Listen to today’s Music Business Poochcast™

Studio Owners:

Surviving & Succeeding in the 21^st Century

by: Professor Pooch

© 2011 David J. Spangenberg

What has become quite obvious, with the insane advancements in technology, including the marketing, distribution and promotion abilities of the Internet and social networking, more and more people are becoming interested into getting into the music industry.

Of course, this technology also makes it more and more probable that the musician has recording tools right in his or her own house…

Now what can You offer them that they can’t do on their own?

1.     Obviously, quality, which they don’t realize – until they come into a real Studio and see, listen – and experience, the difference.

2.     The total experience – or as much as You can provide, whether it’s at Your Studio or elsewhere…

So the answer is to get Musicians and Producers, etc. into Your Studio, and to also offer services that they need – possibly all in one place. Audio Engineers & Studio Owners need to expand into, and take advantage of, more ways to make money, with their Studios, their recordings, and their services.

Let’s delve into the obvious and non-obvious. And remember, just as importantly as giving You more options, the idea is to get Your mind “thinking outside the box” [I hate that cliché – There Is No Box - unless You build one around You!]

Also, keep in mind, even if You don’t make money directly on some of the below mentioned items, immediately, good PR is a very valuable asset That is, getting Your Studio and Name out into the public, and in a good light…

[Btw, please keep in mind, I can guide You, and help simplify for You, including any necessary contracts and negotiations, ALL of the below. Simply put, this includes any Creative, Business, Legal & Contractual situations You run into, which I will most probably be able to guide You and answer any of Your questions! More on this as we go on…]

—

Obviously, some of the following depend on the size and layout of Your facility, but there also many where size doesn’t matter:

1. Offer different types of Audio Engineering and/or Producing classes, with You and/or an Associate.

2. Offer other types of Musical or Music Business classes or seminars…

3. Using extra room[s] with maybe a back-line for renting rehearsal space…

4. Using extra room[s] with pre-recording equipment charging hourly or package rate…

5. Having Music Business Professional Speakers appear… For present & potential clients to see and hear Your place, & getting Your Studio – and Your name out there, which brings in even more possible clients.

For example, if in the general Philly area, I could come in and address any requested or desired Creative, Business, or Legal topics, and answer any of their questions on the Music Industry.

6. Intimate concerts and events

And now, shifting gears a little:

7. 1^st facetious question: How many Studio Owners/ Engineers, end up Producing or Co-Producing some of Your client’s recordings?

Producers normally get paid either:

a.     “Up-front” – Cash per hour, per song, per project, etc., or…

b.     On “The Back-end” – Usually, starting out, 3% of the retail selling price, or…

c.     A combination of a & b.

8. 2^nd facetious question: How many of you end up helping write song[s] on some of Your client’s recordings? [I don’t mean just a couple of notes or words]  You may have earned and can receive…

a.     A piece of the Writing

b.     A piece of the Publishing

c.     A combination of both, or whatever is agreed to

Keep in mind, the possible cash and royalties from these contributions, may be worth a lot! And, You can receive dividends over many years…

Note re: 7 [Producing] & 8 [Songwriting] – even besides money, but also important, is having Your name on the products – that is, the ones You’re willing to put Your name behind, of course.

And, don’t forget to offer these services, in Your promotion and word of mouth…

9. During times a Studio isn’t in use, perhaps there’s an Artist[s] You really believe in, that You’d like to back, by giving them “free” Studio time… If so,

a.     Start a Production Company &/or Indie Label [Unless they pay for Studio time, You Own the Recordings!]

b.     Start a Music Publishing Company [You can write, and/or own or co-own the songs]

Note: Please keep in mind that Recordings, and Songs, are 2 different copyrights – and 2 separate sources of income!

Important Note: Get an Agreement[s] on paper before You start recording them! Suffice it to say, I could fill a small book on just stories I’ve run into where there were no contracts, and there were started or finished products, that resulted in messes, including losses of substantial income…

I recommend at least a well-written Production Agreement with the client on paper. I usually recommend a combination Production Company/Indie Label Agreement in one contract.  This gives the Production Company the right to “place” their Artist with a Label, or distribute and sell product themselves, instead, if they so wish… Perhaps You may want to become a “slash label” with another label.

The whole Recording Company game has changed.

10. If You write songs – you do have a Studio at your disposal – so get some good recordings out there. Placing songs in TV & Film is a hot thing right now!

11.   Other services [depending on expertise – and/or associates] at Your Studio or elsewhere…

Note: By sitting down with a Studio owner, I will be able to come up with other ideas that fit that person and Studio, let alone, coming up with a combination of any or all of the above.

—

Okay, so how can I personally help You? In brief, I can meet privately with You/the Studio; and/or Your Clients, whether they be Singers, Songwriters, Musicians or Producers, on the Creative side, or Managers, Publishers, Production Companies and Indie Labels, on the Business Side, and offer you both, complete, personalized guidance re: Your and/or their careers and Music-related businesses, including handling any desired or necessary contracts and negotiations.

And I can do this all for a very reasonable per hour rate… And, NO, I don’t charge for every phone call or email , I can meet with You in person, by Skype video/audio, by phone, whatever.  I work nationally…

Let’s face it, You DO want to have ways to make money and stay involved in Your client’s careers even AFTER they finish their initial recordings, and that’s where I can come in to help You, and them – and therefore You!

