Werk Now. Pay Later.
With the PatchWerk Credit Card!
Independent Artists - Use their PWR Card to
pay for recording, mixing, mastering & CD
duplications, freeing up other monies for
marketing & promoting.
Managers - Use their PWR Card to buy
regular blocks of time for their groups or people
they believe in - with the 6 or 12 months
" Deferred Interest " option giving them time
to shop & secure a deal for their client.
Signed Artists - Use their PWR Card to record, mix, master & press up CDs or mixtapes to flood the streets, get hot again & then get the label to re-open up their budget.
DJ's - Use their PWR Card to can use this to finance their Mixtapes and take advantage of the low monthly payments.
If you are interested in Financing Your Music Career, call PatchWerk at 404-874-9880 for more info or to Apply!
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AES and Patchwerk Studios team up to talk about the world of drum sampling and arranging. The first installment of this two part workshop will focus on the process of drum tuning, mic placment, and recording of drums for use as samples. Patchwerk's own Mike Wilson will be hosting the discussion and walking everyone through the process of getting various stylistic sounds.
Attendance will be limited for these workshops. It is strongly encouraged that you signup and reserve your seat today! Gathering together many minds for discussing an oft' overlooked task of music production; This is sure to be a great experience for all!
Saturday, August 21 @ 11am
Admission is $10, and free for current AES members.
SPACE IS EXTREMELY LIMITED - ADMISSION WILL BE GRANTED ON A FIRST COME FIRST SERVE BASIS.
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Elektra Records was created in 19-year-old Jac Holzman's dorm room at St. John's College in Maryland on Oct. 10, 1950.
The first release followed in March 1951 with an album entitled "New Songs by John Gruen." The label blurb noted that Elektra "shall continue to offer disks of unusual and worthy musical fare," and sure enough it went on to release music by Judy Collins, Phil Ochs, Tom Paxton, Tim Buckley, Love, the Doors, and the Stooges. More recent signings include Bruno Mars, Laza Morgan, and Cee Lo Green.
Forty years after Warner Communications acquired Elektra and its spin-off classical label Nonesuch, WMG is marking the 60th anniversary of Elektra. The major has launched Elektra60.com, a website it says "tells the stories of the legendary artists, the music, and the culture that have defined the label over the past six decades."
The site was conceived and curated by Holzman, who currently serves as a senior advisor to Warner Music Group chairman and CEO, Edgar Bronfman, Jr. It includes a user-controlled timeline that traces the history of the company from its beginnings in 1950 to the present day, highlighting nearly 100 significant artists. Searchable by year and by artist, the timeline incorporates streaming audio, multiple images, video content, and historical information.
"Breaking from the valid and understandable anniversary traditions of the past, we decided to celebrate Elektra on the web, the connective community of our age," said Holzman in a statement. "This is a unique, ever-changing party to which everyone is invited and encouraged to participate."
For More Info On Elektra Records Celebration Visit Billboard.com
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Ever wondered how to get your music on to Pandora? Consider this your start up kit as told by Michael Zapruder who serves as Music Curator for Pandora, the Oakland-based internet radio service based on the Music Genome Project. As curator, he directs all aspects of music collection, curation, and cataloging for Pandora's stations. Zapruder has been with Pandora nearly since the inception of the Music Genome Project and was appointed as Pandora's music curator in 2004.
Here's how it works:
Register for Pandora (the submission process is connected to listener accounts, so you can use your existing account if you have one).
Go to http://submitmusic.pandora.com and follow the directions for submitting.
If your CD meets the requirements for submission (you have to have a valid UPC code and the record has to be for sale in the Amazon CD store), you'll be prompted to upload two songs along with any biographical or press information and any links you'd like us to know about.
When we get to your submission, we listen and make a decision about whether your submission is right for us. (This takes time, so be patient.)
If you're accepted, we send you an email with a customized mailing label that you'll use to send us your record. If we pass on your record we let you know on your submission page and we encourage you to keep us posted on your future work.
Lots of people ask us about the Amazon requirements, so here's the skinny:
We use UPC codes as identifiers to display the right artist information and album art when something plays on Pandora. We want to be able to show as much information about the artists we play as we can, and UPC codes make that possible.
Requiring albums to be available in the Amazon CD store guarantees that we will have usable metadata for every album we accept, which in turn frees us up to spend our time listening to your submissions instead of entering song titles and such. It also means that interested listeners will be able to find and buy your music by clicking the Amazon link in the Pandora tuner.
