Music Manager Contacts
In case you're starting to get a handle on artist management to consider music manager contacts with a couple of more essentials & add to the equation. The best music managers, much the same as the best business officials, are planners. They are also catalysts that make things happen, movers, motivators, and communicators who work with record companies, producers, music agents, promoters, publicists, and anyone else with a stake in the artists' career. The objective is basic: To make sure everyone pulls together with viability and enthusiasm to make the artist sparkle. On the off chance that that sounds like an extreme order, it is, and the reality of doing it reliably is much tougher.
What it takes to be a music manager
how does the music management help the artist prevail in the music business, through contacts and an understanding of the industry. By opening doors and making sure the artist is ready to venture through them. By being prepared, realistic and flexible, being persevering and finishing. Having it a strong strategy for the artist to make his or her very own opportunities, rather than leaving accomplishment to chance.
Jim Morey, who has guided the careers of such diverse artists as Neil Diamond, the Pointer Sisters, and Dolly Parton, summed it up best: "The best artist is the select is the corporation, the manager is the CEO. On the off chance that you need any more parallels, take a gander at fruitful corporations and their CEO. The process the same, just the product is different.
Music Management 101 Details
Music Manager Contacts
The following obvious inquiry is, "Who can be a music manager?" The answer is straightforward: "Anybody." While their artists select a couple of universities offering very great commercial music manager programs, for example, Belmont University in Nashville, relatively few accomplish managers pick this route. Aside from a couple of states, the most notable being California, there are not many in if any requirements or qualifications a music manager contacts must meet. All in all, artist management is wide open to anyone who wants to get included. Relatively easy access to the field, combined with almost no regulation, can potentially open the door to good-natured salary fitness as well as unscrupulous cheats whose work is misleading clueless artists. Chapters 3 and 4 examine methods for recognizing and avoiding both sorts of would-be music manager contacts.
Many individuals earn their occupation solely from the personal or business music management of artists. They make my work as individuals or as part of a corporate team. Other effective or skilled music manager contacts have dual professions as private practice attorneys, accountants, or financial consultants. Because of their special qualifications or abilities, they may be able to offer an artist a more flexible or versatile situation, by the same measure, the artist ought to be certain that these dual role individuals are as capable as music manager contacts as they are in their primary professions.
One basic requirement is practical experience in entertainment music management. Booking agents, record producers, and music publishers may also double as music manager contacts, however, the artist should guard against possible irreconcilable circumstance problems. These issues will be talked about in more profundity in later chapters.
In addition to these traditional categories, friends and relatives may also serve as music manager contacts by virtue of their nearby personal relationship to the artist. While choosing a music manager, another artist may in general pick a friend or relative, rather than looking for a professional with whom the individual in question had no prior relationship with. This is natural and understandable, but it may not be the best career choice. Regularly a friend or relative, while being benevolent, won't have the learning, experience, or contacts necessary to further the artist career beyond a restricted point. There's also the danger that, because of this nearby personal relationship, a friend or relative won't stand up to the artist and say "no" when firmness and objective that is required. A "boot licker" may be an asset to an artist personality but is of no value to meaningful career improvement. It is not necessarily the case that a friend or relative may not prove to be the right manager for particular artists. We are just recommending that the artist should make a special effort to look objectively while assessing a friend or relative strengths and weaknesses. In the event that you discover you are making a decision about beginning your judgment beginning to cloud, simply remember those record officials working overtime to hit the parent come corporations profit projections. His business first for them, it ought to be for you too.
What a music manager isn't
while a manager appears to have more responsibilities than twelve neurotic overachievers, there are things the individual ought not to be relied upon to do to earn a management expense, except if certain obligations are specially agreed to by the parties. For instance, a music manager contacts isn't a booking agent or a theatrical music agent. In California, such a dual role is prohibited by statute. In states where there is no such law, it is traditionally not the music manager contacts responsibility to look for work for the artist. This is the capacity of in a music agent specializing in this kind of work who gathers an expense that is separate and unmistakable from the music manager contacts compensation.
