CMU-Music Artist Toolkit 2014

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ARTIST TOOLKIT DAY @ ROUNDHOUSE

CMU:DIY

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11.15am-12.45pm GET:STARTED •  How artists make money •  Music companies •  Meet the music industry

1.30pm-2.30pm GET:NOTICED •  Building a profile •  Engaging the gatekeepers

2.45pm-3.45pm GET:PLANNING •  Starting your fan business •  Planning your career

4.00pm-5.00pm GET:CONNECTED

ARTIST TOOLKIT @ ROUNDHOUSE

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GET:STARTED

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WHY MAKE MONEY FROM MUSIC?

!  Why do we need to make money out of music at all?

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!  Why do we need to make money out of music at all?

!  If artists want to work on their music full time, and to develop and distribute their work widely they need money to pay for…

•  Living costs.

•  Touring.

•  Producers, engineers, songwriters etc.

•  The creation and distribution of recordings.

•  Marketing and PR.

•  Someone to manage all this activity.

WHY MAKE MONEY FROM MUSIC?

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INTELLECTUAL PROPERTY

LIVE PERFORMANCE

FAN RELATIONSHIP

HOW DO YOU MAKE MONEY FROM MUSIC?

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LIVE PERFORMANCE

FAN RELATIONSHIP

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© IP PRODUCTS

Musical Compositions Lyrics

PUBLISHING RIGHTS

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© © IP PRODUCTS


PUBLISHING RIGHTS

Sound Recordings Music videos

MASTER RIGHTS

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© © ©

IP PRODUCTS


PUBLISHING RIGHTS


MASTER RIGHTS

Artwork Photography

ARTISTIC RIGHTS

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© © © ®

IP PRODUCTS


PUBLISHING RIGHTS


MASTER RIGHTS

Artwork Photography

ARTISTIC RIGHTS

Band Name Band Logo

TRADEMARKS

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© SONGS © © ®

RECORDS

MERCH MERCH & BRAND EXTENTIONS

IP PRODUCTS

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!  Copyright is a form of ‘intellectual property’.

!  Copyright, Designs & Patents Act 1988.

!  Copyrights are automatic.

!  By default the copyright belongs to… •  Creator (compositions, lyrics, artwork, photography).

•  Funder (sound recordings).

!  Copyrights run out eventually… •  Life of creator +70 yrs (compositions, lyrics, artwork etc).

•  70 years after release (sound recordings).

COPYRIGHT FACTS

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MAKING MONEY FROM COPYRIGHT

Copyright law gives the copyright owner certain ‘controls’ over their ‘works’, including:

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MAKING COPIES PERFORMING IN PUBLIC MAKING AN ADAPTATION


Copyright law gives the copyright owner certain ‘controls’ over their ‘works’, including:

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Someone wants a copy of one of your recordings

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Make a copy and sell it them


Give them permission to copy it for a fee


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CD/VINYL



DOWNLOAD

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£ YOU’VE MADE MONEY FROM YOUR COPYRIGHT!

CD/VINYL DOWNLOAD

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Someone wants to perform your song in public


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Sing it on stage Play it at club Play it on radio



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Give them permission to perform your song for a fee




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£ YOU’VE MADE MONEY FROM YOUR COPYRIGHT!

Give them permission to perform your song for a fee




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Someone wants to make an adaptation of your song

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Remix it Rework it Sample it



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Give them permission to make an adaptation for a fee




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Give them permission to make an adaptation for a fee




YOU’VE MADE MONEY FROM YOUR COPYRIGHT! £

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LICENSING

GIVING PERMISSION = LICENSING

LICENSE DIRECT

LICENSE VIA COLLECTING SOCIETY

LICENSE VIA THIRD PARTY

Sync deals (maybe)

Live Performance Cover Versions

Broadcast Bars, cafes, shops

(usually)

Getting content into iTunes and Spotify via a distributor

(maybe)

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The UK collecting societies are…

PRS For Music for ‘publishing rights’ so composers, songwriters, publishers www.prsformusic.com

PPL for ‘master rights’ so recording artists, producers, labels www.ppluk.com

COLLECTING SOCIETIES

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LIVE PERFORMANCE

FAN RELATIONSHIP

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!  Monetisation of live performance easier to understand.

!  Though live sector has multiple revenue streams.

!  Different levels of the live sector rely more or less on different revenue streams.

LIVE PERFORMANCE

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!  Monetisation of live performance easier to understand.

!  Though live sector has multiple revenue streams.

!  Different levels of the live sector rely more or less on different revenue streams.

LIVE PERFORMANCE

Ticket commissions

Ticket resale mark-ups

Food & Drink

Other services (eg cloakroom, parking, VIP)

Sponsorship

Tickets

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!  An artist’s live career goes through various stages…

!  It only becomes profitable for the artist around theatre level.

!  At grass roots the main income actually comes from copyright.

LIVE PERFORMANCE

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!  An artist’s live career goes through various stages…

!  It only becomes profitable for the artist around theatre level.

!  At grass roots the main income actually comes from copyright.

