Confessions of a record producer: how to survive the scams and shams of the music business
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Backbeat Books
2009
|
| Ausgabe: | 4. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes index. |
| Beschreibung: | XVIII, 346 S. CD-ROM (12 cm) |
| ISBN: | 9780879309480 |
Internformat
MARC
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| 100 | 1 | |a Avalon, Moses |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Confessions of a record producer |b how to survive the scams and shams of the music business |c by Moses Avalon |
| 250 | |a 4. ed. | ||
| 264 | 1 | |a New York, NY |b Backbeat Books |c 2009 | |
| 300 | |a XVIII, 346 S. |e CD-ROM (12 cm) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes index. | ||
| 650 | 4 | |a Sound recording industry |x Vocational guidance | |
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Datensatz im Suchindex
| _version_ | 1804140010811686912 |
|---|---|
| adam_text | INDEX
η:
indicates footnote
ABC Records,
56
accounting firms,
273-74
adult contemporary music,
136
advances, 70nl
artists and,
177
paying back,
71
royalties v.,
93
Aerosmith,
292
AFM (American Federation of
Musicians),
49-50,116
Local
802
of,
292
Aftermath,
64
AFTRA (American Federation of
Television and Radio
Artists),
50-51
age,
120
aggregate sum,
72
aggregation fees, 111
aggregators,
53-55
exclusivity and,
219-20
fraud with,
217-19
payment threshold and,
220
airplay,
128-31
albums
length of,
244
publishing and,
212
record label control over,
247
schedules for completing,
248-49
singles v.,
212
all-in deals,
30,82
producers and budgets for,
98-99
remixing and,
99
ALT (accepted level of theft),
103
alternative rock,
121,136
American Federation of Musicians.
See AFM
American Federation of Television
and Radio Artists. See
AFTRA
AMRA (American Mechanical
Rights Agency),
56
AOL,
302, 304
earnings/expenses charts for,
310
Arista Records,
7
A&R (Artists and Repertoire)
people. See also
independent A&R
companies
assistant,
11
first impressions and,
254
humbling facts about,
12
at independent labels,
11-12
kickbacks to,
104
manager relationships with,
258
marketing and,
141
mercy signings and,
257-58
overexposure and,
254-55
paranoia of,
258
as producer,
10
promotional kits viewed by,
253-54
record labels and,
10
rejection, decoding language
of,
256
responsibilities of,
10
revolving door of,
85
salaries of,
10-11
second sendings and,
255-56
tenuous footing of,
11
women and,
10
пЗ
arrangements
copyright laws and,
25
protection problems for,
169
arrogance,
34-35
Arthur Andersen LLP,
274
л27
artist(s),
22.
See also
bandis)
advances for successful,
177
age impacting,
120
commercial viability of,
119-20
consultants and,
18-19
contract approval and,
240-41
as co-producer,
32 «12, 95
cover art, contributions of,
288
cover art costs for,
80
defining,
21
disaster checklist for,
319-21
drugs and, 96nl
earnings of,
176-80
first impressions made by,
254
fragility of,
30
frustrations with,
29
gigging and,
254-55
GPs and,
231-33
independent promotion
companies hired by,
130
informal agreements with,
156-57
interviews and,
13
kickbacks to,
103
lawyers taking advantage of,
242-48
LODs and,
174
major label deals, break even
point for,
73,77-79
major label
deals deceiving,
71
managers
chosen by,
14
mechanical royalties for
successful,
177-78
physical appearance and,
30-31
as producer,
100
producers conflicts with,
96-98
producers fee negotiated by,
161
profits of,
78-79
promotional kits and,
253-54
radio earnings of,
178
real names of,
118
record labels, deductions paid
to,
115
record labels, signing pressure
for,
30
record label signing odds for,
31
rejection and,
256
ringers making money for,
210
royalties for successful,
176-77
salaries of,
31
sales of new,
165
second sendings and,
255-56
spec deals and,
101-3
sponsors, earnings of,
179
sponsors and,
120-22
success and,
175-76
suing over clears,
206
touring earnings of,
179
web presence of,
13
artist/producer production deal
defining,
151
joint venture and,
154
mini-record deal and,
152-54
work-for-hire deal and,
154
ASCAP (American Society
of Composers and
Performers),
44-47
BMI
v.,
263-82
charities of,
274-75
conservative nature of,
281-82
control of,
276-78
cost/benefit ratio of,
273
elitism and,
268-69
expenses of,
271-73
false claims and,
200
importance of,
263
joining,
264-67
nonprofit status and,
270-75
payment and,
267-75
policing of,
278-81
racism and, 278n30
SESAC s complaints regarding,
280-81
voting rights in,
277
weighted pooling systems of,
268-70
Atlantic Records,
81-82
attorneys. Seelawyer(s)
auditing,
78,209
budgets,
104
production companies,
155
authorship
Copyright Act of
1976
rights for,
168
vanity labels and sound
recording,
168-69
Azoff, Irving,
13
В
baby record deal
producer cut out of,
156-57
types of,
151
band(s)
as corporate entity and lawyers,
235-37
earnings of,
179-80
marketing determining look
of,
117
real names of people in,
118
second sendings and,
255-56
side players in,
235-36
subcontracting and,
236
suing within,
196-97
visibility for emerging,
254-55
barcodes,
214
BDS (Broadcast Data Systems),
126
the Beastie Boys,
12,119
beats CDs,
203
Berkowitz, Daisy,
237
Bertelsmann
AG
company flow chart,
305
earnings/expenses charts for,
311
Best Buy,
126,304
Big Champagne,
128
Billboard charts,
124
misleading issues with,
125-26
SoundScan used for,
126
blanket license,
44
blockage,
199-200
name,
200
BMG/Sony,
61
BMI
(Broadcast Music Inc.),
44-47
ASCAP v.,
263-82
charities of,
274-75
collection rates of,
273
contradictions of,
269
control of,
275-76,278
expenses of,
271-73
false claims and,
200
importance of,
263
joining,
264-67
liberal nature of,
281-82
nonprofit status and,
270-75
payment and,
267-75
policing of,
278-81
racism and, 278n30
registering with,
199
N D E X
SESAC s complaints regarding,
280-81
Bolton,
Michael,
192-93
booking agencies,
12
bootlegs,
216-17.
See also clears
Bowie, David,
93
Branigan, Laura,
192-93
breakage clause,
74-75
Brown, James,
106
budgets. See also recording
budget(s)
all-in deals, producers and,
98-99
auditing,
104
major label deal and,
72-73
vanity labels, producers making,
160-61,164
buyout clause,
166
buzz,
141
California, entertainment laws in,
13-14
capitalism,
1
good,
49
Capitol Records,
207
Caroline,
63
cassettes. See tapes
CDCs). See
яко
barcodes; packaging
deductions
lxv.
