Term
| 5 keys roles in live entertainment stream |
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Definition
| perfomrer, personal manager, talent agent, promoter, and vene operator |
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Term
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Definition
| decides that it is time to do a tour |
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Term
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Definition
| contacts the talent agent who has contracted to arrange performance for the artist |
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Term
| process of booking a tour |
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Definition
| contact venues to see what dates are open for what prices and probably put holds on dates that would fit the tour. then present the agent with the basics of a deal. as the agaent begins putting together pieces of the tour, the promoter are notified of any definite dates |
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Term
| What does a personal manager do |
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Definition
the must possess good people skills to be able to work closely with the artist and others in the income stream. the also possess significant knowledge of the industry and contacts within it to be able to create the kinds of opportunities that the artist needs to develop a significant career.
they will work with the artist to develop a good live act and performance, giving the performer feedback and constrictive criticism
will probaby develop a carer plan that will at least take the artist through the first recording. it will undoubtedly be altered later if the artist achieves substantial success and as ather opportunites present themselve. |
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Term
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Definition
| are highly negotiated, especially if the artist has much stature. some will be willing ot work on an oral "handshake" agreement, most attorneys cringe at the thought of their client,either the artist or the manager, working under such nebulous terms |
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Term
| Compensation - Management agreement |
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Definition
| are typically compensated on teh basis of a percentage of the artist's gross earnings. 10 to 25%. |
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Term
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Definition
| even if the artist signs an agreement with a management company, it is usually a particular person who is handling the affairs of the artist and in whom the artist has placed his or her trust. for that reason artist often ask that if the key person leaves the firm then the agreement is end |
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Term
| Power of attorney - Management agreement terms |
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Definition
| will usually ask for power to enter into agreements on behalf of the artist. While it may be easier for the manager to be able to sign anything for the artist, it is usually advisable for the artist to attempt to limit the power of attorney to routine matters such as short engagements |
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Term
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Definition
| Talent agents tend to exist in three varieties, depending up on the size of the geographic area in which they book talent. Local agents work just in a particular city or small group of cities. they tend to book acts into smaller clubs, parties, and local events |
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Term
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Definition
| can book artists in several, usually adjoining states. They book some larger clubs and shows and may have the ability to get an act on as an opening acts for a larger artist tif they have good connections with the promoter |
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Term
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Definition
| can book an act anywhere in the country and perhaps abroad |
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Term
| Agency Agreements - Commissions |
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Definition
| usually 10 - 20% of the gross payable to the performer. the afm limits the amount according to the duration of the performance, with 20 % limit for one-nithers |
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Term
| Agency Agreements - Duration |
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Definition
| the afm limtts talent agents to 3-year agreements |
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Term
| Agency Agreements - Exclusivity |
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Definition
| agents often ask for exclusive rights |
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Term
| role of the concert promoter |
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Definition
| obtain some talent to present, presumably from an agency , and must have some place to present it - a club or other venue. Like the agent, the promoter is a middle-person in between the artist and the audience. but unlike the agent, the promoter takes on a substantial managerial role in the ultimate presentation of the event |
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Term
| Promoter-Artist Agreements |
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Definition
| Performance agreements for concerts and club appearances typically contain two parts. the first part simply sets the fee structure, date and time of appearance, and a few other basics. the other part is the rider. the s contains the requirements that the artist must have in order to put on the show |
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Term
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Definition
| the labels may provide tour support in the form of extra advertising and promotional dollars when an artst plays a market or inthe form of short falls |
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Term
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Definition
Other businesses with products to sell to ppl likely to attends concerts have entered the concert business by sponsoring tours for major or even relatively new artists.
