Music is your business: the musician's FourFront strategy for success
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Seattle, WA
FourFront Media & Music
2007
|
| Ausgabe: | 3. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes index. |
| Beschreibung: | X, 267 S. graph. Darst. 26 cm |
| ISBN: | 9780974342030 |
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Datensatz im Suchindex
| _version_ | 1804137278174396416 |
|---|---|
| adam_text | Contents
vii
Acknowledgements
χ
Introduction: What This Book Is (and Is Not)
Chapter
1
Welcome to the Four Fronts of Music Marketing
2
How the Music Industry Is Structured Chart
4
What Are the Four Fronts of the Music Business
—
and What Do They Have to Do with You?
5
An Overview of the Four Fronts
9
How the Four Fronts Work Together Chart
Chapter
2
The First Front—Artist Development and Product Development
12
Why Artist and Product Development Are Both in the First Front
13
The First Front, Part One: What Is Artist Development?
15
Ten Reasons Why Musicians Fail (and How Not To)
35
Con Jobs: Watch Out for the Flim-Flam Man
39
Artist/Band Inventory List
41
The Creative You and the Business You
44
Songwriter Relationship and Artist Relationship Charts
45
Filing Copyright Applications
48
Trademarking Band Names
53
Starting Your Own Publishing Company: An Eight Point Checklist
57
Eight Types of Publishing Deals: An Overview
63
Artist Management Deals: The Basic Deal Points
66
Artist Development: Questions to Ask Yourself
68
The First Front, Part Two: What is Product Development?
70
Who Buys Music?
16
What You Should Know about Your Fans
78 35
Things to Consider When Starting Your Own Record Label
80
Releasing Your Own Record
—
A
1
5-Point Legal Checklist
84
Preparing Your Release: Manufacturing and Design Tips
86
Let s Talk about Bar Codes
87
Inside Major and Independent Record Labels
90
Typical Major Label Structure Chart
91
What A&R Reps Do
92
Making Sense of Music Industry Contracts
94
Production Companies
iv
97
Producer
Agreements:
What s the Deal?
102
Recording Contract Advances
105
Recording Contracts and
Recoupables
108
Recording Contracts and the Artist Royalty Rate
111 The Term of Recording Contracts
114
Compulsory Mechanical Licenses: The Facts and the Fictions
120
Profit Split Deals: An Alternative to the Traditional Record Deal
124
Making Your Record a Priority, or Art vs. Commerce:
A Music Marketplace Dilemma
128
Distribution Setups for Record Labels
129
Distribution and Independent Record Labels
131
Distributors: How to Attract Them and How to Work With Them
136
Getting Your Music to the Customer Chart
138
A FourFront Marketing Plan for Independent Record Releases
140
Sample Marketing Plan for a Band
144
The Distributor One-Sheet
145
Sample Distributor One-Sheet
146
Sample of a Distributor s Letter of Instructions to an Independent Label
148 25
Things to Remember about Traditional Record Distributors
150
What a Record Label Should Know about Music Retailers
156
Music Is Your Internet Business
157
Selling Your Music Online
—
A Reality Check
165
Getting the Most Out of Your Music Website
169
Online
Е
-Music Promotions
171
What is SoundExchange and Why Should You Know about Them?
172
Product Development Questions for Music Sellers
Chapter
3
The Second Front—Promotion
174
Promotion: Getting Airplay for Your Music
175
Radio Station Music Formats
177
Promotion; How Record Labels and Radio Stations Work Together
194
Getting College, Non-Commercial Radio Airplay
197
The Promotion Game: A Day by Day Summary
201
Promotion Front Questions for Radio Stations
Chapter
4
The Third Front-Publicity
204
Publicity: Creating a Buzz in the Media
205
Kits, Kits, and More Kits
206
Ingredients of a Demo/Promo/Press Kit
207
How to Write a Bio and a Fact Sheet
210
Sample Band Bio
211
Sample Fact Sheet
212
Sample Cover Letter
213
The Quote Sheet/Press Clippings
214
Folders and Envelopes
215
Press Kit Photos
218
How to Write a Music Related Press Release
219
Tips for Working with the Press
221
Publicity Front Questions for Magazines, Newspapers and
Internet Publications
Chapter
5
The Fourth Front—Performance
224
Performance: Finding Your Audience
225
The Business of Live Performance
229
Selling Your Music at Live Shows
233
Have You Ever Played a House Concert?
