The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Making & Monetising Video Content' looking at how video and YouTube fits into a new artist's grand plan.
CMU:DIY x Urban Development 6: Songwriting, Publishing & PRS 3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Songwriting, Publishing & PRS' looking songwriting, song copyrights and music publishing.
CMU:DIY x Urban Development 2: Getting Started3CM UnLimited
This document provides information and advice about how independent artists can make money from their music through do-it-yourself (DIY) efforts. It discusses developing an artist brand and identity, building a support team, distributing music widely through both traditional and direct-to-fan platforms, engaging with fans on social media, connecting with media and potential brand partners, and eventually working with music industry professionals like managers, labels, and publishers. The overall message is that DIY does not mean going completely alone, but rather collaborating with others to take control of one's career in the early stages.
CMU:DIY x Urban Development 5: Social Media - Content, Campaigns & Ads3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Social Media - Content, Campaigns & Ads' looking at how social media channels fit into a new artist's marketing and fan engagement strategies.
CMU:DIY x Urban Development 1: Making Money From Music3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Making Money From Music', providing an introduction to how artists make money and the business partners they work with.
CMU:DIY x Urban Development 7: Getting On Stage3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Getting On Stage' looking at how new artists can get gigging, and the challenges and opportunities of playing live.
CMU:DIY Presents: Artist Toolkit @ The Roundhouse3CM UnLimited
The slides from the CMU:DIY sessions during the Roundhouse's Artist Toolkit Day 2015 covering how music rights make money, and how record and publishing deals work.
CMU:DIY x Urban Development 8: Getting Noticed3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Getting Noticed' looking at how blogs, websites, magazines, radio and streaming service playlists can help in building a fanbase.
CMU:DIY x Urban Development 6: Songwriting, Publishing & PRS 3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Songwriting, Publishing & PRS' looking songwriting, song copyrights and music publishing.
CMU:DIY x Urban Development 2: Getting Started3CM UnLimited
This document provides information and advice about how independent artists can make money from their music through do-it-yourself (DIY) efforts. It discusses developing an artist brand and identity, building a support team, distributing music widely through both traditional and direct-to-fan platforms, engaging with fans on social media, connecting with media and potential brand partners, and eventually working with music industry professionals like managers, labels, and publishers. The overall message is that DIY does not mean going completely alone, but rather collaborating with others to take control of one's career in the early stages.
CMU:DIY x Urban Development 5: Social Media - Content, Campaigns & Ads3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Social Media - Content, Campaigns & Ads' looking at how social media channels fit into a new artist's marketing and fan engagement strategies.
CMU:DIY x Urban Development 1: Making Money From Music3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Making Money From Music', providing an introduction to how artists make money and the business partners they work with.
CMU:DIY x Urban Development 7: Getting On Stage3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Getting On Stage' looking at how new artists can get gigging, and the challenges and opportunities of playing live.
CMU:DIY Presents: Artist Toolkit @ The Roundhouse3CM UnLimited
The slides from the CMU:DIY sessions during the Roundhouse's Artist Toolkit Day 2015 covering how music rights make money, and how record and publishing deals work.
CMU:DIY x Urban Development 8: Getting Noticed3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Getting Noticed' looking at how blogs, websites, magazines, radio and streaming service playlists can help in building a fanbase.
CMU:DIY x Urban Development 1: Making Money From Music3CM UnLimited
The document discusses three main ways for artists to make money from music: intellectual property, live performance, and building relationships with fans. Intellectual property includes songs, recordings, and merchandise. Live performance generates revenue from ticket and merchandise sales, food/drink, sponsorships, and more. Building strong fan relationships allows artists to directly sell recordings, tickets, merchandise, subscriptions, and other premium products to fans. The music industry consists of companies that specialize in these different revenue streams such as record labels, music publishers, merchandisers, booking agents, promoters, and direct-to-fan companies. Artist management coordinates work across these different parts of the industry and revenue streams.
The slides from the CMU:DIY Beginner's Guide session at the Frequencies event staged by Music For Youth and Bristol Plays Music at the city’s Colston Hall.
CMU:DIY x Urban Development 06 – Where Labels & Publishers Fit In3CM UnLimited
This document discusses various ways that musicians can make money from their music, including through intellectual property rights like copyright and trademarks, live performance, and building fan relationships. It outlines the roles of the music industry, including record labels, publishers, managers, agents, and others. It provides more details on record deals with labels, including the advances and ownership terms labels seek in exchange for marketing and distribution. It also covers publishing deals and how publishers help songwriters through advances, rights management, and connections while taking ownership stakes in songs.