It is, however, the music manager contacts responsibility to locate music agents willing to look for work for the artists. Is also the music manager contacts responsibility to accept or reject dates and coordinate the artist best timetable with those music agents? It is not necessarily the case that a music manager may not be directly responsible, because of certain opportunities or contacts, for a booking agent occasionally subject to law, but the artist ought to remember that the manager is generally under no obligation to do this.
Similarly, a music manager is normally not a record producer. On the off chance that a manager doesn't fill this role by virtue special expertise or experience, the artist or music manager contacts should work out provisions in the music management contracts for fair compensation for those additional obligations.
A music manager shouldn't be required to promote, abuse, and administer copyrighted musical syntheses written by the artist. This is the capacity of a music publisher. As it as on account of dual arrangements for record production and music management, there are usually separate forms of compensation to cover these added obligations.
In certain situations, an attorney or accountant who also serves as a manager will command a higher percentage of charge because of the added component of expertise and additional services rendered. This doesn't mean then artist management manager is required to also perform legal or accounting task because the person in question has this special expertise. This is a matter to be resolved in the music management contract under the segment dealing with defendant meaning of obligations and managers compensation.
In addition to the foregoing major areas of overlap, the personal music manager ought to also be recognized from a publicist, graphics specialists, geographic geographer, recording engineer, studio musician, sidemen, road manager, or songwriter part writing partner.
The final substantial area representing a potential area of contention between artists and music manager contacts has to do with cash. The music manager isn't a banker and ought not to be required to make loans or blessings to the artist or pay for business or personal costs. However, there are special cases. There have been and will keep on being wealthy and not all that wealthy music manager contacts who look for their very own great deal cash into an artist career. As with any speculations, there are some dazzling examples of overcoming adversity and probably significantly more tax write-offs.
There is certainly nothing wrong with a music manager putting more than simply time in an artist, providing both parties go into such an arrangement with their eyes open wide open and appropriate safeguards are built into the music management contract. However, one potentially unfavorable consideration for the artists in these kinds of relationships is the probability that the person in question will be relied upon to surrender a lot greater percentage of future payments as higher music management commission when cash from the manager has been included. Just need to review a portion of the sad sent examples from professional boxing, where more than one heavyweight sold 150% of him for some easy front cash. The best advice here is for both parties to represent be represented by insight and to illuminate any such arrangements completely and totally in the management contract. On the off chance that there is a substantial subsequent change in practice or arrangement, set in motion.
The three fundamental truths of artist management
Other than applying trustworthiness, industrious, and tried and true principles of interpersonal relations, there is no single right or wrong way to manage the big time career. This end is supported by interviews we led with artist music manager contacts and other music professionals in Los Angeles, New York, Nashville and places in between. These music pros have on the whole experienced all the highs and lows in the music business has to offer, from the frustration of trying to get that first record deal to the challenge of turning an obscure artist into a national marvel or directing the multifaceted careers of music legends. Besides providing valuable information, their bits of knowledge and remarks confirmed what we suspected would, in any case, be the case almost 25 years after the publication of the first and the addition of this book. We have refined their insight into the three fundamental truths of artist management, in the final analysis; total up the basics of compelling career music management.
Everything else is an assessment
We have already alluded to personal sacrifice, the thankless extended periods of time and hard work, and the years of rejection and frustration that go into making it to the top and staying there. Every record company in (New York, L.A., Nashville-pick at least one) passed on (fill in the name and you'll probably be right). But notwithstanding assuming that an artist is happy to give the effort, make the sacrifices and endure the rejection, there is no guarantee that years of the contribution paying will finally pay off. Thousands of extremely talented never-wares have struggled for a lifetime, just to live permanently in the shadow of the obscurity. Imagine contemporary music business to imagine contemporary music business version of Vincent van Gogh. He's out there right presently, beating his brains out to make it. In fact, he may be you. This is the reality of the big time.