Companies who sponsor musical events and others shows report sales increase of from 50 to 1,000 percent in markets where the sponsored show appears. |
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Term
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Definition
| American Federation of Musicians - represents musicians, conductor, arraigners, orchestrators, copyist, and others involved in the preparation and presentation of live music (but not composers) |
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Term
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Definition
| American Guild of Vaiety Aritist - represents singers, dancers, comediennes, adn others who perfomr live |
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Term
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Definition
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Term
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Definition
| American Federation of Television and Radio Artists |
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Term
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Definition
| International Alliance of Theatrical Stage Emplyees - represent non-performers in theater, tv, and film. they include stafehads, camera operatior, gaffers,lighting tech, wardrobe ppl and others. |
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Term
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Definition
| 4 ppl - personal manager, the agent , the attorney, and the accountant |
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Term
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Definition
1. acquire masters
2. market those masters |
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Term
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Definition
| defined as a "few" sellers occupying the market with "few" being everything between one firm (monopoly) and many firms (pure competition) |
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Term
| Three levels of Oligopoly |
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Definition
tight oligopoly - a concentration of four firms holds more than 60% of the market
effective competition - more than four firms to reach sixty % of the market but less than many
monopoly |
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Term
| Four significant factors of a ologoby |
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Definition
1. number of firms
2. seller concentration
3. product differentiation
4. barriers to entry |
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Term
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Definition
| has been in a state of Tight Oligopoly |
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Term
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Definition
in 1955 ended the tight oligopoly and brought effective competition with the emergence of many independent labels. especially R&B into the top charts
the public's demand for the new music drove slaes of recordings up with 44% increase in sales volume for 1955 to 1956. The new artists came from evverywhere on dozens of new labels, and the chart share of the independents skyrocketed. to 76& in 1958. Even as albums began to replace singles as the dominant selling product in the early 1960s it was clear the the oligopoly was broken. The 1962 Billboard album chart summary showed 42 labels with at least one charted album and the top 6 firms controlled less than 50% of those records |
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Term
| The merger of Polygram and Universal |
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Definition
| following the merger of the two the top 4 firms are Universal, Warner, BMG, and Sony - controoled almost 75% of the total album market in the US |
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Term
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Definition
Warner Music Group
Univeral Music Group
Sony- BMG
EMI |
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Term
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Definition
| is the world's largest record/music company. it was created in 1998 by the merger of Universal Music Group and PolyGram. In 2001 it was merged with the French Vivende SA to create Vivendi Universal SA |
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Term
| Universal Music Group Labels |
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Definition
MCA
Geffen
Interscope
Mercury
Poldon
London
Vertigo
Verve
Wing
A & M
Island/DefJam
Motown
Decca |
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Term
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Definition
| began as the music division of Warner Brothers Film company to control music interest of its film production in the 1920s |
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Term
| Warner Brothers Record labels |
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Definition
warners Brothers
Electa/ Aslum
Atlantic
Atco
Reprise
Rhino
Maverick
Tommy Boy
Giant |
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Term
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Definition
| in late 2003 AOL Time Warner sold the Warner Music Group to a consortium of Canadian investors headed By Edgar Braonfman, the former head of Universal Music when it belonged to Seagram's |
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Term
| Digital Audio Disc Corporation. |
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Definition
first to manufacturer CD in the us
sony corporation, the Japanese electronics manufacturing company saw the imortance of developoing software industires to complement its hardware manufacturing when it entered into an agreement with CBS records |
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Term
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Definition
Columbia
Epic
Song Nashville |
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Term
| BMG acquires Arista and RCA |
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Definition
| BMG purchased all the RCA Victor intersts from General Electric |
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Term
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Definition
Arida
RCA
Lafacel/Arista
Zoo Entertainment
Private
Windham Hill
Jive/Silvertone |
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Term
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Definition
began with the merger of 3 labels in the uk in 1930.
