Archive for January, 2009

Internet Music Promotion: Online Opportunites For Artists, Bands, Performers

Monday, January 12th, 2009

Today, the Internet provides unprecedented opportunities for autarkical penalization to find an audience. Unsigned bands and solo singers can today build a fan base that will not only listen to their music, but to buy MP3 downloads.

The Internet’s Grassroots Movement

It’s indisputable that the Web has created a paradigm shift in the way we live our lives. We’ve come to depend on the Internet for communications, information gathering, shopping, and so much more. With the advent of what is widely famous as Web 2.0, the Internet has once again shifted into what could best be summed up by one word: democratization. For example, journalists are no longer affiliated with mainstream media outlets; they’re researching, blogging, and breaking some of the top news stories of the day. Experts no longer sit in their ivory towers and publish papers in academic journals; your family members, neighbors, and co-workers are constantly refining the compendium of expertise famous as Wikipedia. Throw in MySpace, YouTube, and other social networking sites, and the top-down information structure is tossed out the window, replaced by a bottom-up, grassroots movement.

The Music Industry is Reeling

Nowhere is this revolution more apparent than in the music industry. The Internet hasn’t sent the industry rockin’ and rollin’ – it’s sent it reeling. Napster, the progenitor of penalization sharing on the Web, is today viewed as ancient history, but the insurrection lives on. While iTunes is here to stay, some major record labels continue to resist the opportunities that the Internet provides, instead opting to distribute penalization only through traditional sources.

During the prototypal part of October, these dinosaurs faced another challenge to their survival when Radiohead released their much-anticipated \”In Rainbows\” on the band’s website. The kicker? Fans could get online downloads for free, or pay as much or as little as they wanted. So much for the business model that the music industry has traditionally employed.

How Independent Music Finds a Voice

Prior to the widespread use of the Internet, musicians and singers had to pound the pavement, sending demos to music labels and radio stations in the hope of breaking through to the big time. Today, however, autarkical music can take a page from Radiohead’s playbook, and speak directly to potential listeners and fans. Indeed, specialized music sites have sprung up to showcase autarkical music, and to provide musicians, performers, artists, and bands a platform for promoting their work. These sites offer MP3 downloads for less than the cost of an iTune, while supporting artists’ work by giving them a 50-50 split of the proceeds. This is in start contrast to the deals that penalization labels provide even the hottest bands, which typically receive only most 20 percent of the revenue generated by their music.

The Music Aficionado’s Advantage

From the perspective of the music fan, autarkical music sites are a dream come true. In the music mainstream, a large amount of talent is overlooked by labels in favor of \”packaged\” acts that are perceived to be revenue generators. Now, thanks to the Internet, music fans from around the world can hear and experience songs that might otherwise never have found an audience.

Success In the Music Industry Business as Musician, Band or Artist

Monday, January 12th, 2009

So you want as career as a music artist? You want success with your band?

You’ve finished recording your medium and it’s the “best” – it deserves to be heard by the concern and you’re deserving of the adulation afforded to the creation of such a masterpiece! Of course, you know in your own mind that it won’t be easy to embellish a star. After all, everyone says that the music business is difficult’. But hey, you’ve got what it takes, you’ve got talent, and this rattling is a great medium – all your friends and family agree – so what can possibly stop you? What indeed…?

Few people outside of the Music Business hit any intent just how difficult it is to survive, let alone succeed, in the ever-changing and unforgiving concern of entertainment. Being a performer is much, much more than only writing, recording and performing.

And few people hit any intent of what is involved in the recording of a good sounding CD, of the time and effort involved to intend that polished sound that every artist who ever produced a demo aspires to create.

Don’t be fooled by inane rubbish like Pop Idol or X-factor. Not only do these sort of programs give a totally false impression of the reality of the music industry, but they totally undermine the integrity of it! And just for the record, I don’t dispute the obvious talent of some of the participants, but the ends do not justify the means! It is indicative of just how low we hit sunk as a gild that we are happy to watch and laugh at ‘hopefuls’ who clearly hit no talent at all, make embarrassing fools of themselves because they rattling think they do hit the talent.

Then, when the competition proper rattling gets going, we crapper watch the music business do what it does best, that is, chew up and spit out varying degrees of talent live on our screens in the name of TV entertainment!

The programs are designed to maximize TV ratings and to manufacture a “Pop Star” who’ll be long forgotten in 10 years time. Of course, they’ll say that isn’t so, but then, they would, wouldn’t they!?

We live in an “Instant Fame” society. Celebs and their lifestyles are thrust in our faces 24/7 and far too many people, particularly but not exclusively the young, think fame crapper be achieved. They are fed the belief that it’s possible to give up the day job and embellish a star. In reality, it’s virtually impossible. For a greater insight into the realities of the Pop world, check out the Simon Cowel book “I don’t mean to be rude”.

Being a musician, an artist, is a vocation. It’s a way of chronicle in which everything and everyone else, absolutely everything and everyone else, take second place. Musicians are selfish – they hit to be by definition, and I know because I am one.