As a Music Business Educator & Consultant with 40 years of Studio experience, and 30 years of guiding others, I know there needs to be added sources of income for Studios to survive and succeed in the 21^st Century…

My Music Business Education Web Site:

http://www.professorpooch.com/

Other Important Information Links for You to read or listen to [“PoochCasts™”]:

A.     For more details on what I do,

http://www.professorpooch.com/Services.htm

B.     Important Articles:

1.     My latest “State of the Music Business Address”, giving You a good picture of what’s happening in the Industry.

http://www.professorpooch.com/music-business-address-2010.5.htm

2.     “Before You Sign With Anyone!” [“Everything You Need To Do To Be Prepared For Anything You Want To Do In the Music Business”]

http://www.professorpooch.com/Steps.htm

C.     My Book & Courses… You and Your clients should know the Music Business that You and They are in! [And save thousands over a College Education!]

http://www.professorpooch.com/music-business-complete.htm

I can be reached at:

My email: Pooch@professorpooch.com

215-483-7421

Unsigned Acts and Drawing Fans

by: Professor Pooch

© 2010, 2011 David J. Spangenberg

-Part 4-

Part 1 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-1

Part 2 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-2

Part 3 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-3

The Day has come. The Artists/Bands, Promoters, Venues are all ready to stage an EVENT. An EVENT people will talk about – a “Night to Remember.”

“So, I guess we really need a ‘Gimmick’…”  NO!  Gimmicks are basically useless because people can see right through them, and they are needless as well. “Gimmicks” are looked at as Gimmicks; “Great shows” are looked at as Great Shows!

It is true that, just like all songs need great “hooks”, your show can have a hook, but it should be a natural hook. Some examples being a CD release party, a guest performer, someone’s birthday party, and the like – and there’s no harm in coming up with one each show.

One of Professor Pooch’s Laws: “Be Just as Creative on the Business Side as You or the Artist is on the Creative side” fits here. My favorite hook?  Three or four Great Bands with Great Songs and Great Performances!

Your Gimmick should simply be providing a Great Event with Great Performances. Simply put, you need Artists and Venues that create a Great, Natural Vibe that hypnotizes the audience into wanting to come back to that Venue and/or to see that Band!

Every Night, every Gig should be treated as Special.  And if Everyone is in a great state of mind, and if Everyone is prepared, and if Everyone gives their all, your Events will be remembered – and in a positive way.

What the Artists, their representatives and the venues are [or should be] trying to create is “word-of-mouth”, because excited word-of-mouth travels faster and better, and with more integrity, than any other form of promoting yourself to the masses.  You are directing it to the people who matter – the fans who like you, who know people who will like you and what you bring into their lives…

Now, let’s break it down into roles:

Attention Artists [and Artist Managers]: Go out and see one or more of your favorite, successful Recording and Performance Artists and watch their show very carefully. A Great, Successful Bandknows their songs are Great Songs, and the right songs to play at that Venue/Event, and the songs flow really well together.

Why/How do they know? Simply put, a Great Band is prepared and takes care of all that beforehand, usually at rehearsals. The only thing on a Great Performer’s mind when they step on that stage is, “This is gonna be a Great Show!”  And they Make it one!

In short, Every Performance at Every Venue should be treated as a Special Event! Great Eventsmust become a Habit!

Here’s a true story – and an important lesson:

I was out to see an unsigned Band at this Club several years ago, and I met a friend there.  It was early in the night and we were the only two customers.

To make a long story, short, the band played a basically disinterested set. After my friend left I went up to them and asked them, “Hey, You guys are much better than that – what happened?”  They responded with “We were warming up and there were only a couple people there, so…”

And I told them, “Well, you just blew a great opportunity – that person who just left was a Senior Vice President of Columbia Records!”

Actually, it doesn’t matter if my friend was Joe Shmoe.  If the Artist had put on a great performance, Shmoe might’ve loved the band and gone out and told others.  And never forget that the Bartenders and Waitresses are people, too!  People who love music! People who might spread the word!  Great Performances must become Habit Forming, and nothing else is acceptable!

Are you ready and prepared to deliver a Great Show? Were you ready early in the day, or did you wait until the last minute to get everything together?  Nothing like that rushed feeling for setting you up for a rotten mood. Be prepared early so that you’re relaxed and ready to give it your all!

How tight is your set?  Does it move right along without your musicians just standing around? People have a verrrry short attention span nowadays, and there can be no delays trying to figure out which song to do next, checking to see if everyone’s ready, or whatever.

Your mind should be totally on your audience, not yourself, and you should be expressing how you feel, communicating with them through your body, mind and soul.

And besides treating your fans to a great performance, you should treat your fans really nicely before and after the show.  And, not only your fans, but also the Venues, Promoters and their staffs. If you treat them really well, wouldn’t that make them want to treat you very well, also? And want to have you back again?!

The way you act at every event creates good or bad “PR”. PR stands for “Public Relations”, which isnot the same as Promotion.  Promotion is hitting someone over the head with flyers, ads and the like, and Public Relations is how you spread your name every day of your life by the simple, normal means of being yourself.

Attention Venues [and Promoters]: The Venues are just as responsible for a successful event as the Artists!  Besides being known for the quality of the acts you book, you, the venues and promoters, too often depend on the Bands and their Management and/or Street Teams to handle all the promotion, etc.  You should put just as much into pushing the Event and should be just as well prepared as you expect the Artists to be.

And how do you treat your Artists, let alone your customers and your own staff? Are your Bartenders and Waitresses friendly, sociable and “up”? Is your staff ready for, and looking forward to a fun night ahead – instead of just going through the motions? Do you have a Venue that your staff feels is worth talking about to their family and friends? There’s that “word-of-mouth” again.