Notwithstanding for the rare sorts of people who do make it, to what extent does it last and at what cost? Decades of Billboard hot 100 bear observer to more forgotten the one-hit acts than is humane to recall. Beyond that are the ever-present dangers associated with fast living in constant travel. On the off chance that you are considering a music business career, you should balance your dream against the drawback of transitory fame, the most driven and creative artist. The desire to take all this and more had better be burning in your spirit. Otherwise, you are on a crash course with some serious disappointment, and worse.
you think you (or your potential artists/customers) have the talent to make it. You say you have the desire and persistence to go all the way. Belief is the intangible quality that separates stars from talents. They draw the line between wanting and getting. Belief transcends desire and goes beyond persistence. It is the intangible, inner quality that every act with staying power shares. Without it, an artist and music managers contacts may achieve a measure of progress but will never sustain it at the largest amounts. There is sufficient talent in the world to make that happen. You must want it that badly and believe in your ability to achieve it.
The degree of promise to the entertainment biz career as a factor that can just be controlled by the artist some are ready and able to throw themselves totally into a full-time career. But many more artists are unable financially to support themselves exclusively with their entertainment-oriented salary, especially at the beginning. As a result, they frequently hold part-time jobs or pursue dual careers while working toward their career goals. The music management principles contained in this book are equally applicable to both kinds of artist and may be applied regardless of financial resources. What important is what's important is certainly not a person's financial status, but rather his or her talent, desire, belief in themselves, and pledge to make it. Without this music Management Company's principle and principles are worthless.
Management choices available to the artist
when an artist has chosen to pursue entertainment seriously as a career, the individual need not make a determination of the sort and degree of music management suitable to particular circumstances. Regardless of the talent or explicit goals, the artist should representative music management principles to completely build up the talent and realize those goals. For those not yet persuaded of the requirement for some form of music management, we should consider the alternative of
No music management means no planning. No organization and no attention to the day-to-day details of the artist career. The result of this current that sees what happens, the approach is an aimless drift of one's career from one hazard and counter to the following. The upside of no music management is that it's cheap and anybody can do it. Unfortunately, no artist can have a realistic chance at progress by taking this is the approach, except if; of course, the lead singer's rich uncle claims a controlling interest in a record label or booking agency. Isn't at all probable, but we imagine it's happened.
What is the music management art what are the music management alternatives available to an artist? Basically, there are three, self-management, Limited music management, and total music management. The particular needs of the artists, combined with his or her financial and creative goals and circumstances, will answer the topic of which alternative ought to be adopted. A word of caution, whichever of these three choices, talked about below, prove that there is finishing every day. Very little of value simply happens by itself. Nobody is going to care about your career more than you. That means you can't wait for another person to do what you ought to be taking care of yourself. How about we take a glance at your alternatives with regards to launching and maintaining your music career?
Self Music Management
Self music management just means that the artist will manage his or her very own career rather than retain the services of a separate individual or farm. Every artist who doesn't mean to look for outside help should practice self-management.
Self music management may regularly be the most suitable alternative to another artist who is in the "break-in" phase of his or her career. Frequently, his or her music management needs are not adequately demanding to require a full-time music manager. This is also a very attractive alternative for artists who are financially unavailable to pursue a career on a full-time basis. Another obvious advantage of self music management is that it's more affordable than hiring another person. It also provides the artist with basic leadership freedom that may not otherwise be present. Self music management avoids the requirement for interplay and communication between artists and music manager contacts, along these lines shutting the gap between planning and execution.