It’s about “The Journey” (much like life) – the journey of self discovery that starts when you realize that being a performer is what you poverty to do, continues and evolves as you make music and friends along the road, experiencing the highs and the lows and culminates in the realization that the journey doesn’t hit an end because you’re always seeking to do something new, always forging new ideas – seeking to write ‘The perfect song’ or ‘The perfect album’. But a word of warning, if you’re fortunate enough to find success, the pressures and the demands will embellish greater, they’ll not intend less!

You can’t do it on a “part time” basis and expect to follow beyond a bit of fun at amateur level (not that there’s anything at all wrong with that). So, if you rattling poverty to ‘succeed’, the rattling thing that you hit to accept is… that you probably wont’! And that isn’t as crazy as it sounds!

You see, the most essential thing in music is only that you love doing it. It’s a way of chronicle that’s in your blood, in your soul, and it takes precedence over everything else. And as mentioned earlier, it’s about the journey.

Now, I can hear you saying things like; “That’s all correct for you to say, you’re in the music business”.
Or maybe you’re thinking; “Well I hit all these attributes, but how do I pay the bills and still make my way as a musician?”

Yes, I am fortunate enough to be involved in music, enjoying moderate success and recognition in a specific music genre. But what I hit learned is, that success is relative.

My chronicle and everything in my chronicle revolves around music. But over the years, and particularly in the early days, my private chronicle and finances paid a rattling heavy price.

Being involved in music is about being in it for the long haul, not the short constituent – you don’t even consider the short term. Ask most musicians and they’ll tell you the impact is a painful one. When I hear young musicians say they’ve ‘given up everything to be in music’, my state is, that they hit no intent what “everything” is!

Being a performer requires many things, many attributes. Selfishness we’ve already mentioned. Stubbornness is a key factor to – you just hit to keep going, then there’s dedication, passion and belief. An acceptance that there will be a lot of hard times. You must be prepared to give everything and more, and even then, even with all those things, if you’re not ‘in the correct place at the correct time’, success crapper still pass you by.

And thru all this, you keep smiling. You don’t question why you’re doing what you’re doing or the cost of it in broken relationships and heavy debt. You just keep going because music is such a big part of you!

The digit remaining prerequisite for a performer is an understanding and supportive partner – without whom you’ve no chance at all. Reminds me of the old joke: What do you call a performer without a significant and supportive partner? Homeless!

So, finally, what’s the difference between a performer and someone who wants to be a musician? It’s simple. A performer is someone who gets on with it. They step outside of the box of conventional 9-5 and all that goes with it and live the chronicle and all it entails. They probably won’t make it big, but they define their own success and whatever happens, they’ll never retrograde sight of why they’re doing what they’re doing.

And someone who wants to be a musician, a star? Well, they’re unable to do the above!

The 10 Most Important Industry Issues Facing The Music Recording Business

Monday, January 12th, 2009

1. Falling Behind – Ten years ago, The Record Industry had The CD Release Complex and knew exactly what to do.  Now everyone else is taking fans to the future that they used to determine.  Instead of leading the way, they’re left holding the hands of innovators and squeezing tightly when they get scared.  Have they been so focused on yesterday’s problems that they aren’t actually finding tomorrows solutions?

2.Groundswell – Defined as, “A social trend in which grouping use technologies to get things they need from apiece other, rather than from traditional institutions like corporations.”  Has thinking against the grain been a formal way of fighting file-sharing?

The RIAA suing The Music Industry’s customers wasn’t a strategy, shutting down their cyberspace isn’t either. The Wisdom of Crowds module retain its superiority over industry.  There are grouping who wake up in the morning because the challenge of finding new ways around these roadblocks excites them.

Artists don’t understand that giving their music away, effort a ton of MySpace friends, and flipping the funnel a few months later will never work.  Free by itself isn’t a strategy and those who did thrived by doing got lucky.  You need to make money along the way and have a business model.

3. Pirate Software – It remains to be most economical system for effort music.  You can download AC/DC’s Complete Discography, a 3GB torrent containing 276 songs at 320bps, in a few hours on a good day.  Even that isn’t the problem, its that you can put over ten into the program, start asleep, and the next day everything module be done.  There are many grouping who haven’t crossed over to torrents due to their steeper learning curve.  What happens when next generation file-sharing becomes as easy as its predecessors and harder to stop?

4. Paradox of Choice – Does a large clothing of options discourage music fans because it forces an increase in the effort that goes into making a decision?  Even if this paralysis overcome, its easy to imagine that you could’ve made a different choice that would’ve been better.  Back in 1995, if you bought a bad CD you could blame The Record Industry.  Today, there are systems in locate to prevent this and you’re left with only yourself to blame.  I own three hundred plastic discs that aren’t relevant to me anymore and to me this is an example of how I’ll never undergo what kind of music I’ll like, even a year from now.

