Record Company
(3 major ones - Sony, Universal, Warner Brothers)
- A&R
- Marketing & Promotion
- Music Production
- Business Development: Spotify, Itunes, Amazon.
- Legal & Business Affairs
- Sales & Distributions
Management
- Represents the band to promoters
- Deals with the money the band makes
- Creates a career plan
- Comes up with marketing strategies
- Chooses how the band will look/dress
Publishing
- Performance rights society
- Collect Revenue
- Take 20% - 30% of the money
Live Music
- Promotion
- Sound Engineers
- Management: Personnel, Stage manager, Tour manager.
- Venue hiring
- Agent
- PA
- Contract
(3 major ones - Sony, Universal, Warner Brothers)
- A&R
- Marketing & Promotion
- Music Production
- Business Development: Spotify, Itunes, Amazon.
- Legal & Business Affairs
- Sales & Distributions
Management
- Represents the band to promoters
- Deals with the money the band makes
- Creates a career plan
- Comes up with marketing strategies
- Chooses how the band will look/dress
Publishing
- Performance rights society
- Collect Revenue
- Take 20% - 30% of the money
Live Music
- Promotion
- Sound Engineers
- Management: Personnel, Stage manager, Tour manager.
- Venue hiring
- Agent
- PA
- Contract
presentations
Record Company
A&R - They matched singers to songs in the 1950's. They usually have more than one job and are usually musicians themselves. Keeping up to date with trends and the social media is also an important part for their job. They get money from the record company for scouting out the band (scout fee) and they also nourish the band. They also work in promotion and merchandising.
Marketing Promotions - Their job is to put the right artists into the right venues. They also are in charge of the branding involving logos, merchandises, webpages and the social media.
Promoters - They work with agents, bands, clubs and find the right venues for the artists sound, they will then organize the dates and prices for show. They also help to advertise the events through social media, posters, adverts and emailing lists. They are also in charge of looking after incidentals such as hotel bookings, travel agents and ryders.
Publishing
Performing Rights Societies - After a song is registered with a publisher, the societies collect and pay out performance royalties to the publisher and songwriter.
BMI, ASCAO - USA - Broadcast Music Incorporated, The American Society of Composers.
PRS - UK companies - Performing Rights Society.
Mechanical Royalties - Royalties payed out when a song is on an album or as a single and sold in stores or through legal downloads.
Record companies pay MCPS (Mechanical Copyright Protection Society) a sum depending on the sales. After the song is registered with the MCPS, Mechanical income can start being collected from sales in the UK.
Synchronization Royalties - Royalties that are paid when music is played on the TV, in film or on adverts. The publisher spends time promoting songwriters for advertising and media jobs.
Management -
Contracts - A manageing contract will give the manager rights to represent and artist or band in all areas of the industry. For the artist on the other hand can go around many businesses and mangers as they want. For instance if the artist moves around the world they may have many managers in different parts of the world. Not all managing contracts are the same and some may be available and there for advice at all times while others may not be available out of contract times. Contracts also can run for a very long time or have a fixed period of time.
Nowadays managers get 20% or even 25% but Elvis Presley's manager famously got 50% but it paid off for both of them. If a manger signs a contract saying they will only deal with the business side of things and not help night and day with personnel problems they usually sign for a smaller commission of only 5-10%.
Marketing Strategies - This area is for promoting through social media pages, gaining a greater audience, getting a record deal and planning tours, unless the band/artist has a tour manager.
Finance - Managers deal with a band/artists finances. For a signed band the manager will have to promote and set up gigs. It is harder for an unsigned band to make money and the manager will have to find gigs at local bars and clubs to create an income.
For a signed band, the manager should not receive any songwriting royalties. The manger gets a percentage of the bands income which is usually 15-20%. The manager should also not be paying for anything out of his own pocket.
Live Music -
Sound Engineer - A live sound engineer controls the sound levels of all instruments and vocals during a concert. They adjust the gain and volume levels as needed, add effects, insuring that all instruments and vocals sound good together. He or she uses an audio mixing board to combine the input from all microphones on the stage. This is called front of house (FOH) mixer.
Other jobs that involve recording sound would be: commercial music recordings, radio, TV and film commercials, websites and games and interactive media.
These jobs would involve: planning recording sessions with producers and artists, setting up the electrical equipment in the studio, making sure the volume and recording levels are set correctly, operating and adding effects to recordings, recording each individual instrument onto a separate track, mixing tracks to produce a final 'master' track.
A sound engineer earned 33,518.54 a year, on average, as of May 2011 meaning 14.930 sound technicians earned $26.98 a hour. The best 10 percent earned 58,678.75 a year and lowest 10 percent earned 16,000 or less a year.
Tour/stage manager - A tour manager helps organise the appearance of a band/artist in many venues. Tour managers handle large-scaled tours as opposed to a road manager who handles small to medium tours. Booking agents work with concert promoters to find an act a suitable venue to perform in with the agreement of the act's management. Individual concert promoters negotiate the financial, technical and hospitality of the act and make an offer to the booking agent. The tour is then announced with tickets put on sale after tour dates have been agreed on.
Concert tour managers are usually freelancers working on a tour by tour basis.
BUsiness plan
Emelle, The Caravan Club & Scarlett Silver
Wednesday July 11th 2014
Voodoo Rooms – Speakeasy
8pm – 11pm (Doors open 7.30pm)
I will be organizing a local gig at the Voodoo Rooms in Edinburgh on the 11th of July and there will be three original bands playing with Emelle headlining and the support of The Caravan Club and Scarlett Silver, with Scarlett Silver first and Emelle last. Tickets will be sold for £5 each and I am going to market the gig through a Facebook event page and flyers. The Voodoo Rooms also help promote gigs and I will be sending them information for them to put on their Facebook page and also have flyers in their building. Sound check will be held at 6pm as I think this is after shops open hours. The bands will be bringing their own equipment and the load-in route will be shown on arrival, which will be around 5.30. Doors open at 7.30pm for people to come in and get settled and the gig will begin at 8pm. The gig will be held in the room ‘Speakeasy’ which has the capacity of 80 (80 standing/50 seated). I have hired the venue on a Wednesday, which is off-peak costing £100 to hire, with a curfew of 11pm for live music.
The Voodoo Rooms supply lighting, microphones (14), monitors (8), a full PA system and you have to make a separate enquiry to hire one of their sound engineers. They also give a discount on food to the artists and there is a bar, which means the age restriction, is 18.
My budget for the event is £500. The venue hire would cost £100. If I sold 80 tickets I would make £400 on the ticket sales. The sound engineer would cost £100 and I would pay Emelle £75 and the support acts each £50. My profit would be £25.
Problems that may occur and would need to be prevented in the gig are wires on the floor, which could lead to people tripping over, which would have to be taped down and kept tidy. Equipment would have to be checked for faults. Incase people underage got in ID’s would have be checked at the door. Bands sometimes run over their time so you would keep a close eye on the clock! Fire exits would need to be kept clear at all times.
Music Union Contract:
http://www.musiciansunion.org.uk/wp-content/uploads/2012/09/L1.pdf