Showing posts with label music business. Show all posts
Showing posts with label music business. Show all posts

What is Music Production?: a producers guide, the role, the people, the process Review

What is Music Production: a producers guide, the role, the people, the process
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This book contains some useful suggestions and reference materials for recorded music producers. Hepworth-Sawyer and Golding both teach courses in music production and freelance as music producers. In this book, they describe some of the roles that producers play and discuss some issues that producers routinely deal with. Topics taken up in the book include analytical listening, business practices, deals and contracts with record labels, stages in a recording project, roles in the recording studio, and mastering formats and codes. A list of recommended readings on music production is included in the appendix.
While the authors are clearly highly informed on their topic, I found the presentation of material in this book a bit frustrating. There is a lot of description of issues that successful, big-time producers must deal with, but very little practical information for interested people who are just starting out. Of the entire text, the short section on analytical listening was the most practical bit of information, but it was never made explicitly clear exactly how this skill would then be put to use for a music producer. In contrast, there is an extended section on general business practices, time management and accounting that isn't specifically relevant for music production. After reading this book, I felt more informed about the variety and level of complexity of skills required for established music producers, but I am still quite confused about what music production entails or how a person might get started in the field.
This book was written by British authors for British readers; while many specifically British references and vocabulary have been adjusted for North American readers, a few oddities remain, such as the term "collection agencies" referring to music licensing companies. In addition, copy editing is sloppy in a few places, such as on p. 110, where there is a bizarre out of context, impossible to understand paragraph "Time management sounds almost cult-like. To many people, they follow their system religiously. In fairness, this is how positive gains manifest themselves. Many producers might read this section and laugh out loud and consider it barmy!" Two pages later, the paragraph is repeated with slight editing and put a little more in the context it was intended, "This all might sound far-fetched. To many people, they follow their system [specific time management software packages just introduced in prior paragraphs] religiously. In fairness, this is how the results manifest themselves: by relying on their system. Given the many people who have adopted these systems, it clearly must work. Many producers might read this section and laugh out loud and consider it barmy." All in all, I found the book slightly informative, but not adequate as an introduction to the field.

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To complete an album, a producer needs to know what goes into capturing great music and teasing out inspirational performances from artists. As a producer, you are guiding not only the music, but also the business and the technical aspects of an album.What Is Music Production?is a 'guide to this guidance'.Formed from a blend of solid information extracted from detailed interviews, the book focuses on the process of music production, providing insight into the producer's work and activity.Whether you are a student or just starting your professional career,What is Music Production?explains what you need to know - from working with artists, songs, pre-production, mixing, and mastering to the finance and budgeting, to glean a professional result. Combining the "how to be" with online assets and interviews, this book arms you with a vital insight into the business of being a music producer.

* Unravels some of the mystery behind producing records from the producer's perspective * Learn about the changing role of the producer in the music industry, looking towards the future * Based on the practice of key producers and music production professionals


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Web Marketing for the Music Business Review

Web Marketing for the Music Business
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This is one of those few books about web marketing that doesn't require the Geek Squad to help you become a user of the essence of the book. It is extremely well-written and researched, and gives genuine no-nonsense guidance to those in the music business about how to use the web to promote their artistry in a business environment. I've adopted this book for my use in the college classroom because it's an excellent guide for my students, but it's also a valuable tool for the music professional who wants to use the Internet as a way to compete for the ears of music consumers.

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Interested in promoting, selling and distributing music online, got the website but not sure what to do next? is Web Marketing for the Music Business designed to help develop the essential internet presence they want and need. Looking at how the web has developed, providing instructions on how to set up a web site as well as how to use the Internet to promote the artist and the web site. The book includes information on maximizing web sites to increase traffic, online grassroots marketing tactics that will advance an artists career and social networking sites such as MySpace. There is also a dedicated website with online resources for web support to give the information needed to confidently market music online.* Provides instruction on promoting both music and the artist in the internet, showing how to develop maximum online exposure* Offers guidance in web site development, to save money by getting the right site up and running first time* Understand how the Internet is used by experts in the music business, benefit from their experience to make the internet work for you.

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An Independent Artist's Manual Review

An Independent Artist's Manual
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I'm not signed to the Blues Farm Records label (far from it) but bought this after meeting Sansietch and discussing aspects of promotion. Reading it, I was impressed. Taking a no-nonsense 'be professional or perish' stance, the manual (and it is a manual) takes would-be artists, be they the lone singer-songwriter or a group of wide-eyed hopefuls, through the steps needed to make their dreams a paying business. It's a must-read before inadvertantly wandering into a morass, and I shall be suggesting it to hopefuls in my circle.