Note: Security/Bouncers should also have the same fun and friendly demeanor, with the only exception being if and when they may have to “switch hats” when needed to keep the atmosphere, safe. Ambience, “vibe”, the “feel” of the club, call it what you wish, is reflected by all the people working there, and this will help determine if all your visitors feel comfortable or not. Just doing print or internet ads doesn’t create a great Vibe – happy, sociable employees create a great vibe and make your Venue a fun place to be.

Also, most venues do little to spruce up the “room atmosphere”, when a great décor, specials on drinks, special finger food, special whatever will also really help you bring more paying people in.  It benefits you as well, having your place be the Venue to hang out over all the other places.

To sum up it all up, when all the Venues, Promoters, Artists, Managers and Street Teams treat Everyshow like an EVENT, you all will then have done your part in creating “A Music Scene.” The “In Thing” to do which will help all the Artists be seen and become successful. Which will, at the same time, help the Venues be seen and become successful. Which will likewise make the fans come out of the closet and want to become part of this Scene – because they know they will be Entertained! Entertained with the help of the Universal Language…

Music.

David J. Spangenberg

“Professor Pooch”
Music Business Career Guidance,
Educator, Author, Consultant,
Music Legal & Contract Specialist
(215)483-7421

Unsigned Acts and Drawing Fans

by: Professor Pooch

© 2010, 2011 David J. Spangenberg

-Part 3-

Part 1 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-1/

Part 2 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-2

Now, “Promotion” is the most obvious step that comes next in most people’s minds.  Artists promoting themselves, telling their fans and potential fans that they’re playing at this venue or that venue.

But my question to you is, “What is it you’re actually promoting?” That is, when you’re promoting yourself, what will be your potential fans perception [what they think] of what you’re promoting?  Will you just be one more “amateur artist” playing somewhere?

Let’s step back to that “Big Picture” we discussed earlier and take it a few steps further. What is the perception that your still-in-the-closet-potential-fans will be expecting that will make them want to come out to see you?

“Well, we’re playing at so & so’s club or bar or venue.”  In other words, “Come out to our gig”.

Let’s face reality, if people have never heard of you, why should they come out to see you?  What are you offering them that a thousand other unknowns can’t [or don't] offer? If you perceive your appearance as “just a gig”, what do you expect your potential audience to see it as!

It’s useless spending lots of time, energy and money promoting something if people’s preconceived perception will be, “Oh, why should I go there, never heard of them, no one’s talking about them, so they must be boring, a waste of time – forget it.”

My point: When you go out to see a favorite star performer in the big arenas, are you going to their “gig”? Or, are you going to, what is perceived to be a “Can’t-Miss EVENT???

Now, it is up to the Artist, for one, to make it appear as one! And to appear as one, it should BE one! And it CAN be one, WHEN the Artists perceive it as one!

Every performance at every venue should be thought of, and looked at as an EVENT, a SHOW, a SPECIAL OCCASION, an EXPERIENCE, an important reason for people to leave their house, put gas in their car, pay the cover charge, etc., and come see you.

You must start thinking of your performances as if you were performing at a scaled down arena show. You have to take those “extra steps” ensuring people that your performance and your “show” are special, and that you’re not just another band getting up in front of a microphone and playing and singing.  Lots of people can get up there and sing and play, but most of those Artists will get nowhere in today’s Music Scene.

Unless you’ve been in a cave over the last few years, you’ve noticed that this is a Visual Society, inundated with multimedia that is competing with your band – and people often don’t have to leave their houses anymore to be entertained.

“Hey man, I’m a serious Artist.  I’m not selling out for no one!”. Hey man, yourself, I’m not asking you to give up any integrity! I’m just asking you to come ALIVE! I’m not asking you to be anyone but yourself.  I’m just asking you to look at this performance as a fun and rewarding event.  And if you don’t see it as one, how do you expect anyone else to think it’s one?

All you need to do is wake up, make a slight attitude adjustment, and take whatever extra steps that you can conceive of and can afford that fits your image and makes your show stand out.

Now, it is not up to just the Artists to make your shows stand out…

Hey, Artists’ Managers, street teams, representatives of every sort: What are YOU doing to help?  Are you looking at each performance as a special one, and are you being just as creative on the biz and promotion end as your artists are on their music end? And are you making sure the Venues are on the ball?

Hey, Venues & Promoters: What are YOU doing to make people’s perception be that you’re the “In Place” to go to be entertained?  And, are you being just as creative on the biz and promotion and public relations end as the Artists are [or should be] on their music end?

To sum it up, the Artists, Managers, Promoters and Venues must work together to create this perception: an event that people will be coming to that will be extra special!

But we’re wasting a lot of time here unless everyone involved understands and takes the steps to ensure that everyone’s perception doesn’t become just another let-down. You can’t, and shouldn’t even try to fool your audience. You actually have to make this event be not just another event, but an event to be remembered!  And, you CAN!

So please tune in for Part 4, the final part, as we continue to find ways to draw in – and keep – your fans…

And, please remember, you can always reach me for highly personalized Creative, Business or Legal and Contractual guidance, at Pooch@professorpooch.com

David J. Spangenberg
“Professor Pooch”
Music Business Career Guidance,
Educator, Author, Consultant,
Music Legal & Contract Specialist
(215) 483-7421