Lyrics, music, recordings and production - Jack Mason
Mixed and mastered by Latin Grammy winner - Ale Gaiotto
Video production - Berto Ortiz, Patricia Lobo, Patty S, Jack Mason
all rights reserved:
Jack Mason Live LLC
Jackmasonlive.com
Music publishing involves acquiring, marketing, and managing song copyrights to generate income. Publishers earn money through licensing songs for use in films, TV, advertising, and other media. They provide services like registering copyrights, collecting royalties, and promoting songs. Publishing deals typically split ownership and income between songwriters and publishers. Major publishers have music industry connections and administrative infrastructure to support songwriters. The presentation cautions that songwriters should carefully consider long-term ownership and control of their copyrights in any publishing deal.
The document discusses various ways for musicians to make money from their music, including performing, exploiting intellectual property rights, and building relationships with fans. It notes that pursuing a career in music will require significant time and money to pay for costs like touring, recording, and promotional activities. Various music industry roles are outlined that can help artists, such as managers, agents, record labels, and publishers, but musicians need to consider deals carefully to avoid losing control over their copyrights or revenues.
Permission is generally required to use copyrighted music. Music licensing provides this permission and involves songwriters, publishers, record labels, and performing rights organizations. There are different types of music licenses including mechanical licenses for recorded music, synchronization licenses for use in video, and performing rights licenses for live performances. Licensing fees are determined by factors like territory, media, and usage. Revenue from popular songs can reach millions from licenses while licensing agencies collect and distribute royalties to copyright holders.
Music copyright law protects both the musical work (composition) and sound recordings. The law provides copyright owners exclusive rights over the reproduction, distribution, public performance, and creation of derivative works of their copyrighted material. Copyright is automatic and protects original works fixed in a tangible form. It lasts for the life of the author plus 70 years. Exceptions include works in the public domain and materials with expired copyrights like some pre-1923 publications.
The document discusses the development of an app called Broadway Boogie Woogie that turns a person's commute into a musical composition. It maps elements of the commute like street names to musical notes and uses factors like weather and speed of movement to influence the sound. The goal is to make commuting a more creative experience by allowing users to record their route, listen to the resulting music, and share their creations with friends.
Hedera for Music Streaming Micropayments | Hedera18Hedera Hashgraph
YouTube Video
https://youtu.be/AqkjLwt0W2E
Speaker(s)
Brian Antar | Co-Founder & CEO | Hearo.fm
Andrew Antar | Co-Founder | Hearo.fm
Abstract
The music industry has been a long tale of technological disruption. From records to CDs to Napster to iTunes to Spotify, the emergence of new technologies enabled new modes of distribution and new business models. One common theme has remained throughout: artists never get a fair shake. With the emergence of blockchain and distributed ledger technology, a lot of speculation has swirled around how smart contracts can increase transparency and efficiency of rights attribution. While this might help the existing music industry improve their status quo of paying artists minuscule amounts per stream over 2 years late, I believe most are missing the bigger picture. The incumbent music industry licensing frameworks are designed to take the majority of the streaming revenue before it reaches the artists, and distributed ledger technology enables new business models for the long tail of artists to go direct to fan and cut out the middlemen. Hedera Hashgraph is the first technology platform that will enable truly seamless global micropayments for music streaming which can be deployed on an app at scale. With the perfect trinity of high speed performance, mathematically sound consensus, and virtually no transaction fees, Hedera Hashgraph is light years ahead of its competitors in both hard technology and governance structures. The groundbreaking potential of hashgraph is to revolutionize the music industry and democratize music distribution by disrupting the existing industry juggernauts. The ripple effect will be profound and the power will lie back in the hands of the artists.
This document provides an overview of do-it-yourself (DIY) strategies for musicians to make money from their music. It discusses that DIY does not necessarily mean doing everything alone, but rather collaborating with others who bring different skills. The document outlines revenue sources like intellectual property, live performances, fan relationships, and recommends musicians build a team of collaborators like photographers, videomakers and marketers. It also discusses organizing the business, developing the brand, distributing music online and through streaming services, using social media to build a fanbase, creating engaging content, connecting with media and brands, and eventually working with music industry partners through management.