You can get your music into the Amazon CD store for free using a service called CreateSpace. They press on-demand CDs for Amazon purchases. For people who have CDs for sale already, there is a vendor program that Amazon offers that charges an annual fee as well (and in case you're wondering, we don't have any financial stake in the above services).
So, what are we listening for when we get to your submission?
Well, for unknown bands the fundamental question we have to answer is: will fans of this kind of music be excited to discover this on Pandora stations?
We also consider how the submission might add to our existing collection. We may have more of a need for Black Metal, a less visible genre, than for something more common like Indie Rock (that's not to say that we close the door on any genres, but the state of our collection sometimes comes into play).
We have a few basic internal guidelines for listening to every submission.
For one thing, our reviewers never have to give a reason for accepting music, but they always have to explain their decision if they are rejecting something. This only seems fair to us.
Also, we try to keep our personal musical preferences out of the decision-making process. The fact that a reviewer may not enjoy Darkwave or East Coast Hip hop or anything else really has no place in the decision about whether our listeners would embrace that music.
We are looking for excellence. Tim, Pandora's founder, often says: "You have to earn your way into Pandora." We try to make good decisions about whether the music lives up to that high standard.
When it's all said and done, though, we know that with music and art we can't ever be 100% sure we're making the right call. We can never completely transcend our own subjectivity. Our way around that is to keep it simple: we try as hard as we can to give your music a fair hearing. We do our best to be conscientious with your work.
If we do get it wrong (and we do sometimes), we'll find out about it; and when we see your music being reviewed or appearing on a chart somewhere, or when you're playing the Fox Theater here in Oakland, we'll make sure to get it into the collection right away!
Best of luck to everyone who is considering submitting their music or has already done so, and thanks from all the reviewers here for your interest in being a part of Pandora.
Source: KnowTheMusicBiz.com
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IdOMusic® Networking Event @ Smiths Olde Bar
EVERY 3RD THURSDAY
This event's purpose is to attract musicians looking for a band to be a part of, bands looking for additional members, and established bands looking to develop stronger fanbase & relationships.
::::ADMISSION DETAILS::::
Age - 21+
Free - Before 8:30 w/ RSVP
$5 All Night Long w/ RSVP
$8 - General Admission
RSVP to This email address is being protected from spambots. You need JavaScript enabled to view it.
Directions to The Event: http://tinyurl.com/337flfs
WANT TO JAM??????
NOW you have an exclusive opportunity to get on stage without having to submit or audition in advance!! Just show-up early, sign-up, and JAM with the Band!!
Bands & Solo Musicians interested in a FEATURE PERFORMANCE submit your youtube links to This email address is being protected from spambots. You need JavaScript enabled to view it.
-----------------------
::::THE FEATURES::::
•At Night
•KontraBand (http://www.myspace.com/officialkontraband)
•SidAerial (http://www.reverbnation.com/SidAerial)
::::THE HOUSE BAND::::
Fiasco (www.thefiascoatl.com)
PANEL DISCUSSION: BOOKING SHOWS FOR YOUR BAND: GET TIPS & ADVICE FROM INDUSTRY EXPERTS!
::::THE PANELISTS::::
-----------------------
•Sean McPherson | Booker for Smith's Olde Bar & Lenny's
•James Caldwell | Whole Team Management
•And More TBA
PURCHASE YOUR TICKETS @ http://idomusicatsmiths.eventbrite.com/
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Promote music on www.amazon.com
Artist Central enables musicians, record labels and managers to upload official content to www.amazon.com artist stores.
You can upload MP3s for free streaming, official photos, videos, a biography, a Twitter feed, and a page banner. Your content will be featured before any content already on the musician's artist store.
Click here to find out more info!
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Congratulations to all the inductees for the 2010 Full Sail University Hall Of Fame including mixing engineer, Leslie Brathwaite.
When you understand what your talent is and take the time to refine it, only great things can happen.
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Preparing to show your talents to the world is not the easiest task. Certain steps must be taken to ensure maximum exposure. Here are a few things to consider as recommended byThis email address is being protected from spambots. You need JavaScript enabled to view it.