5. Music Overload – Its both exciting and disheartening to wonder, but is there likewise much music?  The CD Release Complex was a way of regulating the line of content between artists and people.  For those who buy music The Paradox of Choice is a reality, but what does it mean for pirates?  File-sharing allows them to fail at trying everything while committing to nothing.  They download more music than they could ever mayhap center to.  Have you ever listened to music for 45 days and never heard the same song?  Pirates have.

6. Searching Alone – Searching for music online doesn’t have the same feeling as combing through selections at a topical record store.  Walking through the isles at Best Buy, Walmart, and Target is an experience that’s feels lifeless at best.  If you need help, the likelihood of an employee giving you real insight is questionable.  Big box retail and online music are more efficient, but with them do we retrograde the sense of community topical stores gave us?

7. Not Local – Its estimated that this generation module have 10 to 14 jobs before their 38th birthday.  Before they turn 44, its estimated that they module have moved 9 times.  This concerns me because that effectuation that the topical artists and record stores aren’t so topical anymore.  There are plenty of grouping who’ve been uprooted by this economy with mayhap less money.  How long does the cipher mortal have to live somewhere before they settle down and support topical causes?

8. Mental Walls – With all the talk going around about engaging your audience, informing a story, and leading a tribe, do we forget that the mental walls around artists still exist?  Most grouping don’t realize how transparent the walls arebecoming.  We’ve been conditioned for years to conceive that rock stars are untouchable.  Turning around and saying that you can now interact with a select few gets confusing.

9. Attention – There’s likewise many artists for grouping to actually pay attention to.  How many artists can the cipher mortal could realistically follow?  How many newsletters does a follower want to receive before its considered likewise much clutter?  The concert music business makes it easier to participate just by showing up, but do you run the risk of being overbearing by hoping for more?

10. Specialization – As we narrow the gap between search and brainstorm with music online, we’re in turn empowering new mavens to declare their social status.  Music fans have an endless clothing of choices to explore and filters to help them with sorting.  However, adaptation in itself becomes a problem.  We are becoming progressively individualized with habits entirely unique to us and and our taste.  Does adaptation make it harder to encounter people, with similar tastes, willing to participate in your interests?

Succeeding With A Music Career In the New Music Industry

Saturday, January 10th, 2009

Kurb Promotions provides online Music Marketing and Management Services for Artists.

Email: kurbpromo@gmail.com – Massive Free Facebook Promotions Campaign offered in January with every 3 month package.

Hardly anybody in the music business understands that the older model of how to successfully promote a newborn act is obsolete. The record companies are all aware that there is a big problem but they impact no idea what the solution is. What they do understand is that they are unable to recoup their investment in flat instance with a good producer, the cost of a good video, the business budget, and the cost of the prototypal promotional road tour from the profits on a prototypal impact CD. An act must be capable of repeating and sustaining their initial success in the flat in order for a record company to make a profit because the needed investment has increased dramatically. Ever since the mid 1990’s the record companies impact become painfully aware that there are no acts containing songwriters who can keep on composition more impact songs. All the newborn acts since the mid 1990’s impact one, two, maybe three good songs at the most, and any person who’s purchased a CD since that instance will testify to that. The record companies also know that MP3 downloading on the internet is a factor that has negatively affected their profits. Put that together with their quality to find sustainable newborn acts and you impact the two main reasons why so many record companies are losing money. The ones that are not losing money are the ones that impact a library of popular artists from the past who continue to sell. The record companies now understand that the internet is the newborn communications medium, it’s here to stay, and they are all trying to figure out how to verify plus of it. Their pattern has ever been to watch the numbers, analyze the trends, and then try to jump on board and ride the wave for as long as it lasts. If I told them what the respond is to the problems they face, they simply wouldn’t know what to do with the information.

The newborn instruction for success is to impact the right factors in place first, and then to use the internet’s full potential to bring the artist to the attention of the entire world.

Step 1:   In order to create a impact record it is needed to impact a impact song. So what is a impact song? It’s a song that is so blasted catchy that after chance it digit instance people cannot get it out of their minds and they will spend money to own the CD. The best producer cannot produce a impact record without having that kind of raw material. My older friend Gary Kelgren said it best – \”You can’t polish a turd\”.

Step 2:   In order to create a impact music artist on the internet, of course it is needed to impact digit or more impact songs that impact been properly produced, but it is also needed to impact a \”hit web site\”. So what is a impact web site? Obviously it’s digit with thousands of \”hits\” per day but that’s not the point. The point is that in the same artefact that a impact song works for a listener, a web site must grab a net surfer’s interest within the prototypal 5-10 seconds and hold their interest long enough for them to find the impact songs and listen to them. But it should also contain entertaining content for people to read and enjoy because a good web site is a much more complex form of entertainment. The best web sites are the ones that impact great creative composition and cannot be digested in digit sitting, so people will keep coming back for more entertainment. This kind of web site cannot possibly be designed by a web site design professional because real creative and entertaining composition is not for sale at any price. That means the successful artist of the future needs to be more than meet a musician in order to verify full plus of the newborn job because the web site needs to reflect the artist’s personal expression, and nobody can do that except the artist.