]]> http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-3/feed/ 2 0:00:01 Listen to today’s Music Business Poochcast™ Unsigned Acts and Drawing Fans by: Professor Pooch © 2010, 2011 David J. Spangenberg -Part 3- Part 1 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-1/ Part 2 http://www.prof[...] Listen to today’s Music Business Poochcast™ Unsigned Acts and Drawing Fans by: Professor Pooch © 2010, 2011 David J. Spangenberg -Part 3- Part 1 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-1/ Part 2 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-2 Now, “Promotion” is the most obvious step that comes next in most people’s minds.  Artists promoting themselves, telling their fans and potential fans that they’re playing at this venue or that venue. But my question to you is, “What is it you’re actually promoting?” That is, when you’re promoting yourself, what will be your potential fans perception [what they think] of what you’re promoting?  Will you just be one more “amateur artist” playing somewhere? Let’s step back to that “Big Picture” we discussed earlier and take it a few steps further. What is the perception that your still-in-the-closet-potential-fans will be expecting that will make them want to come out to see you? “Well, we’re playing at so & so’s club or bar or venue.”  In other words, “Come out to our gig”. Let’s face reality, if people have never heard of you, why should they come out to see you?  What are you offering them that a thousand other unknowns can’t [or don't] offer? If you perceive your appearance as “just a gig”, what do you expect your potential audience to see it as! It’s useless spending lots of time, energy and money promoting something if people’s preconceived perception will be, “Oh, why should I go there, never heard of them, no one’s talking about them, so they must be boring, a waste of time – forget it.” My point: When you go out to see a favorite star performer in the big arenas, are you going to their “gig”? Or, are you going to, what is perceived to be a “Can’t-Miss EVENT??? Now, it is up to the Artist, for one, to make it appear as one! And to appear as one, it should BE one! And it CAN be one, WHEN the Artists perceive it as one! Every performance at every venue should be thought of, and looked at as an EVENT, a SHOW, a SPECIAL OCCASION, an EXPERIENCE, an important reason for people to leave their house, put gas in their car, pay the cover charge, etc., and come see you. You must start thinking of your performances as if you were performing at a scaled down arena show. You have to take those “extra steps” ensuring people that your performance and your “show” are special, and that you’re not just another band getting up in front of a microphone and playing and singing.  Lots of people can get up there and sing and play, but most of those Artists will get nowhere in today’s Music Scene. Unless you’ve been in a cave over the last few years, you’ve noticed that this is a Visual Society, inundated with multimedia that is competing with your band – and people often don’t have to leave their houses anymore to be entertained. “Hey man, I’m a serious Artist.  I’m not selling out for no one!”. Hey man, yourself, I’m not asking you to give up any integrity! I’m just asking you to come ALIVE! I’m not asking you to be anyone but yourself.  I’m just asking you to look at this performance as a fun and rewarding event.  And if you don’t see it as one, how do you expect anyone else to think it’s one? All you need to do is wake up, make a slight attitude adjustment, and take whatever extra steps that you can conceive of and can afford that fits your image and makes your show stand out. Now, it is not up to just the Artists to make your shows stand out… Hey, Artists’ Managers, street teams, representatives of every sort: What are YOU doing to help?  Are you looking at each performance as a special one, and are you being jus[...] Musicians, Performing pooch@professorpooch.com no no http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-2/ http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-2/#comments Fri, 07 Jan 2011 06:06:27 +0000 Professor Pooch http://www.professorpooch.com/main/?p=2512 [Read more...]]]>

Listen to today’s Music Business Poochcast™

Unsigned Acts and Drawing Fans

by: Professor Pooch

© 2010, 2011 David J. Spangenberg

-Part 2-

Part 1 http://www.professorpooch.com/main/unsigned-acts-and-drawing-fans-part-1/

The 2nd main reason it’s hard to draw new fans revolves around the word “Perception”. Perception includes, in part, the Artist’s perception or view of their “job”, and how it affects the potential fans perception of the “Unsigned Artists Scene”.

Now, please understand, the problem of perception and the answers to this problem do not lie totally on the Artist’s shoulders, but also fall on the Artists’ Managers, Venues, Promoters and Fans, which I will also cover later and throughout…

It should also be made clear here, that Artists should still care about attracting both the over 21 crowd as well as the younger potential fans. For everyone, even those over 21, there is still the need to discover something new and different, something “to do” that people will know will at least be a lot of fun; an escape.

And one main perception problem I see with Artists is one that most do not think of, or have a very narrow slant on:

“The Big Picture”.

Too many Artists believe their job is to just write and learn songs, practice them, go out and sing and play them.

An Artist’s actual performance aim should be to entertain people, to help people escape from reality, that is, to help them forget about their busy and/or crazy and/or problematic and/or boring life, to grab them and take them with the Artist on a mini-vacation – that both the Artists and the Fans will remember even after they leave the show…

So, I have the following questions for you Artists:

1. “Why should your potential fans really want to come to your shows – even if they knew you existed?”

2. “When they DO get to see you, what will make them not only want to see you again, but also want to buy your CDs and Merchandise?” And…

3. “Will they love you so much that they will want to tell others, via texts, print, internet or however, “You Gotta See This Band!” ?

And, there’s NOTHING like Word-of-mouth!

Yes, what are YOU, the Musical Artist/Group/Band, offering them that’s special and really stands out? What is so unique about you that will grab their attention and keep them as fans?

Well folks, with the advent of all this computer and networking technology, you’re not only competing with a ton of other Artists, you’re also competing with quite a few other forms of diversions, entertainment and escapism, like Video Games and countless others.

Now, let’s not forget, there’s always the basics, because as they say, “You can’t polish shit….” You obviously have to be talented as Songwriters and Artists…

But when you practice, what else are you doing besides learning songs? Whether you know it or not, you are developing [hopefully] your own “Sound”. A Sound that [hopefully] makes you sound like YOU, and no one else. That when you hear the first 15 seconds of a Performance, you are not just grabbed in, but they also know who you are!

Your Sound makes up one integral part of your overall “Image”. And, your image is a major point to consider and develop, especially nowadays. Your image could be described as: What you play, the way you play it, the way you come across to people, and the way you look.