remained primarily European operation until 1956 when it acquired Capitol Records |
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Term
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Definition
Capitol
EMI
Chrysails
Sparrow
Virgin
Blue Note
Angel |
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Term
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Definition
| The upper-level Structure of the big 4 recording companies is basically the same. each corporate owner usually holds several different businesses in addition to its recording companies |
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Term
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Definition
| they seek to own and control all aspects in the production of there production from the raw ingredients of recording artists an songs to retail sale of recordings to consumers |
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Term
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Definition
usually someone who has experience in A&R although not necessarily
oversee all operations, but depending upon the depth of their personal involvement in A&R either as producers or talent scouts, the other divisions may have additional independence |
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Term
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Definition
| this is usually the legal department of the label. it is in charge of negotiating artist and producer agreements, and other licensing arrangements, including sampling and film use. This department typically finalizes foreign licensing deals, distribution deals with other labels, and soundtrack album deals |
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Term
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Definition
| the counting of sales, returens, free goods, and promotional albums and the payment of royalties ot at least three but as many as a dozen or more |
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Term
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Definition
| works out international distribution deals and coordinations marketing plans around the world. it may be responsible for A&R in foreign territories Some smaller labels hire other labels outside of the us or a major s label to take care of international marketing and distribution for them |
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Term
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Definition
| is limited to getting the recordings to the consumer through retail and rack sales and to promoting consumer awareness of the records through radio and TV airplay, print publicity and advertising in an and all media |
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Term
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Definition
| is responsible for getting orders for records from rack jobbers, major retail chains, and one-stops |
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Term
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Definition
| is to get exposure through radio and video airplay |
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Term
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Definition
| create the media plans to go with a given album or single. |
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Term
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Definition
| consists of nonpaid exposure other than radio airplay or music video airplay |
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Term
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Definition
its primary task is to coordinate the work of the other departments to e sure that there is a unified marketing plan for every album.
the may work with the artist or producer during the recording of an album to get a better idea of what the album is about and ot develop a marketing plan that he artist will support |
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Term
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Definition
| the artist and repertoire department is in charge of finding and recording artists. it may also look for songs for artist who do not write their own compositions |
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Term
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Definition
| is where the coordination takes place for getting mechanical licenses and clearance for sampling. they must make sure that all ppl who played on an album get proper credits |
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Term
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Definition
| are in charge of the recording process. may find the talent and record it, record it after others have found it, or screen talent being pitched to the label |
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Term
| the indies independent labels |
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Definition
| a label not owned by one of the major conglomerates or their subsidiaries they may have their recordings distributed by one ot the majors and still by referred to as indies |
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Term
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Definition
label must acquire rights to market copies of master recordings.
can either create the masters themselves or have somebody else do it for them |
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Term
| Established talent: reward and risk |
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Definition
Reward: the label gets an artist who can already sell millions of records without the label having to pour hundreds of thousands of dollars into marketing and a slow development process.
Risk: the label may have acquired the talents of the artist at, or after, their artist peak - never to be as successful again |
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Term
| two good reasons to sign and develop new artists |
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Definition
1. their royalty rates and advances will be much lower because they are an unknown quantity in terms of how many records they can see
2. if successful they will be obligated to the label for significant number of future albums |
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Term
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Definition
| are the product of listenign to lots of popular music |
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Term
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Definition
| is to be in lots of places , lots of times. knowing the timing of the next sound that will capture the public's fancy and what that sound ill be is partially a product of hearing lots of music and talking to lots of people. |
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Term
| What does A&R look for in an artist |
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Definition
1. an artist with a great live show that really gets an audience excited.