4x,
215-16
beats,
203
bundle-ability of,
122
container charges for,
74
copyright laws with burning,
189/Ö
download sales compared to,
109
duplication v. replication,
212-13
durability of,
74
guaranteed distribution scams
with,
213-14
manufacturing costs of,
116
non-traditional sales of,
136
patent royalties on,
303
pricing,
110-11
quality of,
285
replication piracy and,
216-17
replicator scams with,
211-17
sales,
112
samplers,
208-9
SRLP of,
73
3/4
royalties on,
75
CD players,
132
charities,
274-75
the charts,
125-26
cleans
process of,
208
record labels and fraud of,
207
Clear Channel,
276
clears
artist suing over,
206
process of,
207-8
Clinton, Bill,
107
CMJ (College Music Journal) chart,
126-27
Color Me Badd,
119
commercial viability,
119-20
commission,
34,74
kickbacks compared to,
105
compulsory rate,
41,45,
282«37
consultants,
18-19
container charges,
74
contraceptive contracts,
157
contracts. See also contraceptive
contracts; co-publishing
arrangement; indie deal;
major label deals; record
deals; subcontracting
applicable period in,
241
artist approval in,
240-41
contradictions,
247
cross-collateralization in,
81-82
exclusivity in,
219-20
false first draft and,
234-35
independent labels and,
63
for indie deal,
143-44
lawyer language decoded in
Warner Bros.,
242-48
lawyers and,
6
lawyers forgetting to mark,
227-28
legalese in,
237-41
limpidity of, 242n4
loopholes in,
238-39
managers and,
12
musicians negotiating,
23
nonexclusive,
229-31
opting out v. termination of,
220-21
registered mail in,
241
sales period in,
230
territory in,
230
time constraints of,
248-49
timely in,
240
touring,
12
tracking changes in,
228
two into four year,
241
underlining changes to,
228
vanity labels problems with,
167
virtual terms in,
228-29
control freaks
counteracting effects of,
36-37
dealing with,
37
perfectionists v.,
35
telltale signs of,
36
working for,
34
co-producerts)
artists as,
32
h
12,95
INDEX
credits and,
296
co-publishing arrangement,
22
Copyright Act of
1976, 25
authorship rights in,
168
catcht
of,
202
compulsory rate in,
41,45
loose interpretation of,
187
piracy and,
190
PROs power from,
264
publishing amendments for,
106-7
songwriter and,
89-90
copyright administration
companies,
43
copyright laws
arrangements and,
25
CD burning and, 189n3
defining,
188-89
lawyers on,
187
songs and,
26
sound-alikes abusing,
202,204
copyright protection. See also
sound-alikes
blockage,
199-200
collecting money and,
198
name blockage and,
200
cost/benefit ratio,
273
cover art
artist costs for,
80
artist s contributing to,
288
covers, as samples,
203
creative process,
12
credits
co-producers and,
296
for engineers and side-persons,
294-96
fighting for,
194
money v.,
293
producers and,
295
producers and songwriter, 26w5
songwriters and,
295
unions and,
50,291-93
value/importance of,
291
cross-collateralization
in contracts,
81-82
independent labels and,
148-50
publishing companies and,
92
crossover hit,
127,127 «9
crusaders,
7-8
cutouts,
79
royalties and,
78
D
Dannen, Fredric, 130nl2
Dark Side of the Moon,
289
Davis,
Clive,
7
Def
Jam Records,
12,159
demos,
96,208
fee,
102
master quality and,
283-84
record labels, yearly amount
of,
31
depositions,
191
designer, of web site,
15-16
digital distribution
fraud with,
217-19
opting out in,
220-21
payment threshold in,
220
sales,
113
subscription models for,
113-15
digital distributors,
53-55
Digital Millennium Copyright Act
(DMCA),
107
digital sales. See download sales
digital storage fee,
74
digital streaming,
46
direct licensing,
56,112
distribution. See also digital
distributors; guaranteed
distribution scams; P&D
(pressing and distribution)
deals; UMG distribution
defining,
89-90,213
future of,
53
hot sheets and,
141
independent labels and,
63
independent labels and stability
of,
150
logos and,
62
rap music and early,
159
record labels channels of,
61-62
vanity labels problems with,
42
vig
and record labels,
110-11
distribution companies,
41.
See
aho
e-tailers
reserves and,
52-53
role of,
52
DJs, 294
increased impact of,
298
DMCA. See Digital Millennium
Copyright Act
download sales
CDs compared to,
109
major label deals and,
75-77
major labels and,
113
mark-ups in,
110
publishing and,
94
reserves an,
80
drugs,
29
artists and, 96nl
duplication,
212-13
Duran Duran,
196-97
E
the Eagles,
13
earnings. See also royalties; salaries
INDEX
of
AOL, 310
of artists,
176-80
of artists in radio,
178
of artists with sponsors,
179
of bands,
179-80
of Bertelsmann
AG,
311
of EMI,
311
of producers,
180-81
record industry charts for
expenses and,
310-11
record labels and,
181-82,
310-11
of Sony Corporation,
311
of touring artists,
179
of Universal Music,
310
ofVivendi,
310
of Walt Disney Company,
311
ofWarner Bros.,
310
Einstein, Albert,
147,185
Elektra
Records,
52-53
EMI,
11,61,
63-64Л6,
302
earnings/expenses charts for,
311
family tree of,
315-16
employment agent,
14
end-zoning,
156,169
engineer(s)
credits and,
294-96
ironic facts about,
29
producers working with,
28
salaries of,
28-29
Enigma,
288
Enron, 274n27
entertainment law(s). See also
CopyrightActof^e;
copyright laws
in California,
13-14
ER See
executive producer
EPK (electronic press kit),
254
equipment costs,
33
e-tailers,
53
Every Breath You Take,
27
Everyone s Hero,
32
Everything You Need to Know
About the Music Business
(Passman),
81
executive producer (EP), 10n3
exit strategy,
145
Extreme,
211
Facebook,
209
fair use,
189
determining,
190
PROs and,
279
spoofs and,
194
false first draft,
234-35
Favored Nations,
62
FCC,
133
federal prosecutors,
190-91
fingerprinting,
216-17
5%
royalty,
164-65
Flash,
16
Flip,
64
Fontana,
62
forgiven debt,
71
fraud. See
aho
guaranteed
distribution scams;
master fraud
aggregators and,
217-19
barcodes and subbing,
214
digital distribution and,
217-19
glass master copying and,
206
with iTunes,
214
opting out as,
220-21
in record industry,
242-48
record labels and cleans for,
207
of SoundScan,
259-60
Friedman, Gary William,
192-93
fulfillment services,
213
Gannett Co., Inc.,
276
Gavin,
127
Geffen, David,
63
general partners (GPs),
231-33
gigging,
254-55
Girl Scouts of America,
279-80
Girls on Film,
197
giveaways,
74
major label deals and,
74
publishing and,
90
record labels, deductions
accounting for,
116
record stores and,
140-41
giving consideration,
188-89
glass master
lxv.