Therefore, although during practice music is usually the main area of concentration, there are other just as important considerations that most Musicians don’t think about. For example, does your Group look “wasted”, dead, or very much alive? What does your equipment look and sound like? What kind of relationship do you wish to develop with your audience? Are you just Singing and Playing – or Performing, communicating with your audience and drawing them in to you?

Simply put, what will affect your potential fans perception of you? Where once they know you exist they will talk about you to no end…

But there’s one more very important Perception Factor that must be overcome that is necessary to draw your potential fans out of the closet so that you actually have the chance to give them a chance to get to know and love you…

So please tune in tomorrow for Part 3, as we continue to find ways to draw in your fans…

And, please remember, you can always reach me for Creative, Business or Legal and Contractual guidance, at Pooch@professorpooch.com

Unsigned Acts and Drawing Fans

by: Professor Pooch

© 2010, 2011 David J. Spangenberg

Part 1

I look all around the country and I see so many Musical Artists & Bands looking for places to play, hoping for as large an audience as possible, wanting to be heard, wanting to gain new fans, wanting to earn a living doing what they love to do – which is: Creating and Playing their Music.

Naturally, they are going to go where they can be hired, which most of the time consists of different Bars, Clubs and other drinking establishments…

Well, in theory, this should work pretty well; the Artist has places to gather and nurture fans, and they’re doing what they love to do – play Music. But, as I’m sure most of you have found out, this rarely works very well, unless you’re in a “Covers” Band…

Why? The 1st of a couple main reasons is actually very simple when you really look at it…

I remember quite well my pre-teen and teenage years, when I was a potential Music fan like anyone else of my generation, and therefore, I was introduced to, and developed a taste for Music, and the Artists of that time, who delivered it.

This Music seriously affected me in one way or another in these formidable years. Music, and the Artists who presented and represented this new music to me, appeared as one entity. And this entity, and the other influences at that time of my life really affected me and became a major part of my life during this ever-important time of my life. A time when I, this young, growing person, became – ME.

That was MY Generation, but you and every other generation living and growing socially and otherwise through these same important preteen and teenage years, accumulate your own tastes, including whom you are or were influenced by, etc. You, like me, and everyone else, are attracted to certain kinds of music and the lifestyle associated with it, and you create, and start putting together your tastes which you associate with this very important part of your life. Your social, and therefore your musical life, are formulated together – by Music, and the Musical Acts that brought this Music to you…

So, let’s look at the situation and do some simple math:

On one side we have: Unsigned Acts who are usually forced to play where they can, most often in Clubs, Bars, what have you. Clubs, in most localities, require your potential fans to be ages 21 and above where liquor is served. And, of course, the establishments want/expect you to draw lots of fans, to drink up and make them money.

The problem is, that in these types of places, most of your potential fans, being over the age of 21, are already pretty set in their tastes. They want cover-bands and songs from their generation, or they go to arena-type concerts where the “Stars” whom they associate with these songs that made up these important years, perform.

Now, on the other side we have: Those potential fans under the age of 21 who are stuck listening to whatever is programmed into their head for them to hear, which is usually coming from the Major Labels, or their Subsidiaries. Too many of these younger people have no idea what they are missing because they are not given the opportunity to see and hear some great local unsigned acts that they could discover and call their own, because they can’t see these Artists and hear their Music - because they’re not allowed in the door!

Yes, there is, of course, a seemingly obvious answer to this problem. But all-ages shows have their own issues, and only partly solve the overall situation even when these type gigs are available… The real answers run much deeper…

Now I’ll ask you to please tune in tomorrow for Part 2, where I will delve deeper into the murky mire of drawing fans to your shows – and beyond…

And, remember, you can always reach me at Pooch@professorpooch.com

Life In the Music Industry w/Professor Pooch
January 1st, 2011

By: Professor Pooch

© 2011 David J. Spangenberg

I am so lucky to have spent my entire life, since I was 16 years old, doing what I have always loved to do. I am living Proof that you can spend, and survive, 40 years in the Music Industry – and still look like I’m 20! Well, eh, I still Feel Like I’m 20, anyway!

Yep, last year marked 40 years since I started out as a rock’n roll singer-songwriter recording artist with a Band…

It marked 30 years  guiding people careers and/or handling their contracts, 20 Years, as an Educator/Author, and it’s my 10th Year on the Web, at professorpooch.com

But I have survived full-time in this Industry because I always stayed up-to-date with what’s really going on in the Industry, and not what they want you to think is going on – and spurred heavily by my insistence that I didn’t want to work at McDonalds…

There’s this saying: “If you always do what you’ve always done, you’ll always be where you are right now”. The trick is to learn from your mistakes, and then drop them out of your mind!

One thing you’ll learn about me is, I never put a box around myself and my ideas. I’m sure you’ve heard of one of my Pet Peeves” about people afraid of, or not willing to “Think outside the Box”. Folks there IS NO BOX – unless you put yourself in one! Let yourself loose!  As long as you don’t hurt yourself, or anyone else, why not…  Why Not!

Well, I don’t know about you, but I’m jumping into 2011 with all 4 paws flying… Watch out Universe…

Between myself and my amazing Team – Ryan Michael Galloway, Rebecca Firstenfeld & “Wicked D” Don Harrison, and my favorite critter, Chipper daMunk, we are cooking up all kinds of goodies that are already in progress…

But enough about me…  For the last 30 years, my goal has been, to successfully guide other people on how to “Get In, Survive & Succeed – Without Getting Screwed!

And now that the Music Business rules have changed drastically over the last few years due to the speed-of-light changes in Technology, and all things Internet and in “the Clouds”, it’s more important than ever to “Self Protect Yourself”, before you do anything else.

