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All You Need to Know About the Music Business: Eighth Edition?
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OT: Se ti piace il mondo della musica non starci troppo a pensare e comincia a gestire qualche gruppo di amici in cui credi (avrai amici musicisti no?): cura i loro social, trova serate per loro e cerca di costruire una fanbase in modo tale che in futuro possano avvicinarsi ad un etichetta. Purtroppo questi meccanismi vanno imparati con l'esperienza piuttosto che in un master/corso di laurea (che sono molto utili invece per fare networking). Ti consiglio questo libro per farti un'idea!
Per il corso di studi da scegliere ti consiglio quello che ti hanno già detto: cerca di capire cosa ti piace fare, e poi muoviti di conseguenza..
Mechanical royalties are set by Federal law, though most major label contracts pay 75% or so of the statutory rate which is 9.1 cents per song under 5 minutes in length. Performance royalties depend on the artists contribution to the song in question. You can see the percentage each writer gets for some songs in the BMI/ASCAP databases but you won't get actual payment information.You won't find a database of this because it's based on individual contracts.
This book will tell you as much as you need to know about the regulations and customs: https://www.amazon.com/Need-Know-About-Music-Business/dp/1451682468
But you're not going to get individual dollar amounts.
Hold up! I have a music business degree and work in the music business. First off I suggest reading This book it's American based, but still relevant.
The long of the sort of it with manager is, they get 15-20% of whatever you make, that they're a part of, which is usually about everything. So you make $1,000 for a show, they get between $150-$200 of that. You never pay them up front. Same with agents, but agents get 10%. The difference between an agent and a manager is, a manger is a part of everything you do, while an agent just books shows, and route tours(so booking multiple shows) with smaller bands the manager and agent can be the same person. Bands I work with(Which is might be specific to my genre, not sure) usually pay managers 15% of live(because agents) and 20% of recorded + deals or whatever else.
OH also labels...labels give you money, not the other way around. The only label that I know that asks for money is Thirty Tigers, but they're adamant that they're not a label they're "label services" and signing a label contact is something that requires a lawyer. I feel like I need to repeat IF YOU WANT TO SIGN TO A LABEL GET YOUR OWN LAWYER. They are worth the $300-$500 it will cost.
If you have any other questions let me know, but really you should read the passman book.
Listen up, bitches, because here's how copyright law works in the US.
Covers distributed without paying for a mechanical license to produce them is in violation of copyright law. This is grounds for takedown.
Any copyrighted music set to video without paying for a sync license is in violation of copyright law. This is grounds for takedown.
If the video happens to contain a sound recording that you do not have the rights to distribute, it is in violation of copyright law. JESUS TAPDANCING CHRIST ON A STICK, THIS IS GROUNDS FOR TAKEDOWN.
And for fuck's sake, this is not goddamn fair use. This is not for criticism or education. And for that matter, fair use is a legal defense and only matters in court after a judge has made a decision, not a shield against takedowns.
tl;dr lol no.
Source: rtfm
Copyright infringement won't necessarily land you in jail but a pretty good source to learn is All You Need to Know About the Music Business by Donald Passman.
Very informative about all the copyright acts and how they've changed over the years. Will also help you understand the difference between the two types of a copyrights a song can hold (composition and sound recording).
Waaay better than Ari's book is "All You Need To Know About The Music Business" by Don Passman. Widely regarded as music industry bible
Hey I actually managed a rapper for a few months so I do have some experience. In terms of DIY and independence I highly recommend you buy this book before doing anything major.
I myself own a copy and was recommended by a mentor and it’s kind of like the Bible in terms of knowing the main ins and outs of the business side.
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I’m sure other people will have more info. But once again that book is golden.
I could say the same to you. Source your comments. What would you like from me? http://www.amazon.com/Need-Know-About-Music-Business/dp/1451682468
You have two options.
Option 1: Buy and read this book, approach various video game companies until you get interest (perhaps through /u/TheApothecaryAus's method), get a lawyer to help draw up a contract, and licence your music.
Option 2: Buy and read this book, approach a label with a lawyer (go to Universal Music Group first to take advantage of the right of first refusal), and have them market you to video game designers.
The book in question is on the shelf of every music exec at UMG. I mean it - all of them.
You do realize that every recording contract is different and each artist has the opportunity to negotiate their deal right? It's not difficult to pick up Donald Passman's book and know exactly what you are able to get and exactly what little tricks a label may or may not try and pull. At the end of the day, if an artist doesn't like the deal being offered, they can just not sign it!
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