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Blues Farm Records is the premier Indie record label in New Mexico. This manual is designed for artists signed with the label but is invaluable to any independent artist.It covers a broad range of aspects that an indie artist will encounter, from recording and gigging to marketing and performance aspects.Don't reinvent the wheel. Other artists have already figured out the basics and in this book you can skip the road of hard knocks.

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The musicians guide to world domination Review

The musicians guide to world domination
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In his book, The Musician's Guide to World Domination, Marcus Taylor tells you everything you've ever needed to know about getting into the music business. Whether you are just starting out with your first band, or are a seasoned musician looking for a contract, there is plenty for you to learn in this guide.
The section that I was most impressed with was the chapter on how to market your music online. Taylor is obviously up to date on social media techniques and learning to work within the confines of today's music industry.
I would recommend this book to anyone who is interested in a career in music. It is easy to read, covers a ton of material and gives detailed instructions on how to conquer the music world.

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Want to know how to get signed to a record label? Get gigs, market music successfully both online and offline and make a living from your music? The Musicians Guide To World Domination offers musicians just like you a range of information, tips and advice that can be instantly applied to improve your chance of succeeding in the music industry.The guide contains the following six chapters.I. How to Get Signed to a Record LabelII. How to Get GigsIII. How to Market Music on the InternetIV. How to Market Music OfflineV. How to Get a Music ManagerVI. How to Make a Living From MusicFor more information visit http://www.themusiciansguide.co.uk

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Music Management for the Rest of Us Review

Music Management for the Rest of Us
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I've been reading this book for hours and I have really learned a lot about independent music management. If you're thinking about starting a management company this is an excellent resource. My one complaint would be that there is too little time spent on the "start-up" phase. Although the first portion of the book is dedicated to this matter, the rest of the book is more a guide of what to do once you've started. As such, for a comprehensive guide to the independent music management business it is an excellent read and had that been what I was looking for I would have given it 5 stars instead of 4. Still, the book is a good read and Joe Taylor Jr. is a master at cutting to the chase...I finished it in a day, and although some may view this as a negative, you don't get the sense that he skipped over things. Some books of this sort will fill pages with cliches about how "you can make it if you really try" or discuss issues only relevant to the big players (and although Taylor does temporarily delve into the topic of endorsements, he does so in the context of a local scale). This book does neither and although I can't say it fully prepared me to start my own company, it certainly put me on the right track and I am quite glad I picked it up.

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In the music industry, the days of deals in smoke-filled back rooms are all but over. Artist development happens on the streets, not at major labels. And the old-school "professional" managers are stepping down, one by one, to cozy retirements funded by decades of commissions from successful clients. With fewer and fewer "lifers" available to take on new clients, what's an emerging artist to do? Likewise, how does an aspiring artist manager get a start without the connections and influence required of their predecessors? Music business manager and consultant Joe Taylor Jr. set out to answer these questions for a member of his staff. The result? Over 160 pages of nuts-and-bolts advice for the novice music manager, or for any musician looking to boost their success team by adding homegrown management to the mix.

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Entertainment Law in a Nutshell (Nutshell Series) Review