Research – it’s amazing to me that people don’t spend more time looking into where they want to be, who they want to write about them and what other groups, brands or niches they should be in contact with. This process includes making a methodical list of your existing relationships and how they can be leveraged to make new ones as well as just making lists of different types of people you need to contact. What other bands in neighboring markets do you need to know who are on your level or slightly above? What club owners do you need to meet? What blogs write about artists of your genre and stature that really need to be writing about you? What message boards, festivals, meetup.com groups or other gatherings do you need to be a part of to make this work? If you don’t know – that’s step one – go find out by doing your homework and seeing what people who are just slightly ahead of you are doing that is working for them.
Marketing Materials- In addition to having all of your content together and a sketch or your next several months of activity I think many artists forget about getting their pitch materials tight. Sure – you can approximate many of the sales functions that used to be handled by the sales departments at record labels (at least digitally) by getting your new music distributed through tunecore or reverbnation or partnering with one of the aggregators and of course – making sure that the positioning of your products is front and center on your homepage and social network pages but that doesn’t mean the “selling” is over. To make this work you are going to pitch yourself over and over again and you had better get a form letter, a one sheet and / or bio about your project together ASAP to make you sound as good as possible. You will be pitching yourself to journalists, club promoters and other bands over and over again – Sharpen your pitch and have marketing materials ready to go long before your release date.
A Reasonably Paced Rollout plan – I see people trip over this one all the time. An artist or band has a new record coming out so they quit their jobs, max their credit cards on several weeks or months worth of promotional efforts and throw all of their resources behind one of their early releases. This is a surefire way to land yourself in trouble. Don’t quit the day job just yet, don’t plan a US tour when you’ve never left your home market and don’t spend all of your money around a six week push of an album. Your career has to be sustainable – sure hiring the philharmonic to back you on your CD release show could help you move the needle with local press but you had better make sure that you are not breaking the bank because at the end of the day you have to figure out a way that you can continue to make live and recorded music on a regular basis – invest in that first. Regional touring, home recording gear and cultivating relationships with studio owners and producers are great spends of your money and time. It is about building a house one brick at a time not about going to get a gold plated roof when the foundation isn’t built. Pick a few markets you need to start with, find a touring schedule (or webcast schedule for that matter) that has you maintaining contact with your home market on a regular basis and slowly expanding in concentric circles outwards. You have to figure out a way to make music, video and content related to your art on a regular basis and for most of us this means finding a way to be consistent with a slow and steady approach.
For more info on articles like Music Marketing & Promotion visit Rick Goetz website.
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FYI - HARRY FOX AGENCY
HFA is the nation’s leading provider of licensing and royalty calculation and distribution services for the music industry. With over 46,000 music publishing clients, HFA issues the largest number of licenses for the use of music in both physical and digital distribution formats. HFA makes licensing fast and easy with Songfile®, its online application. The company also offers a variety of outsourced technology solutions designed to facilitate the administration of intellectual property rights. As a technology innovator, HFA is leading the industry in establishing global data standards and is a founding member and Board member of the Digital Data Exchange (DDEX). In fact, HFA was recognized by InformationWeek on its 2009 Top 500 Relentless Innovators list, where the company ranked 182. HFA was the only music company to be included on the list. In business for more than 80 years, HFA is the music industry’s most comprehensive resource for rights management.
For more information about HFA visit our website www.harryfox.com.
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uPlaya is looking for a band to play at FutureMedia Fest 2010, a three-day event hosted by Georgia Tech to highlight technology advancements in the state of Georgia. The band will play in the Music Mix portion of the event, which will be held in downtown Atlanta on Tuesday, October 5, beginning around 6 p.m.
This is not a paid gig, but the opportunities to learn about advancements in the industry and network with major players is noteworthy:
- Network with music companies specifically chosen to present at the conference for their potential to positively impact the industry as a whole. Some of these companies may be looking for employees, so if you are on the hunt for an exciting day job, this could be a great opportunity to work for an innovative project that is ready to truly break it big.
- The opportunity to play for and network with executives from the likes of Google, The Weather Channel, HP, Coke and the White House
- The chance to see emerging technologies out of Georgia that are related to music. Be the first to see them and try them out!
- The opportunity to hear stimulating and engaging discussions and presentations from people who are in-the-know
FutureMedia Fest will be a convergence of industry leaders, academics, entrepreneurs and venture capitalists; participants will take part in provocative discussions of the impact of next generation media, panel discussions on a variety of topics (such as how content will be created, distributed and consumed), and discussions exploring disruptive business models. There will also be demonstrations from technology companies hand-picked for their innovation by FutureMedia.