Step 3:   Creative internet promotion. The newborn instruction for success may not even require an business budget for proper promotion of the web site in order to achieve thousands of hits per day if the promotion is creative enough. But the two previous steps are absolute prerequisites for success in the newborn medium. A money-losing promotional road tour will be nonmeaningful and unnecessary until a large audience is developed by building an internet fan club and selling enough CD’s to warrant a road tour that will turn a profit.

The newborn instruction also contains the potential for making the older costly distribution networks obsolete because purchasing directly over the internet could eliminate the necessity for retail mark-ups and thus maximize profits for all concerned. The Recording Industry Association of America has the correct statistics on what music is actually selling as opposed to what is being played on the radio and what the record companies are trying to market. They list The Beatles as the best selling act/artist of all instance with 166.5 million albums sold in the USA alone. They list Elvis second with 117.5 million units sold, Led Zeppelin ordinal with 106 million units sold, and the top 25 are dominated by classic rock acts including The Doors, The Stones, Pink Floyd, The Eagles and many others. I conceive it’s very momentous that those statistics are becoming geometrically nowadays greater than the number of albums that they sold during their performance lifetimes. What has happened and is happening is that the young people of today are discovering them in droves and buying their music. Traditionally, the record buying public has ever been young people between the ages of 12-25 and those demographics impact not changed. What this means is that the potential for profit in newborn classic rock and roll music is beyond calculation.

Cheap DVD Duplication and Printing Services Available in Auckland New Zealand

Saturday, January 10th, 2009

Need cheap, fast DVD Copying or Duplication in New Zealand? Kurb’s CD and DVD Duplication provides the cheapest pricing with free graphic set up, delivery and Gst included – check it out at CD + DVD Duplication.


We have a wide range of services to assist your CD duplication or DVD copying project – talk to us about a deal on graphic design, posters, web design, and marketing your project online email me, Matt @ Kurb – kurbpromo@gmail.com // 027 6848250

DVD Duplication

With extraordinary strides made in the fields of electronics and mass media communication and entertainment, the revolution of a new kind has started to take place in the manufacture, servicing and mass production or duplication process of CDs and DVDs. This was mainly because in order to meet the ever growing demands of the mass entertainment and mass media, the state of art and foundation of new unique technology was very much in the offing. This later transformed into what we see today as the CD and DVD Duplication and the process of replication.

DVD Duplication is a process of burning of contents of a master CD or DVD to a blank recordable disc. DVD Duplication is the first stage of duplicating work while the next higher stage of service is the replicating process. Although there is only a thin line of difference between these two especially in the nature of processes and the volumes or quantities involved the outcome is the same. In many places DVD Duplication means DVD replication and it is only the service providers who are more aware of it than the consumer.

DVD Duplication as said earlier is the process of making the exact duplicate of the Master DVD or CD and is done in highly sophisticated state of art of manufacturing and environment. The process involves Glass Mastering, Stamper creation, Injection Molding and Disc Printing. After having received the original CD or DVD, usually called the Master the factory manager entrusts the job to the highly skilled assistants. They in turn create the first stage of the process called Glass Master or Glass Mastering. This is basically a substrate from which Stampers are created. The Glass Master is then placed in a bath where the nickel Stampers are allowed to grow and fix into the Glass Master. The process of doing this is called galvanic process. The first Stamper comes off and is soon followed by a host of others. It is these Stampers that are physically pressed repeatedly against the Master while passing through the Injection Molding line. When the discs come out they are silvery on both sides. The next process is the actual Disc Printing. This is done by litho process or screen printing process. Actual DVD-r Duplication can duplicate one or 500 copies while more than 500 will require the replicating process.

DVD-r Duplication has come as a boon to professional artists and actors in the celluloid. Not only the songs, stage plays and cinemas have to be recorded only once, the demand for copies for them is phenomenal. Hence, DVD Duplication or the replicating process is the only option. Here any number of copies could be printed as the true replica of the original. DVD-r Duplication works has been spreading its presence all over the world with the graphic media and the art of animation becoming more popular. In fact, the very idea of mass producing such huge number of CD and DVD bringing down the cost of per copy to an even cheaper price has helped the DVD Duplication jobs increase multi fold. And not in least DVD Duplication has given more jobs for the young generation and an area to prove their expertise.

Online Marketing Services in Auckland, New Zealand

Saturday, January 10th, 2009

SMALL BUSINESS MARKETING

1: Website Development
2: Google Adwords / PPC
3: Blog Promotion
4: Online Video Marketing
5: SEO

Online marketing is one of New Zealand’s fastest growing industries.

Online marketing has many elements; all of them aim to make a website more successful in the internet. In business it means more sales, for others more enquiries – but whatever your objectives of having a website you have to consider some vital considerations to take into account before joining the business into online marketing.