Entertainment Law in a Nutshell (Nutshell Series)
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Sorry, I can't agree with the previous rave review.
The book focuses mainly on the movie, TV and music industries. Sports, theater, and, for the most part publishing and electronic gaming are ignored (though of course some focus is to be expected in such a short book). The point of view tends to be that of an attorney representing talent, rather than representing a producer, a studio, an investor, etc.
Prof. Burr's choice of emphasis is odd in many places. For example, she spends 10 pages discussing the privileges and perils of celebrity. Aside from mentioning that Kobe Bryant, Robert Blake and others have been involved in criminal cases, there isn't any mention of legal issues; it's more like a rather tame piece of tabloid journalism. As a result, it seems as if chunks of her book are intended for a popular audience, rather than the typical Nutshell audience of law students or practicing attorneys.
The legal content is very haphazard. If you weren't aware of guild agreements or music performance rights societies, you can learn about them in this book. Prof. Burr introduces some collateral topics such as bankruptcy and trusts and estates law when discussing how entertainers squander their wealth (though to be accurate, she discusses celebrity bankruptcies, rather than bankruptcy law).
On the other hand, entertainment finance and the related securities and corporate law issues never are mentioned. Yet movie lawyers, at least in L.A., actually tend to be quite sophisticated about these topics. Completion bonds aren't discussed at all. TV syndication is mentioned only in passing.
The rights of publicity and privacy are discussed only in the context of celebrities - though they apply to ordinary folks too. If you're buying someone's "life rights", or want to shoot a documentary or publish an interview, you might not know from this text that you need to worry about these subjects.
(In addition, the description of the Eastwood v. Superior Court case (Calif. Court of Appeal 1983) concerning the "right of publicity" is slightly misleading. This right is characterized as a "property interest ... grounded in state staututes, common law, and the federal unfair competition act" (p. 288). In California, the common law right is a component of the right of privacy and is definitely NOT a property interest. Nor is the original California statutory right (Civil Code Sec. 3344) a property right, as the heirs of Bela Lugosi found in a famous case. After that decision, the California legislature passed Civil Code Sec. 3344.1, relating to knowing violations of the right of publicity of a deceased person; it is only this stautory right that is a property right.)
The chapter on entertainment contracts is especially scattered. The movie section has a good discussion of case law concerning "pay or play" provisions, but then jumps around. There's a long discussion of publishing contracts, though the publishing industry isn't mentioned anywhere else in the book. The concept of "turnaround" - one of the great IP inventions of entertainment lawyers - is mentioned only tangentially (as a writer's right of reacquisition) and in a different part of the book; you'll never find it in the scanty index. Generally, contracts are discussed in terms of case law, rather than in terms of the documentation customary in typical deals. This point of view may be helpful for litigators, but definitely isn't a deal lawyer perspective.
A last chapter on globalization mentions piracy in Thailand ca. 1992, but has nary a mention of China (book was written in 2004). Localization, local content requirements and international distribution issues aren't addressed at all.
The book is also marred by bad proofreading and bad editing, with chunks of text being repeated verbatim within a few pages of each other (e.g., compare p. 227 with p. 244, and p. 246 with p. 247). In lieu of this book, I'd recommend you consult a "legal issues for laypeople" type of book that focuses on the particular industry you're interested in, such as Mark Litwak's books or Erickson et al. for the movie business.

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A basic but comprehensive survey of entertainment law, this Nutshell gives a big picture overview of the intellectual property, contract, publicity, estate planning, and First Amendment issues that contribute to the field. Professor Burr also addresses specific legal issues that arise in the film, music, and television industries, including discussion of the rise of reality television. This Nutshell can be assigned as a secondary text to accompany any entertainment law casebook, as the primary text for a seminar, or as background information for someone requiring an overview.

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How to Promote Your Music Successfully on the Internet: 2007 Edition Review

How to Promote Your Music Successfully on the Internet: 2007 Edition
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Not only is the best publication about how to sell your music on the internet that I have ever read, but the information contained within this literary gem will be of great value to anyone wishing to make music a carreer. I have purchased other books regarding the music industry and how to succeed but this by far outstips the others by a mile. You can buy this book with confidence, the author is who he says he is....a genuine musician...with the same hopes and aspirations as his readers and like his readers he likes to cut through the waffle. I can't rate the book or the author highly enough.

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The Internet is an incredible promotional tool for musicians. You can get radio play, grow a fan base, create a distribution channel and sell CDs and music downloads all online. Imagine how much music you'd sell if *thousands* of people heard your music every day? Most musicians, however, have no idea where to begin when it comes to online promotion. Some get as far as putting up a web site, but stop there. That's where this book will help. David Nevue, an independent musician like yourself, uses the Internet to generate well over $60,000 a year in music-related sales. Today, David is doing the "music biz" full-time, having quit his "day job" in 2001 after making more money selling music online than working for a corporation! In this book, David will take you step by step through the same marketing strategies he's used since 1995 to promote his music successfully on the Internet. Now you too can build your own music career using the Internet -in your own time and on your own terms.

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The Complete Idiot's Guide to the Music Business Review

The Complete Idiot's Guide to the Music Business
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I have a youngster who is very interested in a career in music. He is still in high school and is currently in a band locally. None of the group in the band seem to have any idea of how to get it organized, or what they need to do to succeed. I read this book and it explains everything someone totally naive would need to know about the music business. It gives you more information than you can imagine, and it certainly let me help him see how complicated trying to become successful in a band can be. I found the book very easy to read, and lots of information.

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Instrumental in turning musicians into moneymakers. The Complete Idiot's Guide(r) to the Music Business is written for every musician who needs to learn the business of music, as well as for all businesspeople entering the music industry. Author Michael Miller covers all the key business topics and reveals the wealth of job opportunities in the music industry from a business perspective. •Covers finding an agent, negotiating contracts, publishing songs, collecting royalties, and promotion strategies •Also covers such nonmusician industry careers as artist management, concert promotion, music production, and radio •Features essential information on the new frontiers of electronic and online music

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