2. an artist who can amake a good visual appearance
3. who have a personal manager
4. has a new sound
5. not someone who have publishing deals where a musci publisher has ivested substantial amounts of money in the development of the artist's writing abilities
6. hear a high-qualit demo so taht they can get a very good idea of what the artist will sound like on a finished master |
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Term
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Definition
| usually a recording contract where a label gives an artist a small sum or perhaps annual amount to remain obligated to sign a full recording agreement with the label. the label may want to keep the option of signing the artist while the artist works on songwriting, performance, or some other aspect that the label feels is not quite ready for master recording. |
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Term
| Basic recording agreement |
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Definition
| contractual arrangement - the artist promises to make recordings for this label and for no other, in exchange for the label's promise to pay the artist royalties based on the sale of those recordings |
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Term
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Definition
1. the label will delay signing the contract at all
2. the label may decide no to record the artist once they are signed
3. the label may not accept the finished master or refuse to release it
4. the label may release the record but only put a minimum amount of marketing money into it |
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Term
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Definition
| in the 1950 typical royalties were 5% of retail list, paid on 90% of sales |
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Term
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Definition
| a royalty rate designed to include royalties paid to an artist and any royalties paid to a producer. it provides to the label there services of the recording artist and producer for a single royalty rate |
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Term
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Definition
| Artists receive no royalties for promotional copies and others that are given away t dealers and wholesalers as incentives or discounts. Some labels define sales to be 85% of shipments |
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Term
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Definition
are prepayments of royalties; they are highly negotiable. some artist get paid an advances upon signings the contract most get paid an advance upon delivery and acceptance of the master by the label
are nonreturnable |
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Term
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Definition
| a kind of advance where the record label designates a fixed amount of money available to produce a master recording. Usually the artist and producer are allowed to keep any money that has not been used to create the finished master |
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Term
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Definition
| written or owned in whole or controlled in whole or part by the recording artist. the term usually appears in recording agreements between recording artists and record labels in a clause that attempts to get the artist to permit the label to use such compositions at a reduced rate. |
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Term
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Definition
initially many labels paid for all of the video production costs for music videos
by the mid-1990s it was customary recoup half of the video production costs from recording royalties with the other half recouped from video royalties |
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Term
| Union agreements - AFM & AFTRA |
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Definition
| they have agreed to require certain scale paymetns to non-royalty performes on all recordinng sold by the label. the labeles require athat all of their artists join the appropriate union |
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Term
| phonograph Record Label Agreement |
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Definition
| include provisions for overdubs, premium hors, and a wide variety of other issues. the union leader on the session and th record producer make sure that all musicians are credited and proper payments made to the union, including a contribution of 10% of total wages to the union pension fund and a $19.00 health-and-welfare-fund payment for each musician |
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Term
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Definition
| Phonograph Record Trust Agreement and the Phonograph Record Manufacture Special Payments Fund Agreement |
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Term
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Definition
| Code of Faire Practice for Phonograph Records required soloist to be paid a scale wage for master sessions of approximately $168 per hour or per song whichever was greater |
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Term
| Three basic producer skill |
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Definition
1. they perfomr A&R functions by finding talented artists and good marterial to record, and by matching artists and material
2. they are managers of the production process-arranging and supervising recording sessions; hiring studios, musicians, and engineers, and getting the best performance out of those people
3. producers perform business functions such as budgeting the recording sessions, making sure the recording process does not go over budge and that roper tax, withholding, and union forms are completed |
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Term
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Definition
| a producer who words on a salaried basis for the label. Currently such persons are likely to be label executives who also happen to be producers |
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Term
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Definition
| a record producer who is not on salary from a record label. they usually work on a royalty basis similar to recording artist, and may also be paid fees for each recording completed |
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Term
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Definition
| they were typically 2 to 6% of SRLP and paid on the same terms as artist royalties. they are also paid advances per side or per album depending on whether they have agreed to produce certain cuts or an artist's entire album |
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Term
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Definition
Pre-production
production
post production |
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Term
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Definition
| authority to exercise control over the creative aspects of a recording, such as selection of material to be recorded, studios to use, producer, and side musicians. artists and producers seek more creative controls form the labels |
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Term
| Acquisition through Licensing |
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Definition
| Instead of going through all the grief of finding artists and producers, and risking the inevitable stiffs, a label could get al or art of its masters by licensing them from other label. |
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Term
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Definition
| a person who operates or designs equipment for recording and reproduction of sound. |
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Term
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Definition
| musical instrument digital interface |
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Term
| 4 typer of engineers defined |
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Definition