Now, you must first ensure that going online is the right decision for your business. Few questions will follow, like:

  • Is there an online market for your product?
  • Is anybody ‘out there’ looking for products and services such as yours?
  • Can you compete with the competition already out there?
  • How much time will it take before the online marketing of your website makes an impression on an internet user’s radar?

Optimization really helps a lot. The most sophisticated online market research tools available are in us. That’s why researching the online market in New Zealand and commissioning reports on overseas online markets on request are now very easy. Our knowledge of the online market will help you assess whether your business will benefit from investing in going online and online marketing.

You might consider building or redesigning a website if you have the market already. Then, we can help you start on the right foot before you commission your web developer. Consultancy right at the start of an online project is offered that is to ensure that your website is up and running and its search engine is friendly. This will ensure that your website can be marketed online to over 90% of people using the internet.

Start right now, it’s worth investing. We are specialists in marketing many types of websites and driving them to success that nobody could imagine.

Affordable DVD Copying Service Auckland, New Zealand

Friday, January 9th, 2009

DVD Copying


Need cheap, fast DVD Copying or Duplication in New Zealand? Kurb’s CD and DVD Duplication provides the cheapest pricing with free graphic set up, delivery and Gst included – check it out at CD + DVD Duplication.


We have a wide range of services to assist your CD duplication or DVD copying project – talk to us about a deal on graphic design, posters, web design, and marketing your project online email me, Matt @ Kurb – kurbpromo@gmail.com // 027 6848250

DVD Copying is done by DVD Copying software. These are usually obtained or down loaded from the website relating to DVD Copying. All types of DVDs can be copied except for the encrypted ones and those which are illegal. DVD Copying has of late been in great demand due to the development in mass communication, cinemas and other forms of entertainment. There have been several improvements in the software development due to this and it is said that DVD Copying today is simply a child’s play.

DVD Duplication is done mainly through the computer as software that is required has to be downloaded from the website or has to be obtained from software distribution centers. The first prerequisite for DVD Copying is to have a computer whether a PC or any other higher variety. Here, your computer must have the required speed, RAM and storage space. In order to know this you must approach a programmer or you might approach the retail outlet from where you had purchased the PC. The next step you must take is to have an appropriate burner for the job. This tool actually comes with several of the computer features or you have to install them with the help of a software or computer specialist. The next step you must take is the actual steps needed for DVD copying and these are that you will insert the original DVDV into a reader on your computer. Once this is done the DVD Copying software then rips or transfers the DVD files into the computer’s hand drive. Next, the DVD copying software converts the hard drive copy of your ripped DVDs. This again is the same for CDs too. The computer is then directed by you to burn the video on the device of your choice. These devices are mainly a CD burner or DVD burner and depend upon what you want to burn. The next step for you is to direct the software to burn the video of your choice. Your DVD Copying work is over and the computer will indicate the same in clear language.

DVD Copying methods can save multiple copies on your hand drive. In most advanced software one can copy an entire movie, allows the preview of tracks before and during copying, copy single and dual large DVDs, giving support to all single layer and dual layer discs and burners, copying of special features, copying of full multi channel audio and supports both home and PC DVD players. In fact, DVD Copying has been seen as a boon to those who had wanted their favorite albums close at home or see a movie at the comforts of ones home or at the hotel where one is resting during tours. DVD copying is seen as an easy and quicker way to store data and information for all future purposes. Not only that it is a cost saving tool for all to download their favorite albums, movies, sports and games and educational and research based knowledge.

Music Industry / Music Business – Basic Advice and Tips For Musicians

Friday, January 9th, 2009

Contact Matt @ Kurb to talk about online music marketing and artist management: kurbpromo@gmail.com

CRAZY FREE FACEBOOK AND ONLINE ADVERTISING PROMO GOING ON DURING JAN 09!!! Get on touch for music marketing and promotion services! This includes myspace promotion and youtube promotions, plus graphic design and web design support!!!

And don’t forget to follow our regular blog at www.musicmarketingmanagement.com

Music is an art, however, when it comes to the music industry Music is about money!

If anyone or any company feels that your music will not make them money, there will be absolutely no interest in your music. That’s it in the nut shell. Remember, to always remember this. The Music Industry is about Money!

There are a few sources of money to be made in the music industry. They include but are not limited to:

· Record sales

· Songs played on the radio

· In movies and television

· Concerts

· Song writing

· Producing

· Merchandising

· Advertising

· CD-ROMs/DVDs

If you are an artist and want to get into the music business, you need 3 very important very good people in your corner batting for you on a daily basis. They include:

· Personal Manager – The most of important of the three. They should have contacts in the music industry, keep on eye on all your affairs, advise you on things to do, help promote your music, producers to hire, who to sign with when to go on tour, etc. The personal manager will receive 15% and 20% of an artists gross earnings and have good contacts with record companies A&R, Marketing / Sales, and Promotion departments.