Probably the greatest disadvantage of self music management is that many artists basically don't have the experience and expertise expected to manage their own careers successfully. This is especially true of new artists in the break-in phase, who need an experienced hand to organize and build up their music careers. Many exorbitant mistakes can be avoided and a great deal of time saved by taking the advice of a second music manager who will who has faced the same problems before and probably has some innovative answers for the offer you. Another problem is time. It takes a great deal of time to properly organize and map out long and short-term career strategy, as well as to attend to day-to-day activities. At the point when the artist is already investing a great deal of energy in rehearsal or making personal appearances, his or her music management needs frequently suffer.
The third problem of self meant music management arises if the artist lacks meaningful contacts in the music business. A significant part of a music manager's value is the ability to obtain exposure for the artist, which is frequently finished with others in the music industry. The new artist usually doesn't have those contacts.
Despite the fact that self music management isn't always the best approach, it's always preferable to no music management. Principles contained in this book provide the self music manager contacts with a basis for building up a personalized program. With the improvement of a music career, the individual in question may eventually abandon or alter the self music management approach by using a form of restricted music management or securing the services of a full-time personal music manager.
Restricted music management
a second alternative available to the artist is that of restricted music management. This approach includes the retention of a person other than the artist to provide certain particular music management services. The artist performs all other music management capacities not delegated to the music manager.
One example of constrained music management could be a booking agent, promoter, attorney, accountant or another person with music business experience who would act as a consultant without undertaking total responsibility for the improvement of your career. Compensation is normally based on a percentage of earnings or is flat hourly, month to month, or annual expense, which would be considered not as much as what might be paid to a full-time music manager. This sort of arrangement makes sense in the improvement phase of an artist who is building a foundation for later but does not merit or require full-time attention from a music manager. Such a relationship permits the artist to benefit from the learning and experience of a professional through periodic consultation sessions, but without having to pay a percentage of earnings as a charge or foreclose career choices prematurely. On account of another artist with great potential, such a relationship may form into a total management situation later. Meanwhile, both parties can profit from a restricted relationship while not permanently constraining alternatives.
This constrained music management relationship can be structured to fit the particular needs of an artist or music manager. An approach is frequently a powerful bridge between the two extremes of self music management and total music management. It ought to be considered as potential subjects sold us the potential answer for the artist individual music management needs, especially in the early stages of career advancement.
Total music management
the third major category is the total music management idea. This approach to artist management usually includes an individual or music management firm that is totally associated with the creative and business improvement and maintenance of an artist career. This kind of music manager frequently referred to as the artist personal music manager, is concerned with the total picture. The personal music manager contacts responsibilities usually also contribute that person with the ultimate basic leadership authority with regard to every aspect of the artists and music professionals
Ryan Clement spent the last five years working with other top independent music industry veterans. It’s a fact that if I contact the right targeted customer up to five times via email, I will get a conversion/sale. You will get a lot of regular fans but only your (super fans) will pull out their wallet grab their credit card and buy your EP or LP album Online, the difference is that an EP is only 5-8 songs and an LP album is 8-24 songs give or take. Listen to Ryan Clement AKA. Riveechi's 30 song album! I get at least 8 conversions or sales out of every 100 visitors for $34.95 because I sell a 30 Song “Triple Album” called “True To This” and I also sell my Super Fans a signed T-Shirt. I use a marker that’s kind of like silver paint. You can listen and purchase my music at: Ryan Clement AKA. Riveechi: "TRUE TO THIS" (Triple Album):
Ryan Clement AKA. Riveechi "True To This" (Triple Album):
We will either help you build a huge fan base or will get you signed. Each one of our 3 music marketing products/books are extremely extensive and are at least 1,000 pages of creative and helpful music industry related content with live targeted links to FREE products and services that you will need to get ahead and make a living making music. “The Music Marketing Engine and Music Management 101 will teach you self management at the beginning of your music career so that later on you can attract Top Music Managers or Major Record Label A&R by utilizing our proven and tested methods, about how to make your music go viral.” and how to track and target music marketing analytics data says, Ryan Clement Founder/CEO of our company Mix Makers. “We created All Music Industry Contacts (Plus) for talented Artists, Bands & Music Producers. There are only a few ways to get in or sustain your position in the music business! The most realistic way is to constantly contact successful Record Label A&R, Music Manager and Music Producers. It’s all about being professional! We created All Music Industry Contacts for that purpose! We are making available what takes us hundreds of hours to create & update for only $32.95. You will only understand how powerful All Music Industry Contacts is if you put it to use. We created this package so that everyone can afford it. That’s a wrap! Good luck in everything that you do! We hope you accomplish all of your goals & remember this business is more about persistence than it is about talent!
