Updated for 2015!

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The Creative, Business & Legal Sides of the Music Industry


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-----


THE CONTENTS OF THE DOWNLOADS:

[Please Click On "More..." below for Details and Sample Pages]

"The Music Biz" Book: ["How to Get in, Survive & Succeed - Without Getting Ripped Off!"] A great picture of how the Music Biz operates - and how a person can operate in it - and succeed. Covers the Creative, Business & Legal Sides... Over 250 pages in Text & AUDIO …

"Artist Development & Management" Course - For those interested in becoming Artists or Managers. Learn what to do, & how to do it! The Goal? Success in the Music Business - for either/both. Complete 10 Week Course, in outline form, including a Management Agreement…

"Songwriting & Music Publishing" Course - For Both Songwriters & Publishers. The works! Everything you need to know to become both a successful Songwriter and Publisher. Complete 8 Week Course, in outline form, including a Songwriter's Agreement…

"Record Producing, Production Companies & Indie Labels" Course - For Producers, and those wishing to form Production Companies or Indie Labels! Complete 6 Week Course covering both the Musical And Business Sides!

"Music Business Contract Law Basics" Mini Course - For Everyone who's ever run into any type of Music Business Contract. This will open your eyes, and save you lots of time and money.



More Testimonials

--> This collection is a measure of Pooch's skill as a musician's best friend. As a music educator, a songwriter and his knowledge about all aspects of music and the music business, makes this site so compelling. He has definitely crafted an artful educational site for all those interested in the music business. He is a definite asset to the music business!

David Eisenberg
Entertainment Attorney

San Francisco, CA.

--> The Music Biz book and courses are a great source of business and creative information covering all aspects of the Music Business.

Phil Nicolo
Grammy Award Winning
Producer/Engineer

--> As expected, I've hit several more gold veins to mine in your Book and Courses .
It is an awesome collection of concise data about the biz -- quick and fun to read and hard to stop.

But I had to stop tonight just to come by and say thanks...and also because the hour is getting late. (This is the second time I thought I'd "just read a little bit" and 3 hours later I am wondering where the time went.)Thanks for all the great info!All the best,

Jon
CA Musical Artist

Many, Many more testimonials on the Book/Courses, David & this Site

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"The Music Biz Book and Courses"

The Book:


Jump-Start Your Music Business Career with...

The 2015 Edition of

"The Music Biz"

How to Get In, Survive and Succeed -
Without Getting Ripped Off!

by, David J. Spangenberg
[aka "Professor Pooch"]

Music Business Educator
Consultant &
Contract Specialist

© 1984, '87, '92, '94, '96, '97, '98, '2000, '01, '02, '03, '04, '05, '06, '07, '08, '09, '10, '11, '12, '13, '14 David J. Spangenberg
All Rights Reserved

Over 250 Pages of
Easy-to-read,
Easy-to-understand,
Down-to-earth info on the Music Biz…

And, in plain old "People-talk"!

Updated Constantly for the 21st Century...



Does Your Music Business Career seem to be…
"Stuck on Hold"?

Whether You’re interested in the creative
and/or business side…

No matter what stage of Your career You’re at…

No matter what style of music You are into…

"The Music Biz"

is

An Informative and Inspirational,
straight-to-the-point
book,
with the sole purpose of
getting You in the [right] door -
and up the stairs!

The author speaks…

"I have literally lived this book, working in the roles of many of the people I've talked about. Each has a different job, yet each has the same goal: Success in the Music Business.

"Experience over a long period of time has taught me a lot about the business, and so have the experiences of those who have sought my help in their careers. As I spent more time helping others, I found myself in a kind of career sideline, sharing my knowledge as a "Music Business Educator, Consultant and Contract Specialist" saving people great amounts of wasted time, money and aggravation.

"I found that I thoroughly enjoyed helping others, and as things kept leading from one to another, I conceived the idea of this book. [The first edition came out in 1984 with constant updates since then. It's very important in this business to stay up-to-date!]

"I have tried to follow the advice I will frequently give you in the book: "Keep It Simple". This is my attempt to do in print what I have tried to do in real life situations: Cut through the double-talk, and get down to basics in the music business.

"I realize there is a kind of mystique about the music business in the minds of most people. They're always looking for "magic" and talking about the "overnight success", which is usually the result of years of learning and "paying dues". If removing the mystique makes it less magical for you, I'm sorry, but when you find you can get twice as much done on half the money, and begin to realize how much you've learned, you'll very happily understand that the place for mystique is in the MUSIC - not the business.