· Music Attorney – A good attorney specializing in the music will know how to properly negotiate and structure the deals an artist makes. They should have good contacts and be trust worthy. Expect to pay between 100 and 200 per hour for a good music attorney. If an attorney thinks you will get signed, they forego a set fee and charge a percentage of artist’s earnings. In bigger cities, you’ll pay more than in smaller cities.

· Music Agent – Book concerts and special appearances. A Personal Manager will help the artist with selecting a good agent.

If you blow up and start generating the big money, then a good Manager / Accountant will be needed to handle your tax situation, review royalty statements, financing tours, offer invest advice and how to manage your money.

Getting recognized by mailing your demo to record labels isn’t impossible, however, 99.9% of the time your material will not get listened to. Even if you have the best song on the planet, it will not be listened to. Record labels want to limit their liability, so they do not listen to unsolicited music. Record labels don’t want to listen to numerous songs and then be held liable if someone claims their material was copied.

If you do decide to mail your CD to record label, send the “solicited” material. First get a contact, preferably an individual in the Artists & Repertoire (A&R) department. Call and first speak to someone. After sending your CD follow up to determine if the targeted individual received your material and another follow up call to determine if it was listened to. Submit 3 to 6 songs and send a bio and picture of yourself. Again this isn’t the preferred way to submit your material to major record labels.

Until you have music business advisors in your corner trying to promote you and there is a “buzz” going around about you, your demo will not reach the decision makers at the record labels. Record companies on a daily basis receive thousands of unsolicited CDs. Most likely your CD will be tossed into a bin located in a remote room filled with overflowing bins of CDs.

Record labels like to deal with artists who have a history of record sales. These are artist that may have produced and sold their own CDs locally or regionally. Record labels like to deal with artists who have performed their material and there is this “buzz” going on about them. MC Hammer, before he became famous, performed his own materials and sold his own records until a major record label signed him. MC Hammer had a lot of leverage in negotiating a good contract because he already proved on a local basis he could sell records.

Record companies want to limit their liability. If you are signed, you are considered an investment that will require some money and they want to see a premium return on their money invested in you. The more you can prove that you can sell record, the better chance you can get signed.

If you get signed to a record company, you the artist will go into the studio and record songs for the record company. The record company makes copies through cd duplication – of the master recording and ships it to a distributor. The distributor is a wholesaler who then sells the CDs to retail outlets like Best Buy, Sam Goody and Tower Records. The record company then pumps money into marketing by advertising and promoting your music with hopes of selling records, thus making you a superstar and becoming rich!

It is not as easy as it sounds. It takes a lot of hard work by a talented group of people. Everyone has to work together to make this happen. There are usually many people behind the scenes working to make an artist a superstar.

Record companies often categorized into 4 groups: · Major label record companies – have the recording and operating resources to complete all function to sell records. Major label record companies are integrated in that they can handle the promotion, sales, marketing, and distribution to sell music. Major label record companies are Arista, Atlantic, Capital, and Sony.

· Major label affiliate labels – have special agreements with the major label record companies, where the major label may fund the smaller labels recording and operating expenses in exchange for a portion of the smaller label profits.

· Independent labels – distributes records through major labels. Independent labels have few employees. They tend to find talent, sign the talent, sees to it the music is recorded and contracts with major record labels to perform the promotion, marketing, and other functions.

· True independent labels – Has no association with a major label and distribute their music through independent distributors.

The A&R (Artists & Repertoire) Department

The A&R department is the talent scout. They are in charge of finding new talents. They are the eyes and ears of the record company. However, not because you get signed to a record label because an A&R representative likes you it doesn’t mean your CD will ever get produced and released. Executives higher in the company could cancel your deal if they feel your CD will not sell. A record company will have to invest several hundred thousands of dollars to release your CD, so they will be extremely cautious on whom they release.

The Music  Marketing and Sales Department

This department is responsible for getting the public excited about your music and first selling to retail stores the idea of carrying your CD. They are responsible for promotional merchandise, advertising your CD, in store displays, publicity, your CD cover, etc.

The Music Promotions Department

This department is responsible for getting your music played on the radio. The individuals in this department will visit the various radio stations to convince them to play your material. If your material doesn’t get played, no one will now how you are. People will look at your CD in the retail store and wonder who you are. There is also a direct correlation with CD sales vs. how many times a song for that CD gets played on the radio. More air time on the radio equals more CD sales for the record companies.

Remember music is art, but to the record companies, it’s about money. Keep in mind that it’s a business. Keep in mind everyone is out to make money. The minute people believe that you will not make money for them, you will be dropped and these same people will turn to seek other new artists that they believe will make them money. Unfortunately, the record business doesn’t believe in grooming people. If your first CD isn’t a success, you are out. There are rarely second chances. There are always other talented people behind you who what their shot at fame.