For more information on FutureMedia Fest, please follow the link below are send an email to This email address is being protected from spambots. You need JavaScript enabled to view it..
FutureMedia Fest 2010 - About | Online Registration by Cvent
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(CLICK FLYER FOR PANEL DETAILS)
ADMISSION DETAILS:
EVERYONE FREE before 8:30p with RSVP to This email address is being protected from spambots. You need JavaScript enabled to view it.
$8 After 8:30p w/ RSVP
$12 After 8:30p w/o RSVP
Student Admission w/ I.D. - $10
****595 NORTH IS AN 18+ VENUE!!
VENUE INFORMATION: 595 North Event Venue & Lounge is located at 595 North Avenue, Atlanta, Ga 30318 (right off of Northside Drive and North Avenue)
CLICK HERE for Directions: http://tinyurl.com/yzvb94p
HAPPY HOUR!!!
Come early and enjoy $5 drinks and food // 8pm - 9pm
Go to http://www.595north.com/ to view the menu!!
::::WANT TO PERFORM?? $10 - SIGN UP AT 8PM::::
THERE'S ONLY A FEW SLOTS AND THE LIST WILL FILL UP FAST SO GET THERE EARLY!!
NOW you have an exclusive opportunity to get on stage without having to submit or audition in advance!! Just show-up early, sign-up, and PERFORM in our "new" open mic round!! Ten artists that participate in this segment of the show will get to do up to ONE song (under 3 minutes) and will be judged on audience response for a chance to win a FULL 10-MINUTE FEATURE PERFORMANCE at a future IdOMusic® Networking Event. (so bring all your friends!!!!!!)
::::WANT TO PLAY YOUR MUSIC??::::
PRODUCERS & SONGWRITERS BRING A CD WITH NO MORE THAN 3 TRACKS AND SIGN-UP @ 8PM TO GET YOUR MUSIC PLAYED BY THE DJ.
$10 to sign-up before 8pm and your ALL your friends get in FREE before 8:30p with RSVP to This email address is being protected from spambots. You need JavaScript enabled to view it.!
THERE'S ONLY A FEW SLOTS AND THE LIST WILL FILL UP FAST SO GET THERE EARLY!!
BUY TICKETS HERE
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Why is it such a mystery to so many people the expenses labels deal with? Check out this great article written by David Rose giving you a breakdown from the indie record label perspective. Below is a summary of the actual expenses an indie record label incurred for a new release:
Recording advance: $15,000
Tour support: $2,100
Mastering costs: $934.96
Marketing: $13,433.23
Advertising: $2,067.50
Publicity: $5,153.34
Manufacturing: $16,581.04
Artwork / photos: $200
Misc: $587.71
Total: $56,057.78
Here is an overview of each of the line item in a little more detail:
Recording Advance – The money for the recording advance is used to cover the cost of recording. Including studio rental, mixing, session musicians, sound engineer and producer.
Tour Support – Artists have traditionally sold more overall units when they tour so record labels will often times financially support a tour. Tour support money can help pay some of the expenses of touring such as gas, insurance, hotels, food and supplies.
Mastering – Mastering is a post production process that takes the final mix of the recording, edits minor flaws, adjusts volume and stereo widths, equalizes tracks, etc. It’s usually expected that the person who masters the recording will be different from the person who mixes it so there is typically a separate line item in the budget.
Marketing – The marketing line item is entirely for retail co-op marketing expenses. Co-op marketing dollars are expenses distributors incur from retailers for special product placement, in-store promotions, listening stations or advertising. The amount of co-op marketing dollars the distributor (and ultimately the label) are willing to spend on a new release has a direct correlation to the amount of product the retailer orders.
Advertising – Advertising expenses can include any print, radio and online advertising the record label incurs to promote a new release (outside of retail co-op dollars).
Publicity – It’s fairly common for a record label to hire an independent publicist for a 90 day period to help promote a new release to press, print and online media, bloggers and anyone else who can help influence music fans.
Manufacturing – The manufacturing costs for a CD with jewel case can vary but is still around $1.00 per unit for a distributor or label with measurable volume.
Artwork – The cost of custom creative and / or photos for the release.
Miscellaneous – Just like the name implies this is the catch “everything else” expense category related to a new release. For example, legal fees or video production expenses charged to a new release could end up here.