"Finally, this is not a "brag book". The subject is not me, nor my exploits, but You! How You can get into, survive, and succeed in the music business!"

David J. Spangenberg

 
Note:

It is strongly recommend that You read the book from beginning to end. Many parts of the music business, and therefore many of the topics, overlap each other, and it's important You get the full picture. No matter what Your interests are in music, the only way to get a real "feel" for the music business is learn it from "cover to cover".

Synopsis:

The Music Biz is split into 4 sections, putting major emphasis on all aspects of Songwriting and Publishing; Performing; Recording; and the Business side of Music. Here is a brief description of the sections:

1. Songwriting & Publishing: Covers how to write and/or recognize, well-written, as well as marketable songs; how to protect them; how to record them; how to "sell" them; how to deal with Publishers and Songwriting Contracts; and how to receive a share of the Publishing income or actually become a Music Publisher, Yourself.

2. Performing: Covers how to become a Professional Singer or Musician, how to choose the right people to work with, such as when forming a band or group; how to choose the right songs and prepare them for live performances; how to get "gigs", paying jobs, and how to move up the ladder; and how to prepare Yourself for performing on stage.

3. Recording: Covers how to make the right recording decisions for Yourself, Your group or band, starting with what type of recording to make; whether You need the help of, or how to deal with people such as Arrangers, Producers, Engineers and Sound Designers, or wish to become one Yourself; how to prepare Yourself for recording, how to choose the right type of standard or MIDI studio for Your situation as well as how to deal with them; how to conduct Your recording sessions from first note to final mix; and also includes information regarding recording on location, plus video taping.

4. Minding Your Business: Covers how to decide which career is right for You and how to go about dealing with the business side of the Music Business. This includes how to promote Yourself to Your audience and the people in the business, such as Agents, Managers, etc.; how to become a Manager or Agent Yourself; how to deal with contracts in general and Entertainment Business Attorneys; how to approach and deal with Record Companies contractually and otherwise; and how to make a decent living in the business while You're trying to reach Your main goal.

Simply put, the aim of "The Music Biz" is to guide a person safely down the path,
step by step, into a successful full or part-time career in…

The Music Business

-----------

Back


The Artist Management Course

Artist Development & Management

© 1984-2014 David J. Spangenberg
All Rights Reserved

10 Week Complete Course

Up-to-date for 2015

Artist Development
Step by Step, in Simple,
Easy-to-understand Language

Includes Contract
Between Artist & Manager
and How to Negotiate It

How to become a Successful...

Singer/Performer

Musician, Band, Group

and/or Manager

If you wish to become a Successful Singer or Member of a Successful Group or Band, you should know as much as you can about "The Music Biz". You should know how it operates and the correct steps to take, in the right order, to achieve Success - including, choosing the right Manager to help "guide you"...

Likewise, if you wish to become a Successful Manager, you must choose the right Artist to Manage, and know what you must do to help Your Artist move up the "Road to Success".

This Business is large and sophisticated and requires a solid TEAM. Every successful Artist has a great Manager - and every successful Manager has a great Artist. Simply put, the left hand must know what the right hand is doing [or should be doing] or you as an Artist/Band or Manager are heading for a very short career! Each must know and understand the Music Business plus everything they can about the other, if they wish to become successful.


Artist Development & Management

INSTRUCTOR NAME: David J. Spangenberg

COURSE LENGTH: 10 Weeks

Upon completion of this course...

1. As an Artist, you will know when and why you need a Personal Manager, how to choose one to be your Manager, and what they can and cannot do for you.

2. As an Artist or a Manager, you will be able to read, understand and negotiate the main points of an Artist/ Management Contractual Agreement.

3. As a Manager, you will know what to look for in a Performing Artist and be able to decide whether or not to Manage them.

4. As a Manager or Artist, you will be able to choose the right Musicians and Singers to work with and the proper way to prepare for performances, including choosing the proper recording material, and creating and refining the Artist's "image".

5. You will be able to promote the Artist for performances, and be able to get "gigs".

6. You will be able to choose the correct Production or Record Company, and be able to properly promote the Artist to them.

7. You will be able to understand and negotiate the important points of Artist/Record Company and Artist/Production Company Contractual Agreements.



Sample Pages from the 1st week of the course...