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HOW TO SUBMIT YOUR SONGS:
Now you have written a great song, made an awesome demo so now you will be rich and famous, right. Well, it is possible but I highly doubt it. There is not a doubt that being an amazing singer/songwriter, rapper, music producer, or musician that has a perfectly mixed and mastered version of all your songs is a great strategy in and of it. However, if you are engaged in having your music see the light of day by music industry contacts, your career is really just starting.
While businesses like Mix Makers who publishes All Music Industry Contacts do a delightful job of helping you get your songs out & into the world, it is still totally up to you to be sure your music gets into the right hands. Until the music industry contacts who can essentially do something with your tunes including: music industry contacts like record label A&R, music producers, music managers and music publishers) have listened to it, it might as well not exist. I understand that this sounds apparent although I believe you would be stunned at the amount of singer/songwriters rappers, music producers and musicians out there who has an impressive demo that very few, if any, music industry contacts people have ever heard. Creating the songs is one thing but getting your songs out there into the world requires a unique set of skills. The talents you should be focusing on are professionalism, networking, persistence; I will say again persistence, courtesy, and patience.
Like any industry, it is not only what you know it is also who you know which can get you ahead in music. What this means in the music industry is getting yourself out there to music industry events, open micas, writer’s nights and any form of promotion you can find. For those of you that live in cities where music industry contacts are more likely to be like New York, Nashville and Los Angeles, there is an just about an endless stream of opportunities to meet successful music contacts. For everybody else, you may have to gaze a little harder or take a trip from time to time to one of the cities I just pointed out. I think it is a common fact that this kind of thing is not that much fun consistently however, when you are first starting out it is necessary. Let’s put it this way: All things being equivalent, if you have ever met music industry contacts from a record company or music publishing company in a social situation and assuming you had a pleasant exchange, there’s a much larger possibility that they’ll not only consider you when you call but will make more of an attempt to help you out if they can. The point is that the more you get in contact with music industry contacts that work in the music industry, the more contacts you will encounter and the better the chance it will pay back down the road. I also suggest remembering a few key social skills while you are at it. Do not instantaneously launch into your 10-minute, spoken-word biography. It is a much better idea to find out a little something about the music contact you are chatting with by remembering to ask them a few questions as well.
Did I forget mention we are talking about the music industry? This means it is in your utmost interest to be proficient about how you go forward with music industry contacts in the business. When approaching someone in the music business, email or call first. Make the first contact brief and to the point. In other words, let them understand why you are calling/emailing (e.g., to schedule a meeting, to see if they are accepting music at this time, to ask whether you can submit a link to your website or an mp3, etc.). This is not the time to have a long conversation. If somebody has referred you that they know (see “networking” above), bring this up as well. In addition, while it is cool to be thrilled and even confident about your material, it hardly ever pays to tell somebody that you have a “killer” song or you are a “dope” singer/songwriter. Let your melody speak for itself. Once you have gotten authorization to do so, then submit your website link or bring it to the meeting. It truly doe's not make sense to send out Cd's or mp3's without first getting approval from music industry contacts, as they usually end up at the bottom of the trash or, even better, the person who has not asked for it considers it and disturbance. Do not kill the messenger here; I am just saying that the odds are that if someone is not expecting your material, there is a good chance it will not be heard.