Distribution

Most major retailers such as Tower records will not carry a CD unless the record has a distributor. A strong distributor ensures that your CD will be available in enough places so your CD will sell to ultimately make money. Major labels use large distributors who are better able to get record stores stocked. After years of consolidation, there are only 5 major national wholesale distributors in the US who are owned by conglomerates who also own major record labels. They are:

· BMG (distributes Arista, BMG and RCA)

· EMI (distributes Capital and Virg.)

· Sony Music (distributes Columbia, Epic and Sony)

· Universal Music Group (distributes Interscope, Island/Def Jam, and MCA)

· WEA (distributes Atlantic, Elektra and Warner Bros.)

Distribution via the Internet Record labels and artists are increasingly using the web to distribute their music. Unknown artists can also use sites like this mZeus.com, http://www.mZeus.com, to generate buzz about their music. However, unknown artists will still have to work hard to get the buzz going about their music. Ultimately, signing a contract with a major record label is the way to go. The major record labels have the financial muscle and people to give you a good shot at becoming famous.

Let’s face it. It’s all about money! Yes, the entertainment industry seems fun and exciting, but people are in it to make money. As an artist the most important contract in the music industry is the record contract. The royalty is a portion of money from record sales paid to the artist for his/her music. The record contract which is a negotiated legal agreement between the record label and artist will state how much royalty an artist is entitled to among other things.

An artist should have a good understanding of how royalties are calculated. A good music attorney will help with this process by making sure the artist is paid what he/she deserves. A 13% royalty for one artist may be a lot of money, however a 13% royalty for another maybe “chump change”.

So this is how the numbers work. An artist successfully signs a record contract. The artist goes to the studio and work diligently to create a CD that the record company fully supports. The record company via its distributor sells the CD with a suggested retail list price (SRLP) of $17.99 to a retailer for about $10.99. The distributor will take 10% – 14% of the $10.99. Therefore the record company will get about ½ the SRLP of $17.99. Independent record companies may receive less than ½ the SRLP. Major record companies will pay artist royalty as a percentage of SRLP.

Rates will vary of each artist depending on how successful their record sells. For a new artist who never had a record deal or has sold less than 100,000 albums will get a typical royalty rate of 12% to 14% of the SRLP. For an independent record label it maybe 10% to 14% of the SRLP. For established artists who have a track record of selling 200,000 to 500,000 albums the royalty rate maybe 14% to 16%. For artists who have sold over 750,000 albums the royalty rates maybe 16% to 18%. As you can see, the more successful the artist is, the higher the royalty. Additionally, royalty maybe based on how well the record sells. For instance, the record contract may state that an artist will get 12% for the first 100,000 units sold, 14% for 100,001 to 300,000 units sold, and 16% for over 300,000 units sold.

But hold your horses. If you sell 500,000 albums and have a royalty rate of 12% doesn’t mean you will get 12% of 500,000 at a SRLP of $17.98 which would equal $1,078,800. This is because as specified in the record contract, there are deductions (expenses) that have to be deducted.

To start off the bat, the record company will deduct a “packaging charge” from the SRLP which is typically 20% for cassettes and 25% for CDs.

Second, more often the artist is responsible for paying the record producer a portion of his/her royalties. Typically a producer will receive 3% to 4% of the SRLP.

Third, in the music business, the contract may state that the artist’s only generates royalties on 85% of the unit sales. For every 100 albums sold, 15 albums sold, the artist gets no royalty.

Forth, the record company will hold a portion of the royalty money because the distributor typically has an agreement with the retail outlets to take back and credit the retail stores money from unsold units. This is very important, because a good portion of your album could be returned to the record company if the album doesn’t sell! The money that’s held back is called a reserve. Reserves maybe held for 2 years before it’s paid to the artist. Typically a major record label will hold a reserve of 25% to 40% of the royalties.

Fifth, advances paid from the record company to the artist are deducted from the artist’s royalty. Advances include but are not limited to the:

· Recording studio expenses (new artists to an independent my get an advancement of $0 to $80,000, new artist to a major record label $150,000 to $400,000

· Hiring independent promoters to help sell the albums

· Cost of making a music video (promotions and an inexpensive music video can cost $150,000 to $200,000.

When money is made for the record sales, these costs are deducted from the artist’s royalties. This is called re-coupment. Therefore, if the artist’s record isn’t successful, the artist may never see a dime. If the royalties are less than the deductions, they artists may well owe the record company money by being in the red! This negative cost maybe carried over to the next album release. A good record contract will not allow a negative cost from one album to be carried over to another album (cross collateralization). If there isn’t another album the record company generally eats the loss.

There are many other costs that the record company will not charge the artists. This includes online music marketing and in-house promotions (free CD give away, etc.).

So how much does an artist make for a gold album (500,000 albums sold).