4x,
215-16
fraud, copying from,
206
go-away money,
156
producers and,
166
Goldman, Ron,
198и6
Gottlieb, Steve,
12
GPs. See general partners
Grand View Alley,
191-92
gross profits,
83
Groundhog Day,
42
Grubman Indursky, 7nl
GS1 US,
214
guaranteed distribution scams,
213-14
Guy,
119
H
Happy Birthday to You,
280,
280
нЗЗ
Harrison, George,
196
N D
Є
X
Harry FoxAgency (HFA), 55-56,144
heavy rotation,
52
He s So Fine,
196
HFA. See Harry FoxAgency
Hill, Mildred, 280n33
Hill,
Patty,
280n33
hip-hop.
See
rap music
Hit Men (Dannen),
130
nl2
hit single,
124-25
HMV,
304
home studios,
28
и9
hot sheets,
141
How Am I Supposed to Live
Without You,
192-93
Ice Ice Baby,
93
IGotYouBabe, 42
THBeMissin You, 27
I ll Be Your Everything,
193
illegal file-sharing. SeeP2P (peer-
to-peer) file-sharing
networks
image consultant,
117
image molding,
117-20
indemnification clause,
168-69
independent A&R companies
problems with,
223-24
pros/cons of,
221-22
researching,
224-25
success rate with,
223
independent labels. See
«Ζκ»
indie
deal
A&R people at,
11-12
contracts with,
63
cross-collateralization with,
148-50
defining,
62-63
disaster checklist for,
319-21
distribution and,
63
distribution stability and,
150
exit strategy for,
145
future intentions of,
145-46
GPs and,
231-33
history of,
135-36
investors for,
145
major label success compared
to,
142,147
market share of,
136-37
mercy signings and,
259
multi-
tasking at,
142
P&D deals and,
139-40
production companies
compared to,
62
radio challenges for,
131
recording budget
indescrepencies for,
162-63
speed of,
146-47
independent producers,
11-12
independent promotion
companies,
52
artists hiring,
130
record labels hiring,
129-30
indie deal,
64
contracts for,
143-44
publishing and,
144
royalties and,
144-45
indie label implosion,
149
inducement letter,
153
industry standards,
167-68
informal agreements,
156-57
initial period,
243
internet. See
abo web
presence;
web site
marketing through,
131
new economy of,
94
nonexclusive contracts and,
229-31
piracy and,
279
PROs impacted by,
46,266,282
radio on,
132-33
royalties and,
56-57
team impacted by,
6,15
interns,
29
interviews,
13
investors,
145
iPods, 130nl4,
132, 218
ISRC codes,
219-20
iTunes,
54, 94,
110ИІ
aggregation fees of, 111
fraud with,
214
major label sales v. license with,
76
J
Jackson, LaToya,
120
Jagger, Mick,
202
lawsuit with,
191-92
James, Doug,
192-93
jewel box,
74и6
Jews,
298-99
jingles,
24
royalties and,
266 «8
jitter, 215n4
jobbers,
24
Joel, Billy,
277,292
joint venture,
154
J
Records, 7nl
junk mail lists,
208
К
Keys, Alicia, 7«1
kickbacks
to A&R people,
104
to artists, managers,
103
commission compared to,
105
example of,
163
from musicians,
104
from vendors,
99,103
Knoedelseder, William,
130 «12
INDEX
La Bamba,
119
LaMonte,
John,
207
Latin
music,
293
unions
and,
50
laws. See copyright laws;
entertainment law(s)
lawsuit(s). See also suing
Berkowitz, Daisy,
237
Bolton,
Michael,
192-93
Branigan, Laura,
192-93
Duran Duran,
196-97
Friedman, Gary William,
192-93
Grand View Alley,
191-92
Harrison, George,
196
lägger,
Mick,
191-92
James, Doug,
192-93
Manson,
Marilyn,
237
New Kids on the Block,
193
Page, Tommy,
193
Sade,
196
Soul, George,
193
2
Live Crew,
194
lawyer(s). See also
lawsuit(s);
suing
artists taken advantage of by,
242-48
bands as corporate entity and,
235-37
bashing,
227
commissions of,
71
conflicts of interest with,
8-9
as consultants,
18
contraceptive contracts and,
157
contracts, forgetful,
227-28
contracts and,
6
on copyright laws,
187
ethics and,
9-Ю
false first draft and,
234-35
fees for,
7
GPs and,
231-33
humbling facts about,
10
legalese of,
237-41
little squeeze and,
231-33
LODs and sneaky,
233
logic of,
8
nonexclusive contracts and,
229-31
polarizing nature of,
171
record deals and,
6
record labels and,
8-9
timely as term of,
240
trust and,
9
types of,
7
virtual terms and,
228-29
Warner Bros, contract, decoding
language of,
242-48
lead sheet,
187-88
legalese,
237-41
Leonard, Hal,
265
n3
letters of direction (LODs)
artists and,
174
as letters of misdirection,
233
money flow in,
173
side players and,
235
sneaky lawyers and,
233
vanity labels, producers and,
172-73
vanity labels not recognizing,
173-74
Levin, Gerald,
299
Library of Congress,
199
songs registered with,
187-88
licensing,
42,44-45, 76,201
limpidity, 242n4
liquidation period,
220
litigators,
189
LLCoolJ,
12
loans,
40,91
Local
802,292
LODs. See letters of direction
logos,
62
the long form,
86
loopholes,
238-39
loss leader,
303-4
LPs (long-playing records),
123,
123nl
M
Madonna, 7wl,
120
mafia,
206-7
major label deals,
64
artists breaking even in,
73,77-79
artists deceived by,
71
budget numbers in,
72-73
complexity of
, 70-71
as credit card,
82
download sales and,
75-77
as employment,
70
fairness of,
87
managers and,
69
packaging deductions,
giveaways with,
74
producers payment priority
in,
72
reserves and,
79-80
major labels,
64
download sales and,
113
family tree of,
67
flow of ownership in,
67
foresight of,
98
independent label success
compared to,
142,147
iTunes sales v. licenses from,
76
narrowing of remaining,
61
nl
number of,
297
P&D deals and,
137
recording budgets typical of,
100-101