CMU:DIY x Urban Development 05 – Getting A Gig3CM UnLimited
The document discusses various aspects of the music industry and how artists can make money, especially through live performance. It describes the roles of management, record labels, merchandisers, publishers and other parts of the music industry. It then focuses on the live industry, explaining the roles of booking agents, promoters and ticket agents in staging live shows. Finally, it provides advice on building a fan base through gigging, social media, marketing and content in order to sell tickets, downloads and merchandise to fans.
CMU:DIY x Urban Development 3: Record Labels & Deals3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Record Labels & Deals' looking at the role record labels play and the deals they do with artists.
This document discusses various ways for musicians to make money from their music. It explains that musicians require income to support music production and distribution costs as well as living expenses. Musicians can earn money through intellectual property like compositions, recordings and trademarks. They can also earn money through live performances and building direct relationships with fans by selling merchandise, tickets and premium offerings. The music industry consists of companies that specialize in different revenue streams like record labels, music publishers, promoters and fan-focused businesses. Musicians typically work with multiple industry partners and require artist management to coordinate their careers.
CMU:DIY x The Great Escape: Intro Notes3CM UnLimited
This document discusses various ways for musicians to make money, including through intellectual property rights over their music compositions and recordings, live performances, and building relationships with fans. It notes that live performance only becomes profitable at larger theatre-level venues and that grassroots musicians mainly make income from copyrights. Building a fanbase through self-promoted gigs and pay-to-play gigs is important. Musicians can sell recordings, tickets, merchandise, and premium products/experiences to their fanbase. The document also provides an overview of the music industry and advice on getting started as a musician, including organizing one's own gigs to build a fanbase.
Coursework Music Video Powerpoint 1 10 14 jackbrooks17
The document discusses the purposes of music videos, which include promotion and generating revenue. It explains that music videos promote products through placements and advertisements. They also extend artists' income through sales of associated products, licensing to broadcasters, and monetizing views on websites like YouTube which display ads. The document also notes how music videos expand artists' outlets through television broadcasts, websites, and social media sharing, and how synergy between film/TV soundtracks and music videos can mutually benefit both.
Music videos are short films used to promote songs and artists. They have three main production stages - pre-production where ideas are developed, production where filming occurs, and post-production where editing and effects are added. Videos aim to promote singles and albums, boost music sales and streams, and increase an artist's celebrity profile. Famous directors like David Fincher and Spike Jonze are known for high-quality, successful videos. Budgets can range from $50,000 to millions, depending on scale and vision. Audiences now access videos primarily through YouTube, as well as television channels and stores like iTunes.
An executive producer oversees the entire music production process to ensure it is completed on time, on budget, and meets a high standard. A music producer is more creatively involved and contributes to song arrangements, recording sessions, and overseeing the recording process. Both roles play an important part in the production of music videos from the initial ideas and script development stages through to the final product.
CMU:DIY x Urban Development 1: Making Money From Music3CM UnLimited
The document discusses three main ways for artists to make money from music: intellectual property, live performance, and building relationships with fans. Intellectual property includes songs, recordings, and merchandise. Live performance generates revenue from ticket and merchandise sales, food/drink, sponsorships, and more. Building strong fan relationships allows artists to directly sell recordings, tickets, merchandise, subscriptions, and other premium products to fans. The music industry consists of companies that specialize in these different revenue streams such as record labels, music publishers, merchandisers, booking agents, promoters, and direct-to-fan companies. Artist management coordinates work across these different parts of the industry and revenue streams.
The slides from the CMU:DIY Beginner's Guide session at the Frequencies event staged by Music For Youth and Bristol Plays Music at the city’s Colston Hall.
CMU:DIY x Urban Development 06 – Where Labels & Publishers Fit In3CM UnLimited
This document discusses various ways that musicians can make money from their music, including through intellectual property rights like copyright and trademarks, live performance, and building fan relationships. It outlines the roles of the music industry, including record labels, publishers, managers, agents, and others. It provides more details on record deals with labels, including the advances and ownership terms labels seek in exchange for marketing and distribution. It also covers publishing deals and how publishers help songwriters through advances, rights management, and connections while taking ownership stakes in songs.
