All You Need to Know About the Music Business: Ninth Edition
Format: PDF / Kindle (mobi) / ePub
“The industry bible” (Los Angeles Times), now updated, essential for anyone in the music business—musicians, songwriters, lawyers, agents, promoters, publishers, executives, and managers—trying to navigate the rapid transformation of the industry.
For more than twenty years, All You Need to Know About the Music Business has been universally regarded as the definitive guide to the music industry. Now in its ninth edition, this latest edition leads novices and experts alike through the crucial, up-to-the-minute information on the industry’s major changes in response to today’s rapid technological advances and uncertain economy.
Whether you are—or aspire to be—a performer, writer, or executive, veteran music lawyer Donald Passman’s comprehensive guide is an indispensable tool. He offers timely, authoritative information from how to select and hire a winning team of advisors and structure their commissions and fees; navigate the ins and outs of record deals, songwriting, publishing, and copyrights; maximize concert, touring, and merchandising deals; understand the digital streaming services; and how to take a comprehensive look at the rapidly transforming landscape of the music business as a whole.
The music industry is in the eye of the storm, when everyone in the business is scrambling to figure out what’s going to happen to the major labels and what it will mean for the careers of artists and business professionals. No musician, songwriter, entertainment lawyer, agent, promoter, publisher, manager, or record company executive—anyone who makes their living from music—can afford to be without All You Need to Know About the Music Business. As Adam Levine, lead singer and guitarist of Maroon 5, says, “If you want to be in music, you have to read this book.”
which is 12.14%. And for touring monies, a manager’s 15% of gross can be several times your individual share of net. Because artists have found it, shall we say, “uncomfortable,” to pay managers more than the artist makes, the classic “15% of gross” has softened over the last few years. Here’s what’s going down: NEGOTIATING THE MANAGER’S DEAL Despite the powerful personality of many managers (carefully designed to keep you in your place), it is possible to negotiate with your manager.
key members may control the vote—for example, they may have two votes where everybody else has one. Or it can be set up so that the group can’t act without one of the key members agreeing, regardless of how many people want to do it. The possibilities are endless, depending only on your creativity and desires, but they need to be thought out carefully. For example, try not to have an even number of votes, because this allows a deadlock (meaning an equally divided vote where nothing can be done).
top-line price is a budget record. Royalty The royalty on budget records is usually 50% of the top-line royalty rate, or 5% in our 10% example. With some clout, you can hold back budget records for a period after initial release. Because your being on a budget line is a statement about what the company thinks of your career, you can usually get a longer holdback than you can for mid-price. For example, in the United States, the company might agree to wait eighteen months to two years after
to retransmit their signals in exchange for payment of set fees. Without this license, the re-broadcast would be an unauthorized distribution of copyrighted programming. (By the way, the pay channels [HBO, Showtime] and satellite channels [CNN, MTV, etc.] are not retransmissions of local stations, and therefore not subject to compulsory licenses. So they can charge whatever they can gouge out of the cable operators.) Public Broadcasting System. The PBS lobbyists did a terrific job of
that’s downloaded, the record company will pay a royalty equal to a specified number of pennies. Often this rate is tied to the statutory rate (see page 213), and thus it increases if the statutory royalty increases. However, it’s usually tied to today’s statutory rate, meaning it’s fixed in pennies and won’t go up even if the statutory rate does. This is most likely when the songwriter is also an artist, for reasons we’ll discuss later (on page 225). The fixed rate can either be at the full