restructuring,
312
INDEX
roster cuts and,
85
speed of,
146-47
vanity labels shopping product
to,
172
manager(s)
A&R people, relationships with,
258
artists choosing,
14
commissions of,
71
consultants v.,
18
contracts and,
12
duties of,
12-13
GPs and,
231-33
kickbacks to,
103
major label deals and,
69
ringers making money for,
210
super,
13
unfortunate facts about,
14
visibility concerns for,
255
women as,
300
Manson,
Charles,
27
Manson,
Marilyn,
237
manufacturing costs,
116
marketing. See
aho
cover art; press
releases; radio
A&R people and,
141
band s look determined by,
117
internet and,
131
radio and history of,
129-30
of rap music,
119
singles downsides for,
123-24
songs, costs of,
124
sponsors and,
120-22
mark-ups,
141
Marx, Grouch,
255
master buyout,
152-53
indemnification clause in,
168-69
master fraud
denning,
205
record labels committing,
206-7
master licensing deal,
153-54
master quality,
283-84
analogy, digital,
284-85
defining,
284
master recordings
commercially satisfactory,
238,
246
producer holding,
167-68
sound-alikes and,
201
television/movies and,
201
MBCA. See Music Business
Consultants of America
MCA Records,
56, 63, 302
MC
Hammer,
23
mechanical license,
45
mechanical royalties,
44
nb
for artists with success,
177-78
for sound recordings,
108
media tracking services,
128
The Me Nobody Knows,
192
mercy signing,
210
A&R people and,
257-58
independent labels and,
259
Meredith Corporation,
276
Midler,
Bette,
201
mini-record deal,
152-54
More than Words,
211
Moses Avalon Company, 19n7
movies,
42
loss leader in,
303
master recordings and,
201
МТУ
51,123,128
Music Business Consultants of
America (MBCA),
19
Music Business Registry,
84
musician®
categories of,
21-22
contract negotiation and,
23
ironic facts about,
24
as jobbers,
24
kickbacks from,
104
passion of,
21
record labels, deductions paid
to,
116
salaries of,
22,24
songwriters compared to,
26
as survivors,
22-23
unions and,
49-50
music industry. See record industry
music supervisor,
55
relationships importance to,
222-23
music videos
as commercials,
128-29
sales from,
117
Mustang Sally,
280
MySpace,
209
web presence through,
15
My Sweet Lord,
196
N
name blockage,
200
net profits,
83
new economy,
94
New Kids on the Block,
119
lawsuit with,
193
Newman, Paul,
231
Newton, Isaac,
185
Nielson,
126И5,
259
9-to-l syndrome,
210-11
Nine Inch Nails,
12
non-all-in deals,
99-101
nonexclusive contracts,
229-31
nonprofit status,
270-75
non-traditional sales,
136
О
one-deep labels,
64,112
one sheets,
140
N D E X
optimization
reports,
17-18
opting out,
220-21
option period,
243
Orbison, Roy,
194
overexposure,
254-55
overrides,
33
producers and,
165-66
P2P (peer-to-peer) file-sharing
networks,
124
sales impacted by,
260-62
packaging deductions
major label deals and,
74
record labels accounting for,
116-17
PA (performing art) form,
187,199
Page, Tommy,
193
partnerships. See general partners
Passman, Donald,
81
pay-for-play fees,
129
payment threshold,
220
P&D (pressing and distribution)
deals
independent labels and,
139-40
major labels and,
137
producers and,
154
penny rate,
76
perfectionists,
35
performance royalties,
43
performing rights organizations
(PROs),
43.
See also
ASCAP (American
Society of Composers
and Performers);
BMI
(Broadcast Music Inc.);
SESAC
accounting firms and,
273-74
collecting payments,
280
collection rates of,
273
competition between,
44-45
control of,
275-78
Copyright Act of
1976
providing
power for,
264
fair use and,
279
importance of,
263
internet impacting,
46, 266, 282
joining,
264-67
logs/surveys of,
268
membership considerations
for,
46
nonprofit status and,
270-75
payment from,
266-75
policing of,
278-81
role of,
263-64
types of,
44
worldwide,
269
perpetuity,
219
Pink Floyd,
289
piracy,
190
CD replication,
216-17
internet and,
279
RIAA s stance on,
289
platters,
207
PLD
(personal listening device),
77
podcasts,
266и6
Pollstar,
136
PolyGram,
62
press releases,
13
Pretty Woman,
194-95
PR (public relations) firms,
51
producers)
.
See also artist/
producer production deal;
co-producerts); kickbacks;
virtual producer s fee
all-in deals, budgets and,
98-99
A&R people as,
10
artist as,
100
artist negotiating fee of,
161
artists conflicts with,
96-98
baby record deal, cutting out,
156-57
buyout clause for,
166
commercial concerns of,
97-98
credits and,
295
disaster checklist for,
319-21
duties of,
32-33
earnings of successful,
180-81
emotional leverage of,
97
engineers working with,
28
5%
royalty and,
164-65
as furnisher,
153
go-away money for,
166
independent,
11-12
informal agreements with,
156-57
investments of,
96
LODs between vanity labels
and,
172-73
major label deals paying,
72
master recordings held by,
167-68
non-all-in deals and,
99-101
overrides for,
165-66
P&D deals and,
154
publishing for,
104,106-8
as remixer,
33
re-recording screwing,
169, 171
responsibilities of,
95-96
risks of,
102
salaries of,
33
side-person finder s fees and,
104
songwriter credits and, 26n5
spec deal and,
101-3
vanity label budgets and,
160-
61,164
vanity labels, compensation
package for,
164-66
INDEX
φ
as virtual producer,
166-67
producer-driven acts,
99
production companies,
40-41.