237
Sample Band Tour and Work Schedule
242
Performance Front Questions for Working Your Live Shows
Chapter
6
The Future Is Now
244
Changes in the Way Music Is Sold Over the Last
30
Years
248
New Challenges and Chances for Music Marketing
254
Licensing Music for Films, TV, Commercials, and Computer Games
259
Licensing Your Masters Overseas
264
About the Authors
265
Index
Throughout the book, this symbol indicates legal-oriented chapters written
byBartleyF. Day.
The FourFront Marketing System chapters and all other content (except
where noted) was written by Christopher Knab.
vi
|
| adam_txt |
Contents
vii
Acknowledgements
χ
Introduction: What This Book Is (and Is Not)
Chapter
1
Welcome to the Four Fronts of Music Marketing
2
How the Music Industry Is Structured Chart
4
What Are the Four Fronts of the Music Business
—
and What Do They Have to Do with You?
5
An Overview of the Four Fronts
9
How the Four Fronts Work Together Chart
Chapter
2
The First Front—Artist Development and Product Development
12
Why Artist and Product Development Are Both in the First Front
13
The First Front, Part One: What Is Artist Development?
15
Ten Reasons Why Musicians Fail (and How Not To)
35
Con Jobs: Watch Out for the Flim-Flam Man
39
Artist/Band Inventory List
41
The "Creative" You and the "Business" You
44
Songwriter Relationship and Artist Relationship Charts
45
Filing Copyright Applications
48
Trademarking Band Names
53
Starting Your Own Publishing Company: An Eight Point Checklist
57
Eight Types of Publishing Deals: An Overview
63
Artist Management Deals: The Basic Deal Points
66
Artist Development: Questions to Ask Yourself
68
The First Front, Part Two: What is Product Development?
70
Who Buys Music?
16
What You Should Know about Your Fans
78 35
Things to Consider When Starting Your Own Record Label
80
Releasing Your Own Record
—
A
1
5-Point Legal Checklist
84
Preparing Your Release: Manufacturing and Design Tips
86
Let's Talk about Bar Codes
87
Inside Major and Independent Record Labels
90
Typical Major Label Structure Chart
91
What A&R Reps Do
92
Making Sense of Music Industry Contracts
94
Production Companies
iv
97
Producer
Agreements:
What's the Deal?
102
Recording Contract Advances
105
Recording Contracts and
Recoupables
108
Recording Contracts and the Artist Royalty Rate
111 The "Term" of Recording Contracts
114
Compulsory Mechanical Licenses: The Facts and the Fictions
120
"Profit Split" Deals: An Alternative to the Traditional Record Deal
124
Making Your Record a Priority, or Art vs. Commerce:
A Music Marketplace Dilemma
128
Distribution Setups for Record Labels
129
Distribution and Independent Record Labels
131
Distributors: How to Attract Them and How to Work With Them
136
Getting Your Music to the Customer Chart
138
A FourFront Marketing Plan for Independent Record Releases
140
Sample Marketing Plan for a Band
144
The Distributor One-Sheet
145
Sample Distributor One-Sheet
146
Sample of a Distributor's Letter of Instructions to an Independent Label
148 25
Things to Remember about Traditional Record Distributors
150
What a Record Label Should Know about Music Retailers
156
Music Is Your Internet Business
157
Selling Your Music Online
—
A Reality Check
165
Getting the Most Out of Your Music Website
169
Online
Е
-Music Promotions
171
What is SoundExchange and Why Should You Know about Them?