So 1st, read or listen, or re-read or re-listen to my Commentary: “Before You Sign With Anyone” [Everything You Need To Do To Prepare Yourself For Anything You Want To Do In the Music Business.] It is a MUST nowadays to cover your ass whether you want to go with a Major, Do It Yourself, or anywhere in between! Take Care Of This Stuff Now! Get It Out Of Your Way! Then you can move ahead much faster – but safely!

Also read the other Commentaries I put up in my “Free Library”.
They will give you a really good picture about what’s really going on in the Music Industry.

Also remember, if you have ANY questions on the Creative, Business or Legal [including Contracts] side of the Music Industry, I’m still here for YOU!

As I’ve said often, DIY is a misnomer – it’s impossible know how to, and actually to do everything Yourself!

I’m here for you to make sure you are self-protected in advance, while saving You much wasted time, energy & money, while making sure You’re career is moving forward!”

Picture having one person be both, a Personal Music Business Manager, as well as a Legal & Contract Specialist, for You or your Business/Company – without having to sign a contract! Who can answer any and all of your questions in simple, down-to-earth language, as well as guide your career in whichever direction you choose, whether you are on the business and/or creative sides… Who can also write, explain, and negotiate all of your legal contracts…

In short: Let me help you get in the door, and up the stairs, very inexpensively, by helping you with all the stuff you didn’t know you didn’t know, or don’t understand, or actually hate, so you can actually spend your time doing all the things you really love to do…

I’m easily reachable, and I respond quickly. Just email me at Pooch@professorpooch.com

One last thing: 2010 is dead and we cannot change anything that happened then or anytime in the past.  Good or bad, it’s all done and gone… But we CAN do something, starting today, to move forward! We are blessed to have survived the past and we have a brand new year to conquer – 2011… So let’s get up and out there!  Starting Today!

Here’s Wishing You a Grrrrrrreat, Happy & Successful Year Ahead!

Take Care,

PP

Listen to today’s Music Business Poochcast™

Successfully Operating an Indie Record Label
By Professor Pooch

© 2010 David J. Spangenberg

Previously I’ve covered the benefits of owning your own Indie Labels,

http://www.professorpooch.com/main/the-benefits-of-forming-an-indie-label/

and the Legal/Contractual ends,

http://www.professorpooch.com/main/forming-an-indie-record-label-setting-up-for-business/

and The Ways You Make Your Money,

http://www.professorpooch.com/main/making-money-as-an-indie-label/

—–

Ahhhh, the Dilemma of actually trying to run a successful Indie Label – while simultaneously being “it’s Artist”:

On one side, you’re an Artist, where you must keep in mind, without Great Songs and Great Recorded and Live Performances; you’re wasting a lot of time. Therefore, you should be working on your writing, arranging, producing, practicing, playing shows, recordings, multimedia – while, simultaneously, making, and keeping, the necessary close connection with your fans – or everyone’s wasting their time.

On the other side, someone has to take care of the day-to-day, as well as ongoing projects, etc., that is, the Business Side – that is, if you want it to be more than just a hobby – and you’re interested in at least, if not becoming a GaGa or a Bieber, still earning a living…

The following responsibilities would each take more than 1 blog to describe, so I’ll just list them here with a few comments…

1. Management duties: That is, you need someone with a Music Business Background, at the minimum, if at all possible, responsible for guiding the Artist, as well as running the operations necessary, including coordinating all of your and the business’s activities, including all of the rest of the responsibilities, but not limited to …

2. Record Company Duties: physical and digital “Manufacturing and Distribution”, as well as “Artist Development” [which the Majors don’t do anymore – but it’s still essential].

3. Music Publishing duties: A big source of your income from mechanicals, to airplay, to synch licenses – all separate from your Artist income

4. Agent-type work. For Performances/Booking, and product placements, etc…

5. Making Contacts for any and everything and everyone you need to make things happen.

6. Promotion: To let fans know you even exist… You can be the greatest and most creative performer, with great songs, and great recordings, but if no one knows you exist…

7. Public Relations: Is responsible for putting you and your products in a “good light” to your fans, business, etc. Never forget, as unglamorous as it may sound, You, the Artist, technically as well as actually, are a “Product”, and how you come across to them, is very important.

8. Legal and Contract Work: I’ll just say, ignore this, and you’ll probably get ripped off…

9. Accounting – keeping track of your finances, your money, in and out; and you don’t want the IRS on your tail…

10. Miscellaneous – but important – items and responsibilities, including: artwork, photography, videography, mailings, manufacturing of products [including merchandise]…

11. And the inevitable, “Where’s the money coming from to make this all work?”

Now normally, up until the last year or two, if you were “just an Artist”, and were going through a Major Label or a large Indie, a lot of the responsibilities I mentioned would be handled by the Label. However, Companies have been pushing many of the responsibilities onto the Manager, anyway, so having the right Manager could be a big step.

To me, the ultimate Manager who would be “running my show” would be able to advance my career by having amazing contacts, great-overall music business knowledge, and a lot of money to invest in me… I wouldn’t care of it was a known Management Company, or group of people who had all that was necessary to advance my career in a way that I was happy with.

[Of course I would’ve first handled everything in my “Before You Sign With Anyone!” article in my “Free Library” to make sure I retained ownership and control of everything, so as to keep or use for leverage in making the best deal]

If you can’t find that type of person or company who would be interested in being your Manager, then the alternative would be finding the right person or people to handle the Management role. It’s a fact: SOMEONE has to make decisions – and keep everyone going in the same direction, without duplicating contacts and efforts.