See
яко
vanity labels
auditing,
155
independent labels compared
to,
62
professional (s)
dreams of,
5-6
hidden agenda of,
6
high-priced,
5
profits. See
aho
nonprofit status
of artist,
78-79
of record industry,
301
of record labels,
302-4
RIAA
defining,
261-62
Promise Me,
192
promotional kits,
253-54
promotion companies. See
independent promotion
companies
PROs. See performing rights
organizations
proving access,
191
publicists,
51
publicity. See viral marketers
publicity companies,
51
publishing. See
aho
co-publishing
arrangement; mechanical
royalties
albums and,
212
Copyright Act of
1976
amendments for,
106-7
download sales and,
94
giveaways and,
90
indie deals and,
144
9-to-l syndrome and,
210-11
producers wanting,
104,106-8
radio and,
106
samples and,
92-93,106
INDEX
three-quarter rate and,
90-91
publishing companies,
41-43
administrative expenses of,
91-92
cross-collateralization and,
92
songwriters getting loans from,
91
publishing deals,
27
publishing royalties,
23
Puff Daddy (P. Diddy), 7nl
Puff the Magic Dragon,
280
quantum physics,
185-86
R
racism,
119-20
ASCAP/BMI and, 278n30
radio
artists and earnings from,
178
heavy rotation bought in,
52
independent labels challenges
with,
131
on internet,
132-33
marketing history in,
129-30
pay-for-playfeesin,
129
paying for,
127
publishing and,
106
royalties from,
27,44
sales and,
287-88
satellite,
131-33
radio hit,
106,211,287
rainmakers,
7
rap music,
99
distribution of,
159
marketing,
119
popularity of,
136
sample-alikes and,
204
songwriters in,
25
rave music,
122
R&B music,
99
as rock n roll music,
119
RCA,
303
rebate scams, tapes,
163
record companies. See record labels
record deals. See also baby record
deal; mini-record deal;
P&D (pressing and
distribution) deals; spec
deal
arrogance and,
34-35
GPs in,
231-33
lawyers and,
6
length of,
243-45
little squeeze in,
231-33
option period/initial period in,
243
as tax write-offs,
257
360
deals compared to
traditional,
180
time constraints of,
248-49
timetable for,
248
from vanity labels,
160
record industry
allure of,
312
aspirations in,
5
buzz and,
141
decline of,
260-62
earnings/expenses charts for,
310-11
entities in,
39-40
as football game,
59
fraud in,
242-48
Jews in,
298-99
profits of,
301
quantum physics compared to,
185-86
recycling trends in,
120
relationships and,
7,13, 297
technology impacting,
321
unions
of,
49-51
women and discrimination in,
299-300
recording advances. See advances
recording budget(s)
independent labels,
discrepancies in,
162-63
major label, typical,
100-101
shrinking,
33
recording expenses,
83
recording studios,
100-101,
100и9
record labels. See also major labels;
one-deep labels; two-deep
labels; vanity labels
aggregation fees and, 111
album control of,
247
A&R people and,
10
artists, deductions for,
115
artists odds of signing with,
31
artists pressure for signing
with,
30
banks compared to,
71
CD samplers/soundtrack scams
and,
208-9
cleans/fraud and,
207
defining,
61
demos per year received by,
31
distribution channels of,
61-62
distribution
vig
and,
110-11
divisions within,
61
earnings/expenses charts for,
310-11
earnings of successful,
181-82
flow charts for,
305-9
giveaway deductions for,
116
independent promoters hired
by,
129-30
lawyers and,
8-9
legal requirements of,
241
loans and,
40,91
master fraud committed by,
206-7
musicians, deductions for,
116
number of,
297
packaging deductions and,
116-17
profits of,
302-4
sample costs and,
114-15
services offered by,
40
singers importance to,
22
songwriters deductions of, 111,
114-15
sponsors and,
120-22
standards of quality of,
246
records,
75
as consignment items,
52
creative control of,
97
releasing,
86
record stores
chains destroying local,
126
closing of,
303^1
future of,
304
giveaways and,
140-41
one sheets and,
140
stocking and,
54
recoupable
financing,
71-72
recoupment fund,
73
RED,
62
Redford, Robert,
231
Reid, LA., 7nl
relationships
of A&R people with managers,
258
music supervisor and,
222-23
record industry and,
7,13,297
song quality v.,
222
remixers,
33
remixing,
33
all-in deals and,
99
replication,
212-13
piracy in process of CD,
216-17
replicator scams,
211-17
re-recording
producers getting screwed by,
169,171
suing over,
171
vanity labels threatening with,
170
reserves
distribution companies and,
52-53
download sales and,
80
major label deals and,
79-80
reviews,
288-89
Revolution
#9, 204
Rhino Records,
110
RIAA
(Recording Industry
Association of America),
47,56-57,108,116
piracy, stance of,
289
sales/profit terminology of,
261-62
rights
exclusive v. nonexclusive,
229-31
transfer of,
238
rights clearinghouses,
55
ringers,
210
ringtones,
42
rock n roll music,
100
R&B music as,
119
roster cuts,
85
royalties,
12,241.
See also
5%
royalty; mechanical
royalties; performance
royalties; reserves;
SR (sound recording)
performance royalty;
3/4
royalties
advances v.,
93
INDEX
artist/songwriters and,
176-77
breakage clause and,
74-75
CDs, patent,
303
cutouts and,
78
from digital sources,
47
indie deals and,
144-45
internet and,
56-57
jingles and, 266n8
liquidation period and,
220
PLD
and,
77
radio and,
27,44
sliding scale,
242
television and,
51,107-8
rpm
(revolutions per minute),
123nl
R&R {Radio
&
Records) chart,
127
Ruben, Rick,
12
RunDMC,
119
S
Sade,
196
salaries
of A&R,
10-11
of artists,
31
of consultants,
19
of engineers,
28-29
of musicians,
22,24
of producers,
33
of songwriters,
26-27
sales. See
ако
non-traditional sales
CDs and standard,
112
digital distribution and,
113
music videos prompting,
117
new artists and,
165
P2P file sharing networks
impacting,
260-62
radio and,
287-88
reviews impacting,
288-89
RIAA s meaning of,
261-62
SoundScan defining,
261
sales period,
230
sample-alikes,
204
sample police,
93
samples
clearing,
42,
91n4
covers as,
203
history of,
204
publishing and,
92-93,106
rates for,
93
п5
record labels and costs of,
114-15
satellite radio,
131-33
scams. See fraud; guaranteed
distribution scams;
rebate scams, tapes;
replicator scams;
soundtrack scams
schedule of standard costs (SSC),
72
schmoozers,
14
screeners,
223-25
Seagrams,
63,302
search engine optimizer
(SEO),
17
search engines,
16
second sendings,
255-56
Seneca,
184
SEO.
See search engine optimizer
SESAC,
44-47,270
ASCAP/BMI complaints of,
280-81
joining,
264-65
market share of,
265
7-inch records,
123
sexism,
299-300
Shady,
62
She s the Boss,
191-92
side chain letter
dangers of,
155
flow of performance
commitments for,
153
side-person,
104
credits and,
294-96
side players
as band members,
235-36
LODs and,
235
Sigma Sound,
291
Simmons, Russell,
12
Simon, Paul,
203
Simpson, Jessica,
30
Simpson, O. J., 198n6
singers,
22.
See also artist(s)
single (s)
albums v.,
212
choosing,
124
history of,
123
hit,
124-25
marketing downsides with,
123-24
singles deals,
33
Sirius, 133
Sledge, Percy,
193
SM. See station manager
smoking,
29
song(s)
copyright laws and,
26
length of,
244
Library of Congress, registering,
187-88
marketing costs of,
124
as products,
39
relationships v. quality of,
222
songwriter(s)
Copyright Act of
1976
and,
89-90
credits and,
295
ironic observations about,
27
musicians compared to,
26
producers and credits as,
26и5
publishing companies loaning
to,
91
rap music and,
25
INDEX
record
labels, deductions paid
10,111,114-15
as ringers,
210
royalties for successful,
176-77
salaries of,
26-27
Sony Corporation
earnings/expenses charts for,
311
flow chart,
307
Sony Music,
34, 62, 212,301.
See
ако
BMG/Sony
family tree of,
317-18
Soul, George,
193
sound-alikes,
200
copyright laws abused by,
202,
204
master recordings and,
201
SoundExchange,
46-48, 51,108
sound recordings,
43.