Lyrics, music, recordings and production - Jack Mason
Mixed and mastered by Latin Grammy winner - Ale Gaiotto
Video production - Berto Ortiz, Patricia Lobo, Patty S, Jack Mason
all rights reserved:
Jack Mason Live LLC
Jackmasonlive.com
Music publishing involves acquiring, marketing, and managing song copyrights to generate income. Publishers earn money through licensing songs for use in films, TV, advertising, and other media. They provide services like registering copyrights, collecting royalties, and promoting songs. Publishing deals typically split ownership and income between songwriters and publishers. Major publishers have music industry connections and administrative infrastructure to support songwriters. The presentation cautions that songwriters should carefully consider long-term ownership and control of their copyrights in any publishing deal.
The document discusses various ways for musicians to make money from their music, including performing, exploiting intellectual property rights, and building relationships with fans. It notes that pursuing a career in music will require significant time and money to pay for costs like touring, recording, and promotional activities. Various music industry roles are outlined that can help artists, such as managers, agents, record labels, and publishers, but musicians need to consider deals carefully to avoid losing control over their copyrights or revenues.
Permission is generally required to use copyrighted music. Music licensing provides this permission and involves songwriters, publishers, record labels, and performing rights organizations. There are different types of music licenses including mechanical licenses for recorded music, synchronization licenses for use in video, and performing rights licenses for live performances. Licensing fees are determined by factors like territory, media, and usage. Revenue from popular songs can reach millions from licenses while licensing agencies collect and distribute royalties to copyright holders.
Music copyright law protects both the musical work (composition) and sound recordings. The law provides copyright owners exclusive rights over the reproduction, distribution, public performance, and creation of derivative works of their copyrighted material. Copyright is automatic and protects original works fixed in a tangible form. It lasts for the life of the author plus 70 years. Exceptions include works in the public domain and materials with expired copyrights like some pre-1923 publications.
The document discusses the development of an app called Broadway Boogie Woogie that turns a person's commute into a musical composition. It maps elements of the commute like street names to musical notes and uses factors like weather and speed of movement to influence the sound. The goal is to make commuting a more creative experience by allowing users to record their route, listen to the resulting music, and share their creations with friends.
Hedera for Music Streaming Micropayments | Hedera18Hedera Hashgraph
YouTube Video
https://youtu.be/AqkjLwt0W2E
Speaker(s)
Brian Antar | Co-Founder & CEO | Hearo.fm
Andrew Antar | Co-Founder | Hearo.fm
Abstract
The music industry has been a long tale of technological disruption. From records to CDs to Napster to iTunes to Spotify, the emergence of new technologies enabled new modes of distribution and new business models. One common theme has remained throughout: artists never get a fair shake. With the emergence of blockchain and distributed ledger technology, a lot of speculation has swirled around how smart contracts can increase transparency and efficiency of rights attribution. While this might help the existing music industry improve their status quo of paying artists minuscule amounts per stream over 2 years late, I believe most are missing the bigger picture. The incumbent music industry licensing frameworks are designed to take the majority of the streaming revenue before it reaches the artists, and distributed ledger technology enables new business models for the long tail of artists to go direct to fan and cut out the middlemen. Hedera Hashgraph is the first technology platform that will enable truly seamless global micropayments for music streaming which can be deployed on an app at scale. With the perfect trinity of high speed performance, mathematically sound consensus, and virtually no transaction fees, Hedera Hashgraph is light years ahead of its competitors in both hard technology and governance structures. The groundbreaking potential of hashgraph is to revolutionize the music industry and democratize music distribution by disrupting the existing industry juggernauts. The ripple effect will be profound and the power will lie back in the hands of the artists.
This document provides an overview of do-it-yourself (DIY) strategies for musicians to make money from their music. It discusses that DIY does not necessarily mean doing everything alone, but rather collaborating with others who bring different skills. The document outlines revenue sources like intellectual property, live performances, fan relationships, and recommends musicians build a team of collaborators like photographers, videomakers and marketers. It also discusses organizing the business, developing the brand, distributing music online and through streaming services, using social media to build a fanbase, creating engaging content, connecting with media and brands, and eventually working with music industry partners through management.
CMU:DIY x Urban Development 05 – Getting A Gig3CM UnLimited
The document discusses various aspects of the music industry and how artists can make money, especially through live performance. It describes the roles of management, record labels, merchandisers, publishers and other parts of the music industry. It then focuses on the live industry, explaining the roles of booking agents, promoters and ticket agents in staging live shows. Finally, it provides advice on building a fan base through gigging, social media, marketing and content in order to sell tickets, downloads and merchandise to fans.