No matter what, if at all possible, you want all your people, not just the manager, who fit this description: “It’s just as important to be Creative on the Business end, as You are [or your client, is] on the Creative end.” All the while Staying up-to-date on all formats and ideas, and networks, etc., and a step ahead, also!

It’s also possible, if you start out on your own, and you are happy where you are, you may decide you’d like to stay where you are – with your own company. Or, meeting the situation half way, you may be able to align your label with a larger label where they will do certain particular things for you, such as manufacturing and distribution [often called a P&D deal], for example.

—

Well, that’s it for today, but you can more information on what I just covered in the 1st 3 articles in my “Free Library”, or get totally detailed parts of everything I covered, in my Book & Courses available on my site, professorpooch.com.

Also remember, if you have any questions, or need my help in any way, please email me at pooch@professorpooch.com…

Tune in for the next episode…

The Ways You Make Money with an Indie Record Label

© 2010 David J. Spangenberg

Previously I’ve covered the benefits of owning your own Indie Labels,

http://www.professorpooch.com/main/the-benefits-of-forming-an-indie-label/

and the Legal/Contractual ends.

http://www.professorpooch.com/main/forming-an-indie-record-label-setting-up-for-business/

Now let’s start making some Money!

And to keep things simple, I’m just going to stick to the particular situation where an Artist, and/or their Manager, owns his/her/their own Record Company, and the Artist, at least at the moment, the only Artist on the Company.

Yes, at some point in time you may wish to add other Artist[s] to your Label, and if you’re a Band, some of the members may wish to do solo projects.  No matter what, this will work in those situations, also…

And, although much of this information is aimed at self-ownership, it will help Producers and other type of Indie Owners to check this info out, also.  By the way, the following info is in no special order – it’s all important…

1.    If you are a Record Company and/or a Performer, sign up with “Sound Exchange” [soundexchange.com]. They will pay you royalties for Artist Performances for Internet only Webcasters, Satellite Radio [Sirius/XM], digital cable and satellite television music performances.  And you can sign up as both Artist & Record Company – and get paid twice!

Also, if you’ve had stuff on the Internet, etc., playing lately, do a search on Sound Exchange to see if you already have money due you…

Btw, they’re still fighting about it in Congress, but it looks more and more like there will be a settlement eventually, so that you can get paid for your Artist/Record Company Performances for AM & FM Radio.  We’re one of 3 countries in the world where the Artist doesn’t get paid!

2.    If you’re the Publisher, also, [You aren’t???!!! You should be!] you need to fill out your “Work Registration” form for each recording of each particular song – so they can track them and pay you! You’ll find these forms, depending on your “Performing Rights Organization” [PRO], [in the USA] at bmi.com, ascap.com or sesac.com

3.     Labeling Your Products:

a.    Every physical recording you put out should have the correct labeling on it. Don’t forget placing the two “copyright notices” on your Packaging and your CD.

(i)     Song Ownership Copyright

Ex.     All Songs © 2010 Poochstuff Publishing
and mention whether it’s BMI, ASCAP, or Sesac…

(ii)     Recording Ownership Copyright

Ex.     (P) 2010 Pooch’s Records

(iii).    Make sure Your Record Company name, and your LLC or whatever name, and a Mailing Address [Use a PO Box unless you have an office!]

b.    Every Web Site where the product is promoted or sold should also have the above information.

Simply put, it’s been proven, the more this info stands out, and doesn’t have to be searched for, the more likely it will be tracked – so you can get paid…

4.     Manufacture & Distribution:

Yes, you will need some physical copies, CD’s, DVD’s , etc.,
even in 2011, because that’s what some people want or need, it’s great promo, and it can make you money.

You have the Internet – now use it.  Check out CDBaby and Tunecore, plus there’s Reverbnation, etc., to sell and distribute your digital and physical copies.

Of course, if you can get some stores to sell it great, plus selling at your gigs, etc.

5.     Merchandising & Branding

This is a way to make a lot of money, especially nowadays, and includes selling T’s and all other kinds of products associated with Bands.

And if you can work out deals with “Sponsors”, like clothing lines, equipment companies, etc., all the better.  They may help promote you and even sponsor your touring, for examples…

6.    Placements

This has become a very important way to not only make money, but also to get known which makes you even more money.  I am talking about placing your recordings in TV Shows & Films.  Even if you have to make little or no money on an Independent Venture, it’s still very important exposure!

And remember, if they’re using your song[s] and your recordings, that equals two separate payments, though it may be licensed together…

Well, that’s it for today, but now I’m asking you to “please stay tuned for the next episode”, where I’ll discuss how to actually Operate and Run your Indie Label…  Also remember, if you have any questions, or need my help in any way guiding you through your personal maze or to handle your legal or contractual end, please email me at pooch@professorpooch.com

David J. Spangenberg
[Professor Pooch]
Music Business Consultant
Educator, Advisor, and
Contract Specialist

pooch@professorpooch.com
www.professorpooch.com

Forming an Indie Record Label: Setting Yourself Up For Business
By Professor Pooch

© 2010 David J. Spangenberg

I love it when somebody asks me, “Hey, how do I become [or start] a Record Company?”  My answer is ::Poof:: You’re a Record Company! Congratulations!  There is no one to stop you! But, there are things you need to take care of to set yourself up for a safe and successful trip. First, there are several main situations where a person, or a group of people will want to start a Record Company, so you can reap all the benefits from selling your recorded Products:

1.  You’re an Artist, [or the Artist’s Manager], and you want, or need to start one for yourself as the Artist… And/or,

2. You are a Producer, who wants to start a Record Company to put out different Artists they produce… And/or,

3. Anyone else who wants to start a Record Company to put out Artists.

No matter where you fit, there are tactical steps to take, business-wise and legally, so you not only look like you have your stuff together, but you actually do.  Therefore, no matter whether you want to Do It Yourself, or align with a Major Label later on, or anywhere in between, you’ll be prepared for anything, and in a good position to deal with anyone.
Today I’m going to focus on an Artist or Band who simply wants to release their own recordings…
Let’s start out with the Business steps and Legal Contracts you should keep in mind:

1. I recommend you Incorporate, to protect your personal assets and for tax reasons, etc. And remember to ask for an EIN# [tax ID number].  Most people nowadays form “LLC”s, which are less expensive and easier to deal with, and are fine for Indie Labels.  You can do this yourself – you don’t need an Attorney!