See
aho
SR
(sound recording)
performance royalty
mechanical royalties for,
108
vanity labels, authorship of,
168-69
SoundScan,
126
fraud of,
259-60
sales according to,
261
soundtrack scams,
208-9
spec deal,
101-3
special goods programs,
74
Spector, Phil,
196
Spitzer,
Elliot,
130
sponsors,
120-22
artist earnings from,
179
spoofs,
194
Springsteen, Bruce,
125
SR (sound recording) form,
187
SRLP. See suggested retail list price
SR (sound recording) performance
royalty,
171/15
SSC. See schedule of standard costs
star(s)
collecting from,
198
reputation of,
197-98
suing,
189-96,197-98
Starbucks,
136
station manager (SM),
128
Stiffed (Knoedelseder),
130ИІ2
Sting,
27
The Sting,
231
strategic alliance,
222-23
studio maintenance technician,
28
subbing,
214
subcontracting,
236
subscription models, in digital
distribution,
113-15
suggested retail list price (SRLP),
164
of CDs,
73
suing. See
ако
lawsuit(s)
by artists for clears,
206
within band,
196-97
civil v. criminal,
191
collection of money after,
198
for re-recording,
171
stars,
189-96,197-98
support function,
303
survivors,
22-23
SXSW (South by Southwest),
222
synchronization license,
42,201
Taft-HartleyAct,
48
tapes,
75
quality of,
285
rebate scam with,
163
TAXI,
222П9,
224ДІ2
tax write-offs,
257
team,
6,15
techno music,
122
television
cable,
132
master recordings and,
201
royalties from,
51,107-8
3/4
royalties and,
75
territory,
230
tethered sales,
76-77
the thick,
86
This Land Is Your Land,
280
Thoreau, Henry David,
1
3/4
royalties,
75
360
deals,
30,112
defining,
82
gross profits v. net profits in,
83
jobs lost to,
84
splits on,
83,176
traditional record deals
compared to,
180
three-deep labels,
41
three-quarter rate,
90-91
touring
artist earnings from,
179
contracts,
12
Tower Records,
304
trade magazines,
22-23
trade organizations,
48-49
transfers. See glass master
Twain, Mark,
251
2
Live Crew
lawsuit with,
194
Pretty Woman as recorded
by,
195
two-deep labels,
64,112
hazards of,
150
U
U2,
130НІ4
UMG distribution,
66
flow chart,
309
UNI,
61
INDEX
unions
record deals from,
160
WEA,
61,302
credits and,
50,291-93
re-recording threats of,
170
company flow chart,
306
Latín
music and,
50
sound recording authorship
family tree of,
316-17
musicians joining,
49-50
problems for,
168-69
webmaster,
16-17
in record industry,
49-51
venue conditions,
12
web presence,
13
trade organizations compared
VernonYard,
63
MySpace and,
15
to,
48^19
videos. See music videos
web site
Universal Music,
8,
87n20, Illn4
vig,
110-11
designer,
15-16
earnings/expenses charts for,
viral marketers,
17-18
first impressions with,
254
310
Virgin,
63
Flash and,
16
family tree of,
313-15
Virgin Super Stores,
303-4
optimization reports for,
17-18
flow chart,
308-9
virtual producer,
166-67
webmaster for,
16-17
UPC,
214
virtual producer s fee,
160-64
weighted pooling systems,
268-70
virtual terms,
228-29
WildThing, 106,287
V
virtue,
184
women
Valens,
Ritchie,
119
Vivendi,
302
A&Rpeople and,
ЮиЗ
Vanilla Ice,
93
earnings/expenses charts for,
as managers,
300
vanity labels,
41, 54,150
310
record industry and
contract problems with,
167
flow chart,
308-9
discrimination of,
299-300
defining,
151
worker bees,
7
disaster checklist for,
319-21
W
work-for-hire deal,
154
distribution problems with,
42
Wal-Mart,
304
history of,
159
Walt Disney Company,
64
X
LODs between producers and,
earnings/expenses charts for,
XM,
133
172-73
311
LODs not recognized by,
173-74
Warner Bros.,
52-53,110,116,302
Y
major labels working with,
172
company flow chart,
306
Yahoo,
114-15,218
producer s compensation
earnings/expenses charts for,
package from,
164-66
310
producers making budgets in,
lawyer language decoded in
160-61,164
contract of,
242-48
N D E X
CONTENTS
Fast-Forward and Reverse
....................................................................................................................
V
PARTI: THE GAME
................................................................................................................................1
The Players
..............................................................................................................................................3
1.
The Pros
...............................................................................................................................................5
TheNewTeam
...................................................................................................................................6
Lawyers
..............................................................................................................................................6
Conflicts of Interest
....................................................................................................................8
A&R
..................................................................................................................................................10
A&R at the Indie Level.
.............................................................................................................11
Managers
.........................................................................................................................................12
Publicists, Booking Agents, Tour Managers, and Image Consultants
.........................................15
The New Pros and the New Team
..................................................................................................15
Web Site Designer.
....................................................................................................................15
Webmaster.
...............................................................................................................................16
Viral Marketer
..........................................................................................................................17
Consultants
..............................................................................................................................18
NowYourNewTeam
................................................................................................................19
2.
The Creators
......................................................................................................................................21
Musicians
.........................................................................................................................................21
The Survivor
.............................................................................................................................22
The Jobber.
................................................................................................................................24
Songwriters
......................................................................................................................................26
Engineers
.........................................................................................................................................28
Artists
...............................................................................................................................................29
How Much Do Artists Make?
...................................................................................................31
Producers
.........................................................................................................................................32
Last but Not Least: Control Freaks
................................................................................................34
Counteracting the Effects of the Control Freak
......................................................................36
3.
Companies, Companies, Companies
.............................................................................................39
Record Companies
..........................................................................................................................40
Production Companies
..................................................................................................................40
Publishing Companies
...................................................................................................................41
Copyright Administration Companies
..........................................................................................43
Performing Rights Organizations
..................................................................................................43
SoundExchange
.......................................................................................................................46
The Unions
......................................................................................................................................48
TheAFM
...................................................................................................................................49
AFTRA
.......................................................................................................................................50
Publicity Companies
.......................................................................................................................51
Independent Promotion Companies
............................................................................................52
Distribution
Companies
.................................................................................................................52
E-tailers
....................................................................................................................................
53
Digital Rights Aggregators (or Digital Distributors)
..................................................................53
Rights Clearinghouses
....................................................................................................................
55
The Harry Fox Agency (the HFA)
...................................................................................................55
TheRIAA
..........................................................................................................................................56
TheDeal
.................................................................................................................................................59
4.
Understanding Distribution, or WhyAre There So Many Logos on the Record?
.....................61
The Big Four
...................................................................................................................................61
What Is a Real Independent Label?
...............................................................................................62
One-Deep and Two-Deep Labels
...................................................................................................64
5.
The Major Label Deal from the Artist s Point of View
.................................................................69
Recoupable
Financing
—
The Moving Goal Post
...........................................................................71
The Big Four Deal with Real Deal Numbers
.................................................................................72
So How LongTill I See Some Money?
......................................................................................73
Packaging Deductions and Giveaways
..........................................................................................74
Breakage—The
90%
Rule
................................................................................................................74
The 3/4 Royalty.