Artist Development & Management Course

By David J. Spangenberg

© 1984, 1991, 1998, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014 David J. Spangenberg
All Rights Reserved

Week 1: The Artist Looks for A Manager
[Note: "You" = "Artist" - this week]


1. What Does A Professional Manager Do?

A. A Manager is a person or company, who guides, counsels, advises and helps to provide employment.

B. He/she/they are a protector, and "doer".

C. They take all steps necessary to help you become a success.

D. They make money when you make money; the more you make, the more they make. Their success comes through helping you to achieve your success.

E. They can be an objective person who can look at all aspects of your situation, analyze them, and make a rational plan. They have to be able to look at you and your work differently than you do. Why?

1. Your work is intensely personal, and you're probably too emotionally tied to it.

2. Everyone needs a professional outside opinion, not friends or relatives. It's hard for them to give an honest, sound opinion.

a. They're too close to be honest and objective.

b. If they're not professionals, they're not qualified to give an opinion.

c. If you listen only to friends and those close to you, you'll run around in circles, being pleased with yourself without making any progress. Or worse, they don't like your stuff, or they’re jealous - and you and your Music really have “hit music” potential!

Note: Do not mix up “Manager” with “Agent” - many people do! They are two different animals. Agents are “middle-men/women” who get “gigs” etc, for people. Managers, as you will see in the contract in “Week Two”, may hire Agents for you when needed. Agents need an “Employment Agency License” to legally do their work. Managers, cannot legally “book” Artists, although some will book their Artists here and there, in the beginning.

2. When May You Need a Manager?

A. When you've reached a certain, good level on your own, and can't seem to progress any higher, no matter what you do.

B. When you may have no idea what you should do, or do next.

C. You may be disorganized, lost, or simply not have the right contacts to get ahead any further. You realize you’re spinning your wheels and going nowhere.

3. When Don't You Need A Manager?

A. If you're solely a Songwriter and not an Artist.

B. You're happy being a local Band, or Group. Look into getting an "Agent", instead, if you wish, to help you.

C. When you’re just starting out.

4. Why Do You Need A Manager?

A. "I don't need a Manager; I can do it all myself." That’s not a good way of thinking, though you may be able to do it for a while, until you feel you’re ready to really move ahead. Your time should be on your Music, and your Fans!

B. Strong musical, writing or singing talent does not necessarily mean you have good managerial ability.

C. Your time is better spent creatively, constantly improving what you do.

D. Do you really know what the best move is that you can make?

E. Do you actually have an honest evaluation of your own work? Can you be objective about it?

5. A Great, Professional Manager...

A. Has contacts in the music industry.

Note: It’s not just whom they know, but more importantly - who knows them!

B. Knows what's happening in the industry – at the present time.

C. Knows what Booking Agents, Publishers, Record Companies and any other would-be interested people or companies would be looking for.

D. Probably has [should have] experience managing others.

E. Knows the advantages and pitfalls in almost every situation that's likely to arise.

F. Is "streetwise" in dealing in the industry.

G. Can avoid blind alleys in negotiations, make fewer mistakes, and save you time and money.

H. "Takes the heat off you" from your attorney, Band Members or Group, Club Owners and Managers, Booking Agents, Record Company exec.'s, etc.

Note: Many artists have killed either their recording or performing careers by fighting over assorted issues, either musically or business-oriented. Your Manager, not you, is the one to fight with the company or person! They can be the super tough "bad guy", or turn around and play "good guy" for you.

I. Knows and understands the “Digital Revolution” and the formats and their uses.

J. Knows how to use the Web for marketing and promotion, and keeps up with the latest technologies.

Note: They can do so many things for you, if they're great. If they aren't, you'll curse the day you met them. But also keep in mind, no one has every quality you and others might think necessary, but they should be able to make up for any important of weaknesses by associating with others who can fill in the missing pieces.

6. How do you find a great Manager?
 



Back


The Music Publishing Course

Songwriting & Music Publishing

© 1984-2014 David J. Spangenberg
All Rights Reserved

8 Week Complete Course
Up-to-date for 2015

Includes Sample Contract
between Songwriter & Publisher
and How to Negotiate it

Step by Step, in Simple,
Easy-to-understand Language


This course shows you how to become a Successful...


Songwriter
Artist-Songwriter,
Producer-Songwriter,
and/or Publisher

If you wish to become a successful Songwriter [the Creative end], you should know how the Music Business operates and the correct steps to take, in the right order, to achieve that success, including possibly, the right Publisher [including yourself] to help you on your way.