For this particular release to break even it must generate $70,072.23 in gross sales ($56,057.78 + the 25% fee of sales paid to the distributor ). The typical deductions a distributor takes on sales including return reserves and breakage (to name a few) further impact cash flow on sales back to the record label.
It’s important for artists to fully understand how the basic economics of an indie label work since they will not get paid any royalties from sales until the record label recoups all the expenses incurred in getting the record to market. This is true of both traditional record label agreements and even “50/50” licensing agreements. It is very common for artists to never receive royalties on sales from their record label since many new releases never fully recoup their expenses.
Being signed to a record label is no guarantee of sales success. Artists need to carefully weigh what a record label is going to spend on a new release to determine the level of sales that will be needed to achieve profitability before signing a recording contract. Even though the artist might sell a lower number of units on their own there is a very real chance they can actually earn more money without a record label being involved.
Most indie record label owners are simply trying to get music they love heard by fans. They aren’t in it for the money. In addition to the above mentioned costs of getting a new release to market they have to cover multiple other expenses such as insurance, rent, payroll, travel and mechanical royalties . Making money as an indie label is no easy task. Needless to say, label owners give it a great deal of consideration before signing a new artist and committing to releasing their music.
It does take a lot of money and resources to get a new release to market. However, real transparency in accounting for these expenses is still largely lacking. Inevitably this leads to conflict between the record label and artist around recoupment of expenses and payment of royalties. Hopefully, as artists better understand the economics of record labels they will be able to make more informed decisions about when it makes sense to sign with a record label and when go it alone.
Source: KnowTheMusicBiz
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The amount of activity that can be accomplished with focused energy is truly amazing. The Four Hour Work Week written by Tim Ferris shares some great insight that can be applied to musicians. Below is a summary of lessons to be noted.
1. Have a Low Information Diet- Tim argues that we are all taking in far too much information than we need to be – the news we watch, magazines we read, and many of the people we speak to will never benefit us in life and so it is just wasting our time. He applies an 80:20 rule where 20% of the information we take is useful, where as 80% is not, the key is to identify that 80% and remove it completely.
This is as applicable to musicians as anyone, but I think noticing the 20% of valuable information is certainly the key here – instead of looking at fancy new gear, checking out music videos, and browsing Facebook, invest your time learning and actioning the things that will help you to succeed as a musician.
2. Outsource Your Work – In reality, we as musicians spend so much time doing things that we don’t need to be doing. I know I have spent days in the past putting together spreadsheets of music industry contacts, sending demos, and designing artwork when I could have just paid someone else to do it at a cost that is less than what the final product (or my time) was worth.
The point is that you only have so many hours in a day, and there are only so many tasks that you NEED to do, many of the task you do someone else could be doing for you, so free up your time by outsourcing them and only doing what you need to do.
I would recommend websites like Fiverr for outsourcing small tasks like artwork generation, video editing, data mining, amongst other things. For outsourcing web projects I recommend oDesk, and for large scale data mining I recommend Mechanical Turk.
3. Improve Your Productivity – It’s a common misconception that if you work more then you get more results. Tim urges that we focus on effectiveness over efficiency, why sit at a desk for 5 hours getting gigs when you could get more gigs in less time by being more productive.
The trick to becoming more productive is to limit distractions, increase motivation and work in short bursts. I recommend writing on a post it note every time you go to work on your music what it is you plan to do – maybe it’s ‘contact 20 music promoters, film a video interview and get some new artwork made’, then reduce every potential distraction you can, remind yourself why you’re doing it (I find having a collage of pictures of things you want to achieve by your computer helps) and finally give yourself a short amount of time to do it – you’re more likely to get all of the above done in 2 hours, than say 6 because you will force yourself to be productive.
4. Create a Passive Income – Tim states in his book that you need the freedom and independence of an information business to be truly free and able to enjoy the four hour work week lifestlye. This is totally possible for musicians – create a product range that you can sell online and leave breadcrumbs in the form of videos, articles, and die hard fans driving people to your products so that even if you do take a two week vacation to the Bahamas, you’ll still wake up in your hammock every morning with a nice little wake up message from Paypal!