.................................................................................................................................75
Download Sales
...............................................................................................................................75
Deep in the Hole
.............................................................................................................................77
Returns, Reserves, and Cutouts
.....................................................................................................79
Cross-Collateralization, or Robbing Peter to Pay Paul
.................................................................81
A Major Label Deal Is Like Having a Credit Card at
66%
Interest
...............................................82
The
360
Deal
....................................................................................................................................82
Is
50%
Really More than 9%?
..................................................................................................83
Industry Job Rot
.......................................................................................................................84
Drop-Kicked from the Roster
.........................................................................................................85
Time Warp: How Long Till the Record Comes Out?
......................................................................86
Need and Greed: Be Careful What You Wish For
...........................................................................87
6.
Publishing Deals: The
200%
Pie, or
100%
of Something Is Better than
200%
of Nothing
......89
Three-Quarter Rate
.........................................................................................................................90
Publishing Advances and Their Deductions
.................................................................................91
Administrative Expenses
.........................................................................................................91
Sample Rights
..........................................................................................................................92
The Work-Around for Recoupment Hell
.......................................................................................93
Collecting Money in the New Economy
....................................................................................94
7.
The Major Label Deal from the Producer s Point of View
...........................................................95
The Artist/Producer Conflict
........................................ .....96
The All-in Deal
.........................................
..ZIZZZZZZZZZZZ
.....
ITZZZZZm
Non-All-in Deals
.........................................................
^
..................................................... ....99
The Spec Deal
................................................................. ...............................................................101
Kickbacks
............................................... ........................................... ^03
Kickbacks to the Artist and Manager
...................................................................... ,.............103
KickbacL·from Vendors
.................................
... ZZZZI.
........................................
ZI
103
CONTENTS
Kickbacks to A&R
...................................................................................................................104
Kickbacks from Musicians.
....................................................................................................104
When the Producer Wants Publishing
.........................................................................................104
8.
The Major Label Deal from the Record Company s Point of View
...........................................109
The Distribution
Vig
.....................................................................................................................110
Deductions
....................................................................................................................................
Ill
Aggregation Fees
.....................................................................................................................
Ill
To the Writers.
.........................................................................................................................
Ill
To the Artist
............................................................................................................................115
To the Musicians
....................................................................................................................116
Giveaways, Returns, and Special Programs.
.........................................................................116
Packaging and Manufacturing
.............................................................................................116
Image Molding
..............................................................................................................................117
ABit ofHistory
.......................................................................................................................119
Sponsors
........................................................................................................................................120
9.
The Single
........................................................................................................................................123
Who Picks the Single
.....................................................................................................................124
The Hit Parade Charts and the Hit Single
................................................................................124
Billboard or
Bullboard?.........................................................................................................125
SoundScan
.............................................................................................................................126
Other Types of Charts.
............................................................................................................126
Airplay and Webcasting
................................................................................................................128
Promoters and Payola
...........................................................................................................129
Net-Hype.
................................................................................................................................131
Satellite and Internet Radio
.........................................................................................................131
10.
The Independent Record Deal: The Birth of the New Indie
....................................................135
11.
The Independent Record Deal from the Point of View of the Record Company
..................139
The P&D Deal
................................................................................................................................139
How Records Get to the Store: The Hot Sheets
...........................................................................140
12.
The Independent Record Deal from the Point of View of the Artist
......................................143
Publishing and Royalties
..............................................................................................................144
Indie in Disguise
...........................................................................................................................145
Speed Trends
.................................................................................................................................146
Super-DuperCross-Collateraiization
..........................................................................................148
13.
The Baby Record Deal
.................................................................................................................151
The Artist/Producer Production Deal
.........................................................................................152
The Mini-Record Deal
...........................................................................................................152
TheJointVenture
....................................................................................................................154
TheWork-for-HireDeal
.........................................................................................................154
End-Zoning—Cutting Out the Producer
.....................................................................................156
Informal Agreements
.............................................................................................................156
Contraceptive Contracts
........................................................................................................157
CONTENTS
14.
The Vanity
Label
...........................................................................................................................159
The Virtual Budget and the Virtual Producer s Fee
.....................................................................160
Producer s Compensation Package
.............................................................................................164
5%Royalty
..............................................................................................................................164
Overrides
................................................................................................................................165
Buyouts, or the Screw You Clause
.......................................................................................166
Go Away in a Production Deal
...........................................................................................166
The Producer as a Virtual Partner
................................................................................................166
Where s My Contract?
...................................................................................................................167
Holding the Masters
.....................................................................................................................167
WhatYouDon t Know Will Hurt You
...........................................................................................168
Screwing the Producer, or the Re-Record
...................................................................................169
Letters of Direction (LODs)
..........................................................................................................172
Artist s
LOD
....................................................................................................................................174
15.
Wrap-Up—Who Earned What?
...................................................................................................175
Artist
...............................................................................................................................................176
Artist/Writer Record Royalties.
...............................................................................................176
Recording Advances
...............................................................................................................177
Publishing
1:
Mechanical Royalties
......................................................................................177
Publishing
2:
Radio Play.
.......................................................................................................178
Touring
...................................................................................................................................179
Sponsors
.................................................................................................................................179
Which Adds Up To
...............................................................................................................179
Producer
........................................................................................................................................180
Record Company
..........................................................................................................................181
PART
2:
SCAMS AND SHAMS
............................................................................................................183
WatchingYourBack.
.................................................................................................................185
16.
The Myth of Copyright Protection, or Hey, TheyStole My Song!
.......................................187
Suing Stars
.....................................................................................................................................189
Mick Jagger and She s the Boss .
...........................................................................................191
Michael
Bolton
and How Am I Supposed to Live WithoutYou
.........................................192
New Kids on the Block and
ПІВеУоиг
Everything
...........................................................193
2
Live Crew and Pretty Woman
..........................................................................................194
George Harrison and He s So Fine
......................................................................................196
When Band Members Sue Each Other
....................................................1.]................................196
Sade
.............................................................................................1.11.1!..............................196
DuranDuran
...................................................... ........... 196
More Problems with Suing Stars
.....................................
„. ., .. . ...... . . . .11111.............197
Collecting Your Money
...........,................ ......................................................
1Э8
Blockage
......................................._.......... ......................................................................
199
Name Blockage
........................................ . . . . . .............................................................................200
Sound-Alikes
.........................,............. ......................................................................*..........
200
Sample-Alikes
....................................11111111111......................................................................204
CONTENTS
17.
Master
Fraud
.................................................................................................................................205
Clears, Cleans, and Fake Masters
................................................................................................206
Clears
......................................................................................................................................207
Cleans
.....................................................................................................................................208
Soundtrack Scams and So-Called CD Samplers
.........................................................................208
9-to-l Publishing, or Why Is There Only One Good Song on the Record?
............................210
CD Replicator Scams, or Getting Duped by the
Duper
..............................................................211
When a CD Isn t a Real CD
....................................................................................................212
Guaranteed Distribution
....................................................................................................213
Cheapie Barcodes
...................................................................................................................214
Jitter, Dither, and Blither-Blather: The
lx
vs. 4x Debate.