Check out the math:

CD (suggested retail list price SRLP) = $ 17.99 Less CD Packaging of 20% = $ -4.50 NET = $ 13.49 Times: Net artist royalty rate (12% – 3% to producer) = X 9% Gross royalty per CD (9% of $13.48) = $ 1.21 Times 500,000 albums = $ 500,000 SUB TOTAL = $ 605,00 Times: Royalty bearing % (15% o = no royalty) = X 85% Gross Royalty = $ 514,250 Less advances: Recording, promo, music video, tour = $ -350,000 TOTAL ROYALTY TO ARTIST = $ 164,250 – Reserves (35%) returned by retailer) = $ -57,487.50 (1) ACTUAL ROYALTY PAID TO ARTIST = $ 106,762.50

(1)Reserves will be paid to artist in 2 years if no CDs returned by retailer

Remember the artist still has to pay TAXES! Don’t forget Uncle Sam has to get his cut! Also, don’t forget the Personal Manger, the Attorney, the Accountant, the Agent and other numerous expenses.

However, there are many other royalties that an artist can acquire. They include, Record Clubs, Compilation CDs, Samplers (low-priced albums in which a few artists are featured), Premiums (albums sold with other products, such as cereal), Film Soundtrack Album, Music Video Sales, Greatest Hit’s Album, Foreign Royalties (song played in some foreign country radio stations pay royalties, unlike the US), Master Use License (music used in a movie, television, commercial, the Internet, CD-ROM and DVD), etc.

Of course because of the Internet, the rules royalties are changing. Many people now buy their music via the Internet. Just think, no packaging required and no distribution to traditional retail stores needed. Some websites allow customers to buy individual songs as oppose to an album. Changes are currently taking place on how royalties are calculated because of the Internet. Many attorneys are pushing to have royalties be based on each song sold as oppose to each album sold. So stay tuned!

DEALS FOR ARTISTS FROM KURB ARTIST MANAGEMENT AND ONLINE MUSIC MARKETING

Youtube Promotions

Graphic Design

January Deals for Facebook Ads and Online Advertising Offer

Thursday, January 8th, 2009

Email Matt @ Kurb for online artist management and small business marketing services – US$500 for 3 months – kurbpromo@gmail.com

Stay updates with techniques for creative people to earn money online at Matt’s Music Marketing Management Blog!

Hi Just an Update from Matt @ Kurb:

It’s another mad FREE online advertising campaign offer strictly limited for January!!!

IF YOU ARE NOT ON FACEBOOK OR YOU’RE IN THE US / CANADA THERE ARE ASPECTS OF THIS DEAL YOU WILL NOT WANT TO MISS!!!! email me kurbpromo@gmail.com for stupid amounts of value.

But this could be easily big for any of our clients and our digital coaching and online music management packages are filling up fast!!
Meantime, now we’ve got ANOTHER crazy ppc offer going.

It’s a little more complex than last time, but crazy arse value is at stake here for any one wanting to jump on board.

We got leverage 2.0, we got crazy free ppc campaigns, I’ve got a wicked designer here who is just throwing together awesome websites overnight and you get all this for $US500 over 3 months, plus all the regular stuff, the myspace promo, the youtube promotions, SEO, email . . .

Price WILL DEFINITELY GO UP soon.

In 2009 we are going to be fixing artist’s problems in a big way.

Let’s start with this offer on right now:

Over January, for all our clients we’re running a free up to US$300 online advertising campaign on Facebook for all those clients who able to sign up for new accounts, and open new-to-facebook ad accounts.

In addition, US/Canada clients who are able to sign up for Google Adwords can get a campaign worth up to US$200.

These are highly targeted and valuable ads that will be able to run building up thousands of impressions and hundreds of click-throughs to your sites from facebook and the google network which includes Myspace and Youtube.

This is part of our service giving our clients access to insider internet marketing  bonuses. We also offered a free US$200 facebook campaign for all our clients last September.

This campaign Must be run in January so you must sign up asap to take full advantage.

Regards, Matt @ Kurb

More Quick Social Media Online Music Promotion Platform Tips

Wednesday, January 7th, 2009
  • Facebook, Myspace and also…..Bebo – got a reputation for being ‘Pop’ but there is a big diversity on there.
  • iLike.com is also very good, especially when combined with Facebook Pages
  • ArtistData.com can be used to make updating profiles easier, and works with MySpace & Virb
  • Use RSS on sites as much as possible to cut down on duplication.
  • Google Calendar can help with tour dates and event info. Use Google Analytics on everything.
  • Reverb Nation has some excellent tools but lacks sufficient audience numbers to gain mass exposure – however, the widgets can be really useful on MySpace and Facebook.
  • If an artist has a strong fan community then www.ning.com is fantastic, and can be combined with Reverb Nation, Google Cal, Flickr and Facebook
  • YouTube is often missed as a social network but it can work really well if you can build sufficient numbers of subscribers – start by creating channels.
  • Use www.Trendrr.com to measure buzz
  • Use http://www.whostalkin.com/ to see who is talking about an artist
  • Use Yahoo Pipes to create aggregated feeds and run through Feedburner to create the ultimate artist RSS feed for fans
  • And finally, use www.usernamecheck.com to see which fans have beaten you to your artist name