172
Product Development Questions for Music Sellers
Chapter
3
The Second Front—Promotion
174
Promotion: Getting Airplay for Your Music
175
Radio Station Music Formats
177
Promotion; How Record Labels and Radio Stations Work Together
194
Getting College, Non-Commercial Radio Airplay
197
The Promotion Game: A Day by Day Summary
201
Promotion Front Questions for Radio Stations
Chapter
4
The Third Front-Publicity
204
Publicity: Creating a Buzz in the Media
205
Kits, Kits, and More Kits
206
Ingredients of a Demo/Promo/Press Kit
207
How to Write a Bio and a Fact Sheet
210
Sample Band Bio
211
Sample Fact Sheet
212
Sample Cover Letter
213
The Quote Sheet/Press Clippings
214
Folders and Envelopes
215
Press Kit Photos
218
How to Write a Music Related Press Release
219
Tips for Working with the Press
221
Publicity Front Questions for Magazines, Newspapers and
Internet Publications
Chapter
5
The Fourth Front—Performance
224
Performance: Finding Your Audience
225
The Business of Live Performance
229
Selling Your Music at Live Shows
233
Have You Ever Played a House Concert?
237
Sample Band Tour and Work Schedule
242
Performance Front Questions for Working Your Live Shows
Chapter
6
The Future Is Now
244
Changes in the Way Music Is Sold Over the Last
30
Years
248
New Challenges and Chances for Music Marketing
254
Licensing Music for Films, TV, Commercials, and Computer Games
259
Licensing Your Masters Overseas
264
About the Authors
265
Index
Throughout the book, this symbol indicates legal-oriented chapters written
byBartleyF. Day.
The FourFront Marketing System chapters and all other content (except
where noted) was written by Christopher Knab.
vi |
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| index_date | 2024-07-02T19:22:59Z |
| indexdate | 2024-07-09T21:09:45Z |
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| spelling | Knab, Christopher Verfasser aut Music is your business the musician's FourFront strategy for success Christopher Knab and Bartley F. Day. Ed. by Sue Cook 3. ed. Seattle, WA FourFront Media & Music 2007 X, 267 S. graph. Darst. 26 cm txt rdacontent n rdamedia nc rdacarrier Includes index. Music trade United States Sound recording industry United States Tonträgerproduktion (DE-588)4333011-3 gnd rswk-swf Musikwirtschaft (DE-588)4268614-3 gnd rswk-swf USA USA (DE-588)4078704-7 gnd rswk-swf (DE-588)4151278-9 Einführung gnd-content USA (DE-588)4078704-7 g Musikwirtschaft (DE-588)4268614-3 s DE-604 Tonträgerproduktion (DE-588)4333011-3 s Day, Bartley F. Verfasser aut Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016250417&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Knab, Christopher Day, Bartley F. Music is your business the musician's FourFront strategy for success Music trade United States Sound recording industry United States Tonträgerproduktion (DE-588)4333011-3 gnd Musikwirtschaft (DE-588)4268614-3 gnd |
| subject_GND | (DE-588)4333011-3 (DE-588)4268614-3 (DE-588)4078704-7 (DE-588)4151278-9 |
| title | Music is your business the musician's FourFront strategy for success |
| title_auth | Music is your business the musician's FourFront strategy for success |
| title_exact_search | Music is your business the musician's FourFront strategy for success |
| title_exact_search_txtP | Music is your business the musician's FourFront strategy for success |
| title_full | Music is your business the musician's FourFront strategy for success Christopher Knab and Bartley F. Day. Ed. by Sue Cook |
| title_fullStr | Music is your business the musician's FourFront strategy for success Christopher Knab and Bartley F. Day. Ed. by Sue Cook |
| title_full_unstemmed | Music is your business the musician's FourFront strategy for success Christopher Knab and Bartley F. Day. Ed. by Sue Cook |
| title_short | Music is your business |
| title_sort | music is your business the musician s fourfront strategy for success |
| title_sub | the musician's FourFront strategy for success |
| topic | Music trade United States Sound recording industry United States Tonträgerproduktion (DE-588)4333011-3 gnd Musikwirtschaft (DE-588)4268614-3 gnd |
| topic_facet | Music trade United States Sound recording industry United States Tonträgerproduktion Musikwirtschaft USA Einführung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016250417&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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