......................................................215
Fingerprinting and Bootlegging.
...........................................................................................216
Digital Deceptions and iTunes Scams
.........................................................................................217
Exclusivity
..............................................................................................................................219
Payment Threshold
................................................................................................................220
Termination and Opting Out, or See You Later, Aggregator
..............................................220
Independent A&R Services
..........................................................................................................221
18.
Sneaky Lawyer Stuff
.....................................................................................................................227
The I Forgot to Mark the Contract Trick
...................................................................................227
Virtual Terms
.................................................................................................................................228
Internet Labels and Their Nonexclusive Contracts
.................................................................229
The Little Squeeze
.........................................................................................................................231
Letters of Misdirection
.................................................................................................................233
The First Draft Is the Coldest
.......................................................................................................234
Voted Out —The Band as a Corporate Entity
...........................................................................235
Legal-ease?
....................................................................................................................................237
Decoding of an Actual Warner Bros. Record Contract
...............................................................242
Conclusion
....................................................................................................................................248
Miscellaneous Myths and Untruths
..................................................................................................251
19.
Dogma
............................................................................................................................................253
A Good Promotional Kit Is the Key
..............................................................................................253
Gigging a Lot Is Good Exposure to the Industry
.........................................................................254
Second Sendings
...........................................................................................................................255
We Love It, but
... ......................................................................................................................256
Labels Sign Bad Acts for Tax Write-Offs
.......................................................................................257
The Mercy Signing.
.................................................................................................................257
SoundScan Tells All
.......................................................................................................................259
Illegal File-Sharing Is Killing the Music Business
.......................................................................260
Are Sales Really Down?
..........................................................................................................260
So Are There Real Losses?
.......................................................................................................262
20.
ASCAP vs.
BMI: PRO
Pontification
............................................................................................263
Preface
...........................................................................................................................................263
Overview of the Battlefield: The Players and Their Game
........................................................264
Should You Bother to Join Either of Them?
................................................................................265
Who Pays More
.............................................................................................................................267
CONTENTS
Whaťs
That
Floating
in the Pool?
........................................................................................267
We re a Nonprofit, So You Can Trust Us
...............................................................................270
Okay, SoWe re Not Really a Nonprofit. Big Whoop. We Still Act Like One, Right?
...........272
So, Who Owns These Guys?
.........................................................................................................275
Who Controls
BMI.................................................................................................................275
WhoControhASCAP
............................................................................................................276
The Bully Factor
...........................................................................................................................278
Conclusion
....................................................................................................................................281
21.
Production Boners
.......................................................................................................................283
You Need a Master Quality Demo to Get a Deal
......................................................................283
You Must Record on a Digital Medium with at Least
100
Tracks
...............................................284
Why Cassettes Sound Muddy.
......................................................................................................285
22.
Marketing Mishigas
......................................................................................................................287
Lots of Airplay Assures Big Record Sales
.....................................................................................287
We Get to Say What Our Album Cover Will Look Like
.............................................................288
Record Industry Slumps Are the Direct Result of Poor A&R Decision-Making
........................288
23.
Getting Credit Where Credit Is Due
...........................................................................................291
Look for the Union Label
..............................................................................................................291
Major Label Philosophy on Giving Credit to Sidemen and Engineers
.....................................294
The Co-production Credit
.........................................................................................................296
24.
Industry Census
............................................................................................................................297
Are All the Powerful People in the Business Jews?
......................................................................298
Are Women Discriminated Against in the Music Business?
......................................................299
25.
The Big Picture, or the Record Industry fromthePoint of View of the Rest of the World
.......301
Do Record Companies Really Make Any Money?
.......................................................................302
What s the Story?
....................................................................................................................302
Loss Leader
.............................................................................................................................303
A Map of the Financial Universe
..................................................................................................310
What Does This Teach Us?.
....................................................................................................311
Major Label Family Trees ( The Big Four ) as of
2009...............................................................313
Record/Pause
.............................,............................................... 319
Checklist for Disaster
.......................................................... ..........319
FinalWord
..........................................................
LIIZZ !
............................................
ZZ!.321
Appendix: FamilyTreesofBigSlxDistributors in January
1998...............................................323
Acknowledgments
...........................................................
32g
Who Is Moses Avalon and What Is The Moses Avalon Company?
................................................330
Take the ConfessionsofaRecordProducerWorkshopatwww.confessionsworkshop.com
.........330
Index
..................................................................................................................................................333
CONTINT«
|
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| id | DE-604.BV035730833 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-09T21:53:11Z |
| institution | BVB |
| isbn | 9780879309480 |
| language | English |
| lccn | 2009003222 |
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| spelling | Avalon, Moses Verfasser aut Confessions of a record producer how to survive the scams and shams of the music business by Moses Avalon 4. ed. New York, NY Backbeat Books 2009 XVIII, 346 S. CD-ROM (12 cm) txt rdacontent n rdamedia nc rdacarrier Includes index. Sound recording industry Vocational guidance Tonträgerindustrie (DE-588)4267529-7 gnd rswk-swf Berufsberatung (DE-588)4005878-5 gnd rswk-swf Tonträgerproduzent (DE-588)4284548-8 gnd rswk-swf (DE-588)4048476-2 Ratgeber gnd-content Tonträgerindustrie (DE-588)4267529-7 s Berufsberatung (DE-588)4005878-5 s Tonträgerproduzent (DE-588)4284548-8 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018007421&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Avalon, Moses Confessions of a record producer how to survive the scams and shams of the music business Sound recording industry Vocational guidance Tonträgerindustrie (DE-588)4267529-7 gnd Berufsberatung (DE-588)4005878-5 gnd Tonträgerproduzent (DE-588)4284548-8 gnd |
| subject_GND | (DE-588)4267529-7 (DE-588)4005878-5 (DE-588)4284548-8 (DE-588)4048476-2 |
| title | Confessions of a record producer how to survive the scams and shams of the music business |
| title_auth | Confessions of a record producer how to survive the scams and shams of the music business |
| title_exact_search | Confessions of a record producer how to survive the scams and shams of the music business |
| title_full | Confessions of a record producer how to survive the scams and shams of the music business by Moses Avalon |
| title_fullStr | Confessions of a record producer how to survive the scams and shams of the music business by Moses Avalon |
| title_full_unstemmed | Confessions of a record producer how to survive the scams and shams of the music business by Moses Avalon |
| title_short | Confessions of a record producer |
| title_sort | confessions of a record producer how to survive the scams and shams of the music business |
| title_sub | how to survive the scams and shams of the music business |
| topic | Sound recording industry Vocational guidance Tonträgerindustrie (DE-588)4267529-7 gnd Berufsberatung (DE-588)4005878-5 gnd Tonträgerproduzent (DE-588)4284548-8 gnd |
| topic_facet | Sound recording industry Vocational guidance Tonträgerindustrie Berufsberatung Tonträgerproduzent Ratgeber |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018007421&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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