CMU:DIY x Urban Development 3: Record Labels & Deals3CM UnLimited
The slides from the CMU:DIY x UD Industry Takeover Seminar called 'Record Labels & Deals' looking at the role record labels play and the deals they do with artists.
This document discusses various ways for musicians to make money from their music. It explains that musicians require income to support music production and distribution costs as well as living expenses. Musicians can earn money through intellectual property like compositions, recordings and trademarks. They can also earn money through live performances and building direct relationships with fans by selling merchandise, tickets and premium offerings. The music industry consists of companies that specialize in different revenue streams like record labels, music publishers, promoters and fan-focused businesses. Musicians typically work with multiple industry partners and require artist management to coordinate their careers.
CMU:DIY x The Great Escape: Intro Notes3CM UnLimited
This document discusses various ways for musicians to make money, including through intellectual property rights over their music compositions and recordings, live performances, and building relationships with fans. It notes that live performance only becomes profitable at larger theatre-level venues and that grassroots musicians mainly make income from copyrights. Building a fanbase through self-promoted gigs and pay-to-play gigs is important. Musicians can sell recordings, tickets, merchandise, and premium products/experiences to their fanbase. The document also provides an overview of the music industry and advice on getting started as a musician, including organizing one's own gigs to build a fanbase.
Coursework Music Video Powerpoint 1 10 14 jackbrooks17
The document discusses the purposes of music videos, which include promotion and generating revenue. It explains that music videos promote products through placements and advertisements. They also extend artists' income through sales of associated products, licensing to broadcasters, and monetizing views on websites like YouTube which display ads. The document also notes how music videos expand artists' outlets through television broadcasts, websites, and social media sharing, and how synergy between film/TV soundtracks and music videos can mutually benefit both.
Music videos are short films used to promote songs and artists. They have three main production stages - pre-production where ideas are developed, production where filming occurs, and post-production where editing and effects are added. Videos aim to promote singles and albums, boost music sales and streams, and increase an artist's celebrity profile. Famous directors like David Fincher and Spike Jonze are known for high-quality, successful videos. Budgets can range from $50,000 to millions, depending on scale and vision. Audiences now access videos primarily through YouTube, as well as television channels and stores like iTunes.
An executive producer oversees the entire music production process to ensure it is completed on time, on budget, and meets a high standard. A music producer is more creatively involved and contributes to song arrangements, recording sessions, and overseeing the recording process. Both roles play an important part in the production of music videos from the initial ideas and script development stages through to the final product.
EDGDE is a podcast platform that allows creators to publish content and get paid directly by listeners through a 70/30 revenue split. It has seen steady growth since launching, with the potential for significant further growth given the $250 billion global market for streamed media content. EDGDE addresses problems faced by both creators and listeners by offering a direct payment model as an alternative to ads or subscriptions.
The first step in making a music video is developing a treatment that presents the director's concept based on the song's mood or message. Directors must also consider licensing, locations, logistics, and audio synchronization to produce high-quality music videos within budget. Music videos have the main purposes of promotion and entertainment, with YouTube and television being the primary platforms for distributing music videos and helping artists gain attention.
The document discusses the production, distribution, and exhibition of music videos. It defines the roles of executive producers, music producers, directors, and record labels in the production process. Executive producers manage the business aspects while music producers focus on the music. Directors oversee the entire production. Record labels distribute the music and promote the video. Distribution methods include music channels, iTunes, YouTube, websites, and independent labels. Videos can be viewed on platforms like YouTube and VEVO, at festivals, and on some music channels, though censorship may restrict certain content.
Music videos serve several purposes: to promote new singles and keep artists' songs in the charts as piracy has reduced music sales; to advertise other merchandise and products through product placement; and to generate revenue, as the struggling music industry relies on alternative income sources like brand partnerships displayed in popular music videos seen by millions online.
Music videos are important for promoting new singles and keeping artists' songs in the charts. They advertise the single, help the artist gain recognition, and allow other products to be promoted like perfumes or merchandise. Brands also partner with popular artists to advertise their own products through product placement in music videos. This has become necessary for artists and the music industry to make money, as album and single sales have declined due to piracy and streaming services. Music videos are one way for artists to release new music and multiple products at once, while also providing branded entertainment for companies.