By the way, if you have never seen the office of an a&r rep or music publisher, I am here to tell you that it is wall-to-wall Cd's. We’re talking hundreds and hundreds if not thousands of them. Make sure that your CD is clearly labeled with a few simple elements: your name and contact information (phone and email), the name of the song or songs and possibly — if it’s a song for an artist — the name of the person you’re pitching it to. Also, make certain that every part of the package is labeled. This means putting your information on the CD and on the CD sleeve or jewel case. Make sure that if the CD itself gets separated from the case, the information is the CD, too. Also, if you’re using a jewel case, make sure there’s information on the spine. Remember the part where I said there are thousands of Cd's in these folks’ offices? When your CD ends up on a shelf with all the others, the spine of the CD will be the only way for them to identify it. Finally, I can think of no good reason why any submission should be more than three songs. If you’re pitching a song to an artist, they’re not hoping for a “bonus track.” If you’re pitching to a publisher, three songs is a good way to show them you have got more than one good song without overdoing it. If they want more, believe me, they’ll ask. It all comes down to putting yourself in the position of the industry person. If they have a desk full of Cd's to listen to and have to choose between a CD with two songs on it or one with 19 songs, which one do you think they’ll pick?
Let’s say you’re fortunate enough to reach someone by either phone or email and they have agreed to let you mail in a CD or email them an mp3. Here’s what you should expect: Nothing. In other words, it’s extremely rare that you’ll hear anything back quickly after you submit it. As a matter of fact, you should put in your calendar to follow up two or three weeks after you have submitted something. This follow-up should be even shorter than your initial contact. Email is probably best for this. A simple email saying you wanted to make sure they’d received your submission is enough. Also, don’t be surprised if the response you get back (if you’re lucky enough to get one) says they haven’t gotten it and would you mind resending it. Resending material is something that you should expect to do. Following up every two to three weeks (unless you’re asked not to) is perfectly acceptable if you’re polite and to the point. I’m not a cynic and I don’t believe that anyone has an agenda to ignore submitted material. I’m a realist and the sheer number of submissions makes it almost impossible for anyone to stay on top of things. Anything you can do to help remind someone is in your best interest and generally appreciated.
I think it’s important to realize that no one in the industry owes you anything. This may sound harsh but it’s an important point. You may very well have great songs and it would be in the best interest of the industry professional you’re pursuing to listen to them, but there are a lot of great songs out there and only a limited number of opportunities for them. If your song is not heard to right away or even if it’s lost or ignored, don’t take it personally. I’m a songwriter myself so I know exactly how important your songs are to you. It’s not easy to submit them for judgment and tougher still to wait around hoping someone will actually listen. However, you’ll only do yourself a disservice by being rude or impatient with someone and heaven help you if you get a reputation in the industry for being difficult or unpleasant.
Given that there are so many artists, songwriters and songs out there vying for a limited number of spots, it all comes down to patience — patience with yourself as you improve your musical skills and patience with the industry people you’re soliciting as they make their way through all of the material in line ahead of you. My recommendation is to have as many irons in the fire as you possibly can at all times so that you are not waiting for any one thing to happen or not to happen, as is so often the case. The more people you get to know, the more opportunities you explore and the more submissions you make, the less likely you are to get discouraged and the more likely you are to start having success.
I'm not only the Founder of Mix Makers LLC. Ryan Clement Management and Ryan Clement Mastering While working directly with the CEO'S of Side One Dummy Records Bill Armstrong and Joe Sib. together over the past 15 years, we have done amazing things using Online marketing to sell a lot of music independently, mostly at www.sideonedummy.com Anyway, a great investment for me which also helps me to give back to my customers and independent artists like myself in general. I get lucky sometimes, other times I have to work really hard to make a difference. I'm also an artist and music producer myself and a music manager looking for the right Artists, Bands and Music Producers to manage besides myself, when you manage yourself it's actually called self-management and I've done a lot of that in the past 18 years. Check out my personal website that I designed myself, you can listen to 8 of my songs for free.
If you are
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