Senior engineer - usually associated with a particular studio. they are the most knowledgeable and experienced engineers available at the facility
Assistant engineer - work primarily work at one studio or with one particular independent engineer
Freelance engineers - tend to be senior level engineers who have a track record of recording successful albums with established artists
maintenance engineers- most electronics expertise. they tend to be associated with one particular studio, but some successfully freelance among several smaller studios |
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Term
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Definition
AES- audio engineering society
SPARS society of professional audio recoding services
SMPTE Society of motion picture and television engineers |
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Term
| Four functions of marketing |
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Definition
| product, pricing , promotion, and place |
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Term
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Definition
| the creation and delivery of a product that well satisfy consumer needs at a price that will allow a profit to be made for the organization |
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Term
| Label marketing structure |
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Definition
| the marketing department focuses primarily on the sales, promotion and publicity functions |
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Term
| Label marketing distribution |
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Definition
| is also handled separately, either through one of the major's distribution systems or through independent distribution |
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Term
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Definition
| the style and quality and the packaging |
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Term
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Definition
| rock, urban/rap, country, and pop/easy listening |
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Term
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Definition
| Older recordings which remain available to retailers through the record label's catalog of current products |
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Term
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Definition
| those taking place within fifteen months of release |
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Term
|
Definition
| because catalog usually has a lower retail and wholesale price than current front line product, this would indicate that in terms of unit purchased, catalog product probably accounts for more than half of all recordings sold |
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Term
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Definition
| greatest hits albums are popular with consumers who have recently discovered a n artist who has an extensive catalog |
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Term
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Definition
these are usually reserved for artists with long careers ho are historically significant
a special package containing usually three or more individual albums with special notes, photos, and other matter. the albums often contain previously unreleased cuts and alternative versions of recordings |
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Term
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Definition
| are primarily a promotional tool, |
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Term
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Definition
| wheterh the singles market will shift from hard copies purchased through brick-and -mortar reteailer to soft copies ar a price of 99 cents downlaoded |
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Term
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Definition
Suggested Retail List Price
Manfactured's suggest Retail Price |
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Term
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Definition
Front line product - new releases by major artist, carries the highest srlp other than some soundtracks and classical titles
Mid-line product - catalog product or perhaps recording by new artists at introductory prices
Budget lines -often deep catalog or artists whose popularity had faded significantly but not so significantly that they were discontinued |
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Term
| Driving force behind promotion |
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Definition
| is the well-founded belief that the consuming public is unlikely to purchase a recording until they have heard the album or a cut from it |
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Term
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Definition
| Radio, tv airplay, something we can hear |
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Term
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Definition
| advertisting - something talk about |
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Term
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Definition
| the primary means of promotion for most labels for albums that would be considered popular mainstream |
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Term
|
Definition
| the primary job is to get radio airplay |
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Term
| (distribution) Independent label |
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Definition
| a record company not owned by one of the majors that has its records manufactured and shipped to various independent distributor around the county |
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Term
| (distribution) Major Labels |
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Definition
| a record company owned by one of the four conglomerates that has its own branch distribution system. Note that even a small label |
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Term
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Definition
| buys records from independent labels, usually several or all, and sell those records to retail stores and to one-stops that handle all |
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Term
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Definition
| sell only the labels manufactured by its corporate owner or other label that the parent company has agreed to distribute |
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Term
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Definition
| sell all labels. it purchases records form branch and independent distributors. it sell records to individual stores whether they are independent mom-and-pop stores or individual locations retail chains |
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Term
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Definition
| are single stores or very small chains. the name comes from the notion that they are sole proprietorships or family owned. though that is not necessarily the casse |
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Term
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Definition
| a group of stores with a common owner. Most chains buy from a on-stop that is owned b the same parent company as the chain |
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Term
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Definition
|
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Term
| soundscan in the beginning |
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Definition
| in 1989 market researcher mike shalett began SoundScan, company that worked out agreements with retailers to gather their POS data, compile it and make national sales reports available to retailers, distributors, record labels, and others in the industry who needed to know actual piece-count data |
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Term
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Definition
| was formed as an affiliate of Billboard's BPI communications to create a computer-driven method of monitoring actual radio airplay |
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