Source: The MusiciansGuide
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Having the right management team in place to manage your career can be the difference between making a living in the music business and working at the local fast food joint. A well established artist’s management team is usually made up of their manager, business manager, attorney, booking agent and tour manager. The challenge is that it can quite difficult to find experienced management that will be interested in working with you when you aren’t making money and once you start making money they will be lined up at your door. In the beginning stages of a music career it’s typically the managers that pick you instead of you picking the managers. The best way to get noticed by management if you are not on a label is to build a following through relentless promotion and playing shows whenever possible. It’s more important to find management that is experienced in the music business than it is for them to simply believe in your abilities. Before hiring anyone on your management team be sure to ask around the music community about their reputation and experience.
Manager
An artist’s manager is the person most responsible for managing their career. They are involved in virtually every aspect of the artist’s career including negotiating with record labels and publishing companies on your behalf, lining up the right studio, engineers and producers for a recording session. They will make sure your website is constantly updated and that your label and distributor have your material in retailers and the latest and greatest digital music outlets. A good manager will spend a great deal of their time promoting the artists they represent and work directly with the artist’s publicists to coordinate their publicity plan. They work with the marketing departments at the artist’s label and distributor on their marketing and advertising budgets and programs. Managers should handle all the artist’s personnel issues with the band and crew members and work with the rest of their management team including the attorney, booking agent, business manager and tour manager as needed.
Managers usually get paid 15% to 20% of the artist’s gross earnings. That means they get paid their percentage on all the artist’s earnings including, royalties, publishing, touring and merchandise sales before the artist gets paid. Some managers have multi-year contracts (that can be quite complicated) with the artists they represent and some just work on a handshake.
Attorneys
It is hard to overstate the importance of attorneys in the music business given the complexities of recording contracts and the various other agreements artists are asked to sign. The most important thing to look for in an attorney to represent you is experience in the music business. Just because someone has a law degree (even from a top school) does not qualify him or her to represent you in the music business.
A good attorney with experience in the music business can keep you from making contractual mistakes they have seen that have happen to other artists. Attorneys usually charge by the hour or by retainer (a set monthly fee) and in the music business it’s fairly common for them to charge a percentage of the artist’s gross earnings, 5% is typical.
Business Manager
A business manager is the person or firm that collects monies owned to the artist from royalties, publishing, touring and merchandise sales, pays the bills, band and crew, invests the profits and files the tax returns. They handle the artist’s general accounting related needs, royalty collection & auditing and tour budgeting & reporting. Many good business managers are either CPA’s themselves or employ CPA’s on their staff due to the complexities of the music business accounting and the challenges of dealing with multiple state and international tax jurisdictions that come into play when an artist is on tour. They also handle all financial aspects of the artist’s personal life including insurance, loans, mortgages, investments and estate planning.
Business managers typically charge 5% of the artists gross earnings in the music business, but some an hourly rate or flat monthly fee.
Booking Agent
Booking Agents play an important role in the success of the artists they represent by planning and booking their tours with promoters and venues. They will make sure you are playing in venues that are known for your genre of music or booked as an opening act for a bigger band. Booking agents negotiate the fee structure (guarantee, % of the door, meals, etc.), determine ticket prices and ticket availability in the market. Thoughtful route planning is critical to the financial success of a tour and a good booking agent should make sure you are not playing in Atlanta one night, Chicago the following night and Jacksonville the next. Route planning can be a challenge for even a seasoned booking agent due to the large number of competing tours and the limited availability of quality venues in highly desirable markets.
Booking agents typically collect a 50% deposit on the show guarantee from the promoter once the show is booked. They usually charge 10% of the money the band gets paid for the show for their services. For example if the booking agent negotiates a $2000 guarantee for a show, they would collect a $1000 deposit, keep $200 (10% of $2000) then send the band $800. The band or their manager / road manager would collect the balance ($1000 in this example) from the venue after the show.
Tour Manager
The Tour Manager handles all the details of life on the road for the artist during a tour. They will arrange transportation, hotels and meals for each stop, make sure the equipment is accounted for and maintained plus manage the crew. The tour manager makes sure the venue has the stage, sound and lighting set up as requested and that the band is paid per the terms arranged with the booking agent . They manage and safeguard the cash collected while on the road. The Tour Manager will work with the tour publicist to make sure the artist shows up on time for scheduled interviews, appearances and promotions in each market. It’s the tour manager who puts out all the inevitable fires that come up at each stop during the tour.
The tour manager is also responsible for maintaining the tour plan and budget set up by the manager, business manager and booking agent. They are typically paid a salary, per diem or a set amount per tour.
Source: KnowTheMusicBiz.com
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