2. Copyrighting your Recordings.  Yes, these Copyrights are different than Copyrighting the Songs.  By registering your Copyrights, it states that you own the Recordings.

Note: You must keep in mind that the Recordings [formally the “SR” form], and the Songs [the “PA” form], can have different, or the same owners – but are [should] always considered as two separate forms of income.

3. Unless you’re doing it as a single person, you will need a “Partnership Agreement” with the others involved in owning the Company.  If you are a “Band”, it will [should] be covered in your “Band Agreement”.  This will spell out the power and responsibilities and much more…

4. An “Artist to Record Company Agreement”.  If you are the Artist, or your Band is, you should [all] sign to yourself.

Why? This way, if you decide later on to be aligned with a Major or other Indie, for Distribution, or for any other reason, you will be in a better position of control, because certain parameters have been set up, and you’ll be dealing as the Record Company.

5. An “Artist to Producer Agreement”. This occurs if someone else is producing you. They will usually offer a Contract to you. Normally a Producer gets paid either:

A. Cash by the hour or song or project, etc. [“the Front End”, or…

B. Points, usually 2 – 4%, on “the Back End”, which covers Sales/Downloads/etc., of Product, or…

C. A combination of A. & B.

Note: Especially if 1 or 2 people in the Band are the Producer[s] [not the whole Band], the actual Producers should sign to their Record Company
Also, if the Artist is signed to their Record Company, the Producer will be hired by the Record Company for producing that Artist, which can solve problems down the Road. 

6. “The Splits” = how the percentages of all income are going to be split up. This can become a major headache and must be solved before recording!  There is no problem if you are “self contained”, that is, you don’t use any outside people for any creative process, because that is [should be!] covered in your Band Agreement.  But if you use outside songwriters, publishers, producers, whomever for anything, make sure it’s all on paper, so that you don’t get “held up”, later on, fighting over monies…

Now I’m asking you to “please stay tuned for the next episode”, where I’ll discuss the way you make your money, and what you need to do so you get what you deserve, owning a Successful Indie Label…

The Benefits Of Forming An Indie Record Label

By Professor Pooch
© 2010 David J. Spangenberg

Yes, there are still many Artists and Bands out there that still dream about being signed to that Big Major Label, or at least to a Large Indie.

But, as I’m sure you know, those so-called Major Labels aren’t doing so well right now, and with the state of the Music Industry being so unstable, and with Majors laying off staff right and left, I highly recommend, at least at first, that you start out playing the part of the Record Company, yourselves, as an “Indie Label”.

Let’s face one fact: Most Majors won’t sign you anyway until you are able to sell a minimum of 25,000 physical or digital products on your own, or with an Indie – so why not You just being the Indie, yourself, meanwhile?

Here’s a few of the major benefits to at least starting out on your own:

1.     If you do well locally and regionally, and have an established presence on the Web, you will probably get a much better contract offer with an established Record Company than you normally would have – if you could get any Contract offer.

2.     You will receive and possibly retain much of your own Production Company/Recording Company royalties.

You must understand, if You paid for the Recordings, or used your own studio, or worked out a deal with a Studio, whatever with whomever – you own the Recordings! That (P) you see on a CD, stands for the owner of the “Production” [Recording].

3.     You’ll have a much better chance of keeping, or at least getting some, if not all of your Music Publishing royalties.

Please remember to separate in your mind that the Recordings are one form of Income, and the Songs, are a separate form of Income. They are considered 2 separate entities…

4.     You will have, and have a better chance keep more Artistic Control, especially if you’ve proven that people like your Music by the way your product is selling – CD’s and Downloads, etc., and that people are showing up at your gigs…

5.     You may even be able to become a subsidiary of a large company. [Ex.: “PP Records/Sony”]

Instead of going on and on, let me just say you’ll be in much better shape regarding having, and retaining, more Creative and Business Control and Power – plus much better Financial Control – You’re handling the Money.

For example, you’ll find out that you’ll make as much money selling 25,000 CD’s, than selling more than 250,000 with a Major.  And it’s great not having to wait forever to get penny number 1!

And do remember, nowadays these Major Labels are becoming only interested in 360 deals, where they’re making money on EVERYTHING you do!

By the way, there also have been many, many Artists, [and maybe you fit in here,] who just wanted to, or had to start out on their own, or with a small Indie; a few examples being maybe…

1. Because they weren’t considered “good enough” by the labels… Or,

2. Because they were too “different”, or maybe “too old”, or “not pretty enough”, or the like… Or,

3. Still others who just wanted to keep full control, period.

To sum it up, having your own Record Company, at least at first, is an option you definitely should consider. And remember, it’s also possible, if you start out on your own, and you are happy where you are, you may decide you’d like to stay where you are – being in charge of your own musical life.

Now I’m asking you to “please stay tuned for the next episode”, where I’ll discuss the how’s to’s, and what to do’s, regarding forming your own Successful Indie Label…