Likewise, if you wish to become a successful Music Publisher [the Business end], you must choose the "right" Songs and Songwriters [including yourself], and know what steps to take for you to successfully help yourself move up the "Road to Success".

Simply put, the left hand must know what the right hand is doing [or should be doing] and each must know and understand the Music Business plus everything they can about the other side, if they wi sh to become successful on their side. Both “jobs” are very important, even if you’re a Songwriter who is or wants to be their own Publisher

No matter which way you want to do it, it’s all here…


Songwriting & Music Publishing

INSTRUCTOR NAME: David J. Spangenberg

COURSE LENGTH: 8 Weeks

Upon completion of this course...

1. As a Songwriter, or Singer/Songwriter you will know how to write a marketable song that someone will wish to "buy".

2. As a Music Publisher, Artist, or other producer of musical material, you will know what to look for in a creative and marketable song.

3. You will be able to protect (Copyright) your musical material correctly and safely.

4. As a Songwriter, Singer/Songwriter, Artist or Music Publisher, you will be able to record your musical material, both demos and masters, correctly & cost-effectively.

5. You will be able to choose the "correct" people to aid you in the recording process, if/when needed, (including Musicians, Singers, Engineers, Sound Designers, Arrangers and Producers,) and be able to deal with them financially, contractually, and personally.

6. You will be able to choose the correct Recording Studio for your needs and know how to deal with them, financially and otherwise.

7. You will know who will be interested in hearing your songs and be able to place your musical material in "the right hands" either personally, or through an "Agent".

8. You will be able to read, understand and negotiate the important points of Songwriter/Music Publisher Contractual Agreements.

9. You will know what Music Publishing Companies do, how they "operate", and how Songwriters and Publishers make money.

10. You will be able to start and run Your own Music Publishing Company - the easy way.


Sample Pages From the Course...

Songwriter's & Music Publishing Course

by David J. Spangenberg

© 1984, 1991, 1998, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014 David J. Spangenberg
All Rights Reserved


Week 1: An Introduction to Music Publishing

I. Introduction:

Note: Since the subject of Music Publishing is usually confusing let alone misunderstood by most people, it's important to spend the first lesson immediately painting a clear picture of what Music Publishing is, and then go into greater detail later on in the course.

When most people think of the word "Publishing", they think of "Books", and that a Publisher sells books. Well, at one time there were no records or tapes, let alone, CDs, MP3’s, Videocassettes and DVDs. Originally, people received all their music in the form of Sheet Music, that is, printed documents that contained words and notes of Songs that allowed people to stand around a piano and sing with their friends and relatives.

Sheet Music still sells, (as well as Books of Sheet Music, known as "folios") but this is a very small part of one of the most profitable parts of the Music Business. Songwriters and Music Publishers also can make sizable amounts of money worldwide from:

1. Sale of Records, Tapes, CDs, DVDs, etc. - anything containing Songs played on a mechanical device, and therefore are called "Mechanicals".

2. Live and recorded Radio & TV (including Cable), and Internet Performances, also known as "Airplay". This also includes "Jukeboxes", live and recorded performances at restaurants, clubs, bars, hotels, casinos, health spas, etc., etc.

3. "Synchronization Rights" (when Songs are synchronized with Film and TV Movies, etc.)

4. Commercials (Advertisers are more into using Songs than Jingles, at the present)

5. "Elevator Music" (when you hear Songs played in an elevator, supermarket, when "on hold" with a telephone, etc.)

6. Computer Chips, Computer Programs, Cell Phones (Ring tones), Video Games and Phone Applications.

7. Etc., (including any new forms of technology and formats that seem to be appearing weekly!)

Simply put, whenever a Song is performed, no matter who performs it, the Songwriter and Publisher could (should) benefit! It is also the Music Business's best-kept secret - how it is possible to sometimes make quite a lot of money, with very little time and effort.

Therefore, there's a lot of competition for publishing rights - and the money that goes with it. Today, many Songwriters and Producers, as well as many others in the Music Business have their own Publishing Companies - something unheard of 30 years ago - because they want the publishing rights and the money that goes with them. In many cases, two or more publishing companies will make deals with each other.

By the end of this course, you will have all the pieces to the puzzle - how you can be a part of this very profitable segment of the Industry. Of course, you have to first understand what Music Publishing is and how that section of the Music Industry operates, so that you can become successful - without getting "ripped-off".