Self-promoted gigs, pay-to-play gigs

Gig & club-nights, festival new band stages

Pub/club venue touring, festival stages

Theatre venue touring, festival main stages

Arena touring, festival headline slots

Stadium touring

LIVE PERFORMANCE

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LIVE PERFORMANCE

FAN RELATIONSHIP

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!  Once you have an engaged fanbase, you can start to sell them products and services directly online.

!  This might include:

•  Premium products (records, merch).

•  VIP live experiences.

•  A subscription service (online fan club).

!  If you build a sizable fanbase, brands may want to partner with you to reach that audience.

THE FAN RELATIONSHIP

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you + your music + your shows

your fanbase

YOUR ARTIST BUSINESS

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your fanbase

YOUR FAN BUSINESS

SELL THEM STUFF!

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your fanbase

YOUR FAN BUSINESS

SELL THEM STUFF!

Recordings Tickets Merch

Premium Products Subscriptions VIP Experiences

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!  The music industry consists of companies and individuals who work with artists to help them turn what they do into money.

!  Most music companies specialise in one music revenue stream.

!  This means the wider industry can be split up, commonly…

!  Those which work in music rights v those that work in live.

!  Those which exploit recording rights v those which exploit song rights.

!  Artists usually have relationships with multiple companies, doing a different deal for each of their revenue streams.

MEET THE MUSIC BUSINESS

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THE MUSIC INDUSTRY

MEET THE MUSIC BUSINESS

MUSIC RIGHTS

Record Label

Merchandiser

LIVE INDUSTRY

Booking Agent

Promoter

Ticket Agent

Music Publisher

FAN BUSINESS

Direct To Fan

Brand Agency

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THE MUSIC INDUSTRY

THE MUSIC RIGHTS INDUSTRY

MUSIC RIGHTS

Record Label

Merchandiser

Music Publisher

Label exploits sound recording rights. Creates and distributes recorded content.

Works with studios, producers etc. Traditionally leads on artist marketing.

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THE MUSIC INDUSTRY


MUSIC RIGHTS

Record Label

Merchandiser

Music Publisher

Publisher exploits song rights. Handles licensing of songs and royalties.

May seek sync deals/song commissions. Traditionally published sheet music.

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THE MUSIC INDUSTRY


MUSIC RIGHTS

Record Label

Merchandiser

Music Publisher

Production of merchandise. Sales and distribution of products.

Maybe license artwork to third parties. License trademark for product extensions.

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THE MUSIC INDUSTRY

THE LIVE INDUSTRY

LIVE INDUSTRY

Booking Agent

Promoter

Ticket Agent

Stages the gigs, tours, festivals.

Hires event production staff.

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THE MUSIC INDUSTRY

THE LIVE INDUSTRY

LIVE INDUSTRY

Booking Agent

Promoter

Ticket Agent

Sits between artists and promoter. Negotiates deals.

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THE MUSIC INDUSTRY

THE LIVE INDUSTRY

LIVE INDUSTRY

Booking Agent

Promoter

Ticket Agent

Sells tickets. May also provide cash flow.

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THE MUSIC INDUSTRY

THE FAN BUSINESS

FAN BUSINESS

Direct To Fan

Brand Agency

Newest part of the industry. May provide online platform for capturing, analysing and selling to fans. Also need people to manage all this.

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THE MUSIC INDUSTRY

THE FAN BUSINESS

FAN BUSINESS

Direct To Fan

Brand Agency

These agencies negotiate and manage brand partnerships for artists.

Labels and promoters also operating in this domain.

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THE MUSIC INDUSTRY

THE IMPORTANCE OF ARTIST MANAGEMENT

MANAGEMENT (+ lawyer and accountant)

MUSIC RIGHTS

Record Label

Merchandiser

LIVE INDUSTRY

Booking Agent

Promoter

Ticket Agent

Music Publisher

FAN BUSINESS

Direct To Fan

Brand Agency

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!  An artist (via management) will look to do deals with a number of business partners, each based around a different revenue stream.

!  With new artists, key business partners will have to work for free, on the promise of a cut of future revenue.

!  Labels and publishers will also ask for copyright ownership.

!  But even when partners work for free, the artist still needs someone to invest upfront cash: to cover their living costs and pay for a big launch marketing campaign.

!  Traditionally the label provides this investment, in return for ownership of sound recordings (at least) and some control over strategy.

ARTIST DEALS & THE ROLE OF THE LABEL

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MEET THE MUSIC INDUSTRY

Grant Heinrich Agency X

Louis Brown Island Records

Michael Orchudesch

BMG Chrysalis

Matt Hanner Coda

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ARTIST TOOLKIT DAY @ ROUNDHOUSE

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GET:NOTICED

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Write some good songs and get really good at playing them. !  Be brutally honest with yourself.

!  Get feedback from people you trust/respect.

!  Use early live shows to get better - pace yourself!

HONE YOUR PRODUCT

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!  Four good tracks better than ten mediocre ones.

!  Pick your best songs.

!  Put effort into recording - use a studio, professional mastering?

!  Digital-only release is fine.

!  Short run of CDs to sell at gigs?

Record an EP.

GET YOUR CONTENT RECORDED

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!  Make all tracks available to stream on Soundcloud and YouTube (even if you have no videos, YouTube is key, use still shots).

