u i d e , 29
D a n K i m p e l , 157
a u d i t , 36
d e m o d e a l , 46
a u d i t i o n i n g , 127
d e v e l o p m e n t d e a l , 47
d i f f e r e n t t y p e s o f d e a l s , 46
B
D i s c M a k e r s , 148
b a c k d o o r , 109 d i s t r i b u t i o n , 185
B a n d & C r e w , 126 d i s t r i b u t i o n d e a l , 49
B a n d L e t t e r , 152, 259 d i s t r i b u t o r , 192
b a n d m e e t i n g , 129 d i s t r i b u t o r s , 192
B a n d M e t r i c s , 116, 166 D r o p c a r d s , 147
B a n d M i x , 126
B a n d p a r t n e r s h i p a g r e e m e n t , 130 E
b a n d - a n d - b r a n d , 115
E 1 E n t e r t a i n m e n t D i s t r i b u t i o n U . S , 112, 193
B a n d i z e , 14
E M I L a b e l S e r v i c e s , 119
B i l l b o a r d , 13
EMI Label Services & Caroline
b i o , 157
D i s t r i b u t i o n , 112, 193
b i o g r a p h y , 156
E M I M u s i c M a r k e t i n g , 112, 193
B M I , 64, 65, 97, 122, 145, 223, 243, 254
E P K , 25, 77, 125, 136, 154, 156, 158, 159, 160, 212, 217, 225,
B o o k i n g a g e n t s , 59, 225
227, 229, 230, 232, 246, 311
b r a n d a m b a s s a d o r s , 113
e s t a b l i s h g o a l s , 41
P a g e | 312
F k e y - m a n c l a u s e , 39
K i c k s t a r t e r , 138, 307
F a c t s h e e t , 157
F a h r e n h e i t M e d i a G r o u p , 119 L
F a n B r i d g e , 152, 259, 281, 293
F a n R e a c h , 152, 259, 281, 293 L i m i t e d L i a b i l i t y C o m p a n y ( L L C ) , 23
f e e d t h e m u s e , 138, 307 L i m i t e d P a r t n e r s h i p , 20
F i l m & T e l e v i s i o n M u s i c G u i d e , 173 L o a n - o u t C o r p o r a t i o n , 22
f i n d i n g a r t i s t s , 25
F i z z K i c k s , 147, 175 M
f r e e d o w n l o a d s , 170
m a i l i n g l i s t , 151, 259
m a j o r r e c o r d l a b e l s , 99
G m a n a g e m e n t c h a l l e n g e s , 74
g e n e r a l c o r p o r a t i o n , 22 m a n a g e m e n t c o n t r a c t , 29
g e n e r a l p a r t n e r s h i p , 19 m a n a g e r c o m m i s s i o n , 33
G S 1 U S , 146 m a n a g e r i s n o t a c t i n g a s a t a l e n t a g e n t , 36
m a n u f a c t u r e C D s , 146
H m a r k e t i n g b o o k , 179
M a s t e r L e a s e D e a l , 51
H a r m o n i a M u n d i U S A , 112, 193 m a s t e r i n g , 141
H a r r y F o x A g e n c y , 63, 97 M e d i a a r e a , 154
H i t Q u a r t e r s , 110 m e d i a o u t r e a c h , 177
H o u s e c o n c e r t s , 251 m e r c h a n d i s i n g , 302
H o w a r d R o s e n P r o m o t i o n , 218 m i x i n g , 141
m o b i l e c a m p a i g n s , 263
I m o z e s , 114, 263
i m e e m , 165 M u l t i p l e R i g h t s d e a l s , 48
M u s i c B u s i n e s s R e g i s t r y , 13
i n t h e i n d u s t r y p i p e l i n e , 103
i n d e p e n d e n t r a d i o c a m p a i g n , 212 M u s i c D i r e c t o r , 213
i n s u r a n c e , 14, 22, 43, 235, 253, 275, 276, 279, 284, 299, M V D E n t e r t a i n m e n t G r o u p , 112, 194
I R M A , 148
I S R C , 142
N
National Association for Campus Activities
( N A C A ) , 247
O a s i s D i s c M a n u f a c t u r i n g , 148
S
O p t i o n d e a l s , 49
O u r S t a g e , 139, 248, 309 s a m p l e r , 261
S e l l M e r c h , 149, 176
P S e l l a B a n d , 139, 308
S E S A C , 64, 65, 97, 223, 254
p a r t n e r s h i p , 19
s h o w c a s e s , 252
P a y - t o - P l a y , 238
S i n g l e s D e a l , 48
Performance Rights Organizations (PROs),
S l i c e t h e p i e , 138, 307
222
S o c i a l n e t w o r k i n g , 164
Personal manager, 8
s o l e p r o p r i e t o r s h i p , 17
p h o t o g r a p h s , 156
S o n y M u s i c E n t e r t a i n m e n t , 99, 112, 194
P l a n e t a r y G r o u p , 218
S o u n d E x c h a n g e , 65, 149, 173, 223
P o l l s t a r , 13, 58
S o u n d O u t , 139
P o w e r A m p M u s i c , 138, 307
s p e c i a l t y / m i x s h o w s , 216
p o w e r o f a t t o r n e y , 32
S p o n s o r s , 299
P r e s s c l i p p i n g s , 158
s t r e e t t e a m s , 59, 222, 226, 227, 228, 267, 268, 312
p r e s s k i t , 154
s t r u c t u r e y o u r m a n a g e m e n t b u s i n e s s , 17
P r e s s i n g & D i s t r i b u t i o n ( P & D ) d e a l , 50
S u b c h a p t e r S C o r p o r a t i o n , 23
Production manager, 9
s u b m i s s i o n p o l i c i e s , 179
P r o g r a m D i r e c t o r , 213
s u b s c r i p t i o n , 176
P u b l i c D o m a i n , 140
s u n s e t c l a u s e , 34
P u b l i c i s t s , 66, 143
S u p e r D I n d e p e n d e n t D i s t r i b u t i o n , 112, 194
s u p p o r t t e a m , 44
Q
Q u o t e s h e e t , 158 T
t a s t e m a k e r s , 169
R
T a t e M u s i c G r o u p , 112, 194
r a d i o p r o m o t e r s , 67, 143, 200, 217 T e c h n i c a l M a n a g e r , 10
r a d i o p r o m o t i o n , 219 T h e M o u n t a i n A p p l e C o m p a n y , 112, 194
r e c o r d p o o l s , 171 T h e O r c h a r d , 112, 185, 194
r e c o r d i n g c o n t r a c t s d e f i n i t i o n , 47 T h e V i r t u a l P u b l i c i s t , 144, 169, 177
r e c o r d i n g y o u r m u s i c , 138 t h e s i x t y o n e , 139
R E D D i s t r i b u t i o n , 112, 194 Tour manager, 9
t o u r i n g , 304 V
T r a v e l V i d e o S t o r e . c o m , 113, 194
T V T R e c o r d s , 113, 194 v e n u e b o o k e r , 9, 124, 154, 228, 230, 237, 277, 280, 294,
T w i t t e r , 165 311
V e n u e b o o k e r s , 224
U V o l u n t e e r L a w y e r s f o r t h e A r t s , 30
u P l a y a , 142
u p s t r e a m d e a l s , 49 Y
u p s t r e a m e d , 110
Y o u T u b e , 25, 88, 105, 116, 121, 160, 163, 164, 165, 169,
173, 174, 227, 261, 264, 292
.com/go/mu sic