A little history of Music Publishing is necessary at this point. Before 1960, most people in the Industry, as a matter of course, went to Music Publishers for their Songs. The Publishers had Songwriters on staff as salaried employees, as well as other Songwriters constantly contributing Songs.

But since then, many Singers/Bands/Groups began writing their own Songs. That isn't to say that Artists, Managers and Record Producers don't go to Publishers looking for material, or that Publishing Companies can't still place Songs for Songwriters. They can and still do, but not as often as they used to.

Also with the advent of technology, many of the pure definitions of roles in the industry have changed: mainly the Songwriter, the Arranger, and the Producer. Nowadays, a single person can sit at a computer or computerized keyboard in their home studio, and write and/or arrange and/or produce Songs; not realizing which role(s) they are playing. Actually…

1. "The Song" is composed of only…

a. The Words

b. Lead Melody

Note: Regarding "Rap" music: Often I've noticed that the person doing the "Tracks" (see arrangement) is given credit as a writer. In actuality, the tracks person is not really a Writer, he/she is an Arranger, but as long as it's mutually agreed-to that they get credit as a co-Writer, then it's acceptable.

2. "The Arrangement" (the "tracks"), what the instruments play and how they play it, includes…

a. Chords

b. Rhythms

c. Tempo

d. Instrument's and Background Singer's notes

3. "The Production" includes…

a. The mixing together of various elements, including setting/choosing…

(1). The Volumes of the Instruments

(2). The Tones

(3). The Frequencies

(4). The "Effects" (such as Reverb, Digital Delay, Compression)

(5). Other Sounds (such as prerecorded Samples and Loops often used in Recordings nowadays)

… to achieve the final "Sound" you hear on a Recording.

It is important, and therefore I am including in this course, information for Songwriters who are also Singers and Group or Band Members.

Also, understanding Publishing is very important to their Managers in that the Managers represent the Artist’s Songs as well as their recordings, and even may have a Publishing Company of their own. Also most Producers become involved with Publishing, in that Publishing is a rich source of income for them.

It is important to note, also, that packaging the Artist and Song together and selling them as one entity, has become a very important consideration to most Publishers - it makes the job much easier for them. They then don't have to search for an Artist willing to record the Song(s). They, in effect, have a “self-contained package”.

 

II. What is a Music Publisher's Job?

 
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The Producing Course

Producing, Production Companies & Indie Labels

By David J. Spangenberg

© 2004, '05, '06, '07, '08, '09, '10, '11, '12, '13, '14 David J. Spangenberg
All Rights Reserved

7 Week Complete Course

Up-to-date for 2015

Step by Step, Producer Development in Simple,
Easy-to-understand "People Talk"


This course shows you how
to become a Successful...

Producer

&/or

Production Company

&/or

Indie Label

If you wish to become a successful Producer in the The Music Business, you should know how the Music Business operates and the correct steps to take, in the right order, to achieve that success.

Likewise, if you wish to become a very successful Production Copany or Indie Label, you must choose the "right" Artists, Producers, Songs and Songwriters [including yourself], and know what steps to take for you to successfully help them [and therefore, yourself] move up the "Road to Success".


Producing, Production Companies & Indie Labels

INSTRUCTOR NAME: David J. Spangenberg

COURSE LENGTH: 7 Weeks

Upon completion of this course...

1. As a Producer you will know how to produce a marketable recording that someone will wish to "buy".

2. As a Producer of musical material, you will know what to look for in creative and marketable Artists and Songs.

3. You will be able to protect yourself and your recordings correctly and safely.

4. As a Producer, you will be able to record your musical material, both demos and masters, correctly & cost-effectively.

5. You will be able to choose the "correct" people to aid you in the recording process, if/when needed, (including Musicians, Singers, Engineers, Sound Designers, Arrangers and Producers,) and be able to deal with them financially, contractually, and personally.

6. You will be able to choose the correct Recording Studio for your needs and know how to deal with them, financially and otherwise.

7. You will know who will be interested in hearing your recordings and be able to place your musical material in "the right hands" either personally, or through a Manager or Agent.