CMU Insights @ The Great Escape: Music + YouTube3CM UnLimited
This document provides a brief history of YouTube and music. It discusses how YouTube began with mostly user-uploaded music content without licenses, leading music companies to eventually license YouTube. YouTube developed tools like Content ID to help rights holders manage their content. Over time, YouTube became both an important platform for music marketing and consumption. However, the music industry argues that YouTube does not generate enough revenue from ads compared to subscription services. This has fueled debate around safe harbors and YouTube's liabilities to rights holders. The document also outlines various ways that artists and rights holders can generate revenue from YouTube.
Music 4.5 Opening remarks - The Story So Far...
Introduction by the chair of the day
Chris Cooke, Managing Director & Business Editor, CMU
Chris Cooke, Managing Director & Business Editor, CMU
The document discusses the production process of music videos, including pre-production planning, filming during production, and post-production editing. It notes that pre-production can take months or years and involves choosing a suitable production company and developing storyboards. During production, days of filming are required to capture professional footage. Post-production involves editing the shots and adding finishing touches like lip syncing before the video's release online and through channels like MTV.
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Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
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How to Manage Your Lost Opportunities in Odoo 17 CRMCeline George
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3. CMUdiy.com
HOW DO YOU MAKE MONEY FROM MUSIC?
INTELLECTUAL PROPERTY
LIVE PERFORMANCE
FAN RELATIONSHIP
4. CMUdiy.com
MEET THE MUSIC INDUSTRY
THE MUSIC INDUSTRY
MANAGEMENT (+ lawyer and accountant)
MUSIC RIGHTS
Record Label
Merchandiser
Music Publisher
LIVE INDUSTRY
Booking Agent
Promoter
Ticket Agent
FAN BUSINESS
Direct To Fan
Brand Agency
5. CMUdiy.com
WHAT DO WE MEAN BY DIY?
Artist community has talked a lot about ‘DIY’ in the last decade.
Because digital channels make it easier to distribute and engage.
And labels sign new artists later – so you have to DIY at the start.
But we don’t really mean ‘do it yourself’.
There isn’t time – and you’ll need other talents on your team.
6. CMUdiy.com
WHAT’S THE END GAME?
Some artists see DIY as the end game – they want full control.
But most DIY artists still ultimately want to get signed.
YOUR CAREER
MANAGEMENT
AGENT
LABEL DISTRIBUTOR
PUBLISHER
7. CMUdiy.com
MEET THE MUSIC INDUSTRY (AGAIN)
THE MUSIC INDUSTRY
MANAGEMENT (+ lawyer and accountant)
MUSIC RIGHTS
Record Label
Merchandiser
Music Publisher
LIVE INDUSTRY
Booking Agent
Promoter
Ticket Agent
FAN BUSINESS
Direct To Fan
Brand Agency
8. CMUdiy.com
LABEL PROVIDES
Advance.
Production costs for debut album.
Marketing costs for debut album.
Distribution of physical and digital content.
Rights management.
Contacts, influence, negotiating power.
Artist development and support.
9. CMUdiy.com
LABEL WANTS
Investment launches artist, but label makes demands.
Exclusivity for set period (number of albums).
Ownership of sound recordings – normally outright.
Pays royalty – BUT only after recoupment.
So initially no income from recordings – except 50% of PPL.
Royalty depends on deal – usually a minority split.
Label allowed to make future deductions for ongoing costs.
11. CMUdiy.com
MUSIC VIDEO: WHERE WE’RE AT…
The video has been a key part of the music mix for decades.
Became important marketing tool in 1980s because of MTV.
But arguably more important than ever.
Mainly because of…
13. CMUdiy.com
YOUTUBE IS MULTIPLE THINGS…
a streaming
service
a publishing
platform
a promotional
platform
a media
platform
a non-
commercial
licensing
platform
14. CMUdiy.com
SETTING UP A YOUTUBE CHANNEL
New artists probably need a YouTube channel.
Which means you need to create video content.
You should look to monetise your channel –
even though income will likely be modest.
A distributor can also get you access to Content ID –
which means you can make money when other people use
your music in their videos.
15. CMUdiy.com
SETTING UP A YOUTUBE CHANNEL
What content can you put on your channel?
Audio with static images or slide show?
Can you make videos to go with your key tracks?
But successful YouTube channels update regularly.
What other content could you create?
There is more to music video than the ‘music video’.
16. CMUdiy.com
SETTING UP A YOUTUBE CHANNEL
YouTube is principally a marketing channel at the outset.
But you also need to market your channel!
How can you drive people to your content?
How can you use your channel to drive traffic to other
channels to capture data and upsell?