!  Give one track away in return for email.

!  Use Music Glue or similar to sell tracks direct-to-fan.

!  Use a digital distributor to get your content into the streaming platforms and onto the download stores (eg Believe/Zimbalam, Ditto Music, Tunecore, CD Baby, The Orchard).

Make sure your music is available everywhere once it’s recorded.

GET YOUR CONTENT OUT THERE

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!  Something you’ll be happy with for life!

!  Use Google etc to check band name is unique.

!  Consider search engine performance.

!  Are .com, Facebook/ and Twitter/ names available?

!  Registering domains is cheap - eg 123reg, GoDaddy, Ukreg.

!  Set up a website and email with your domain.

Get a good name and register your domains.

YOUR ONLINE PROFILE

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!  Important way to engage fans.

!  Media and industry will monitor your social media performance.

!  Tweet regularly and strategically, interact and retweet.

!  Facebook less often - give updates substance.

!  Create content people will want to share.

!  Also worth investigating Tumblr, Pinterest, Instagram.

Set up Facebook and Twitter and use them.

SOCIAL MEDIA

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!  Social media does not replace website.

!  Use WordPress or similar to create simple cost effective website.

!  Embed SoundCloud, YouTube, Twitter and Music Glue store?

!  Start building mailing list with MailChimp.

!  Blog on your site, and send email to fans every 1-2 months with extra content, offers, products and surveys.

!  Your website will ultimately become a key sales platform.

Set up a website and mailing list.

WEBSITE IS KEY

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!  Gigging won’t make you money at the start.

!  It is a marketing opportunity.

!  Gig regularly in different towns and cities.

!  Think about how to recruit fans at gigs.

!  Mailing list and merchandise.

Gig relentlessly.

GIGS AS A MARKETING CHANNEL

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THE MUSIC INDUSTRY

BUILDING YOUR PROFILE WITHIN THE INDUSTRY

MANAGEMENT (+ lawyer and accountant)

MUSIC RIGHTS

Record Label

Merchandiser

LIVE INDUSTRY

Booking Agent

Promoter

Ticket Agent

Music Publisher

FAN BUSINESS

Direct To Fan

Brand Agency

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ENGAGING THE GATEKEEPERS

Alex Dale ANASA Music

Billy Clark Roundhouse

Radio

Joe Schiavon Transmission

Music

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QUESTION:

If you received your first PRS cheque for £250, what

would you spend that money on to best benefit your career?

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GET:PLANNING

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GET PLANNING

Chris T-T Cynikal

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Chris T-T

Cynikal

Dan Rosies Music Glue Peter Quinn The Roundhouse Emma Adler Sony Music

GET PLANNING

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1.  Do you want to make music full time?

2.  How much do you need to make to give up the day job?

3.  What kind of products can you sell?

4.  What kind of audience can you reach?

5.  Who in the industry do you need to engage, and how can you reach them?

6.  How can you start building your business now?

ARTISTS: GET PLANNING

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STARTING YOUR CONTENT BUSINESS

!  Make recordings of some of your songs – quality over quantity.

!  Easier when you are recording your own songs rather than covers (for covers you need to license the song rights, usually via PRS/MCPS).

Use Music Glue, Bandcamp etc to sell downloads direct.

Use a distributor to get your content to iTunes, Spotify etc.

Maybe look into a short run of CDs to sell online and, mainly, at gigs?

Join PRS and PPL and log songs and recordings (or for PRS, use Sentric Music).

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STARTING YOUR LIVE BUSINESS

!  Getting gigs can be tricky.

!  Look for open mic opportunities, maybe stage your own nights.

!  Approach gig nights and smaller venues that have staged similar acts, send personalised emails linking to Soundcloud/YouTube.

!  Upload music to BBC Introducing, and apply for new band stages at genre relevant festivals.

When asked to play, get into the habit of always asking if there is a fee or expenses.

Make sure you are in PRS and log your gigs to get your song royalties (Sentric can help).

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STARTING YOUR FAN BUSINESS

!  Gigging will not be especially profitable at first.

!  It’s an opportunity to build fanbase, make sure you encourage your audience to sign up (offer a free track for email address).

!  Then get fans to connect by Facebook, Twitter etc.

!  But also set up a website (Wordpress is good for this) and email list (Mailchimp is the best) – this is really important.

Use Music Glue, Bandcamp etc to have a commercial side to your site – sell some tracks, look into print on demand merch.

Once you have a small engaged fanbase, maybe look into PledgeMusic to enable bigger projects via pre-orders.

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1.  Will you have a portfolio career?

2.  What parts of the industry interest you?

3.  What jobs are really available?

4.  What skills do you need, and how can you get practice?

5.  How can you demonstrate your skills and passion?

6.  How can you start to build your network?

7.  Where will you hear about jobs and internships?

WORKING IN THE INDUSTRY: GET PLANNING

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WHATEVER YOU DO, STAY IN TOUCH WITH THE INDUSTRY!

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ANY MORE QUESTIONS?

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CMU-Music Artist Toolkit 2014

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Transcript of CMU-Music Artist Toolkit 2014