8. You will be able to read, understand and negotiate the important points of Producer Contractual Agreements.

9. You will know what Producers & Production Companies do business-wise, how they "operate", and how they make money.

10. You will be able to start and run Your own Production [or Indie Record] Company.


Sample Pages From The Course

Producing, Production Companies & Indie Labels
By David J. Spangenberg

© 1984, 1991, 1998, 2003, 2004, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014 David J. Spangenberg
All Rights Reserved


Week 1: Introduction

Painting the Picture

Note: Although this course seems mostly like it is focusing on Producers (the Creative) and Production Companies (the Business), if you wish to start a Record Company yourself (usually known as an “Indie”), this course’s information covers that, too, as you shall see, and all the important details will be covered. As I put it below, A Record Company is, in a way, like a “glorified Production Company”. Stay tuned…

Simply put, nowadays, with the advancement of technology, the ever-reaching Internet - including the “Social Networks” (like Twitter, Face book, etc., etc.), and the Music Portals (Like CDBaby, Reverbnation, TuneCore, etc.) - and some basic Music Biz knowledge, some hard work and persistence (and of course some Great Music and Recordings!), ANYONE can be an Indie Record Label.

I believe it’s useful to start with a brief introduction of the subject as a whole, which I will then break down into detail in the following Sections.

---

In the Music Business, Record Producers are becoming just as hot, known, sought after and successful in their own way, doing what they do, as the Artists are. The Producers, often acting as Production Companies, and/or Indie Labels, love having some control of their career, and, with the proper business and legal set-up, they actually can have some control.

But what actually is a Producer’s job? Simply put, the Producer is somewhat equal to the Director of a Film. He/she/they are most often responsible for the entire musical recording process - and nowadays, usually a lot more! Many like to stick their paws into everything!

Now, what’s the difference between a “Producer” and a “Production Company?” A Producer is the creative entity (often referred to as the “Line-Producer”) to the Production Company, which is the business entity for the Producer. The Production Company is somewhat equal to a Producer of a Film. They are the business people.

A Record Company, in simplified terms, is really what I call a “glorified Production Company”. The difference is that, usually the Record Companies that we have known about through the years, now basically act almost like a bank, in that they financially and people-wise handle the manufacturing and distribution, as well as doing some of the Promotion for the Artist and their Recordings. However, nowadays, with the changes in technology and the way the Music Industry has been “forced” to operate, many more people and companies are taking over their position.

At this point it’s important for us to take a moment and step back into the history of the Music Business, so as to paint a clearer picture.

Before roughly 1970, Producers worked for the Record Companies as part of their staff. The Artists would sign directly to a Record Company, and the Company would assign them with one of their Staff Producers to handle the recording responsibilities in the Studio.

Then in the 1970’s there were those individuals who decided, for one reason or another, that they wanted to produce some Songs and Artists independently, even before a Record Company became involved. Why?

They usually wanted one or more of the following:

1. To get their own Songs out there.

2. To get themselves out there as an Artist.

3. Creative Control over their Music as well as the recording of it.

4. Better bargaining power so as to get more of the “benefits”, as spelled out later on in the course…

Soon after, many individuals decided to also become “Production Companies”, and “make the deals” with the Record Company. In this situation, the Artist would sign a Recording Deal with the Producer/Production Company - yes, they can be, and often are the same person - and the Production Company would look to sign a Recording Deal with a Record Company, guaranteeing the Record Company exclusive use of that Artist for a contracted period of time.

Why did the Producers want to handle the business end? Control, Power, Fame - and a lot More Money! They would have more creative and business control and could make more of the decisions. And, they would be handling more of the money as well as making more of the money.

 

 

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Music Business Contract Law Basics

© 1984-2014 David J. Spangenberg
All Rights Reserved


Valuable Info That Can Protect
You and Your Career!

"Every semester in my "Entertainment Law" Course at a well-known Art Institute I spent approximately the first eight hours of the term presenting, explaining and discussing what I call the "Contract Basics of Music Business Law". That is, words, terms, phrases and clauses that appear [or should appear] time and again, from contract to contract, and what they're all about. We covered what to look out for in a contract that can hurt you - as well as what's been left out of a contract that can help You - if written and inserted correctly.

Also included in this edition is a list of the common Music Industry Contracts with descriptions. And, it's all in plain, simple, easy-to-understand People Talk!"

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"Our aim is to help guide you, protect you,
and to answer any and all of your questions regarding
the Creative, Business and Legal sides of the Music Business,
in plain, easy-to-understand "People-Talk".
No matter what style of Music, no matter what you do,
no matter what stage of your career - we're here for you!
Let us help you save wasted time and money.."

David J. Spangenberg
["Professor Pooch"]

Music Business Career Guidance,
Educator, Author, Consultant & Advisor
Music Legal &Contract Specialist


E-mail David at: Pooch@professorpooch.com