Confessions of a Record Producer: How to Survive the Scams and Shams of the Music Business
Hal Leonard Corporation, 2006 - 335 lappuses
This fully updated and expanded book is not about how the music business should work, but how it does work. Industry insider Moses Avalon tells it like it is - how producers dip into budgets, artists steal songs, lawyers write contracts in code - and shows you how to survive these and other career-stifling situations. Deconstructing actual major and indie-label record deals, this book dissects each party's involvement and offers perspective on their actual roles, how much they get paid, and what their agendas really are. Engineers, managers, producers, artists, labels and lawyers each take their turn in the hot seat. It also outlines realistic alternatives for newcomers, such as "baby" production deals and vanity labels. This third edition includes: an entire chapter comparing ASCAP and BMI - a publishing first * new insights for indie artists, including the lowdown on digital-distribution scams and independent AandR * information on new legislation and its impact on sampling and other legal matters * new music-industry "family trees" that reflect recent consolidation and reorganization * 80 pages of new material * and much more.
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Conflicts of Interest
Publicists Booking Agents Tour Managers and Image Consultants
The Producer as a Virtual Partner
Wheres My Contract?
What You Dont Know Will Hurt You
Screwing the Producer or the ReRecord
Letters of Direction LODs
WrapUp Who Earned What?
Counteracting the Effects of the Control Freak
Companies Companies Companies
Copyright Administration Companies
The Harry Fox Agency the HFA
Understanding Distribution or Why Are There So Many Logos on the Record?
OneDeep TwoDeep Labels
The Major Label Deal from the Artists Point of View
Recoupable Financing The Moving Goal Post
The Big Four Deal with RealDeal Numbers
So How Long Till I See Some Money?
Packaging Deductions and Giveaways
The 34 Royalty
Deep in the Hole
Returns Reserves and Cutouts
CrossCollateralization or Robbing Peter to Pay Paul
A Major Label Deal Is Like Having a Credit Card at 66 Interest
DropKicked from the Roster
How Long Till the Record Comes Out?
Be Careful What You Wish For
Publishing Deals The 200 Pie or 100 of Something is Better than 200 of Nothing
Publishing Advances and Their Deductions
The Workaround for Recoupment Hell
Collecting Money in the New Economy
The Major Label Deal from the Producers Point of View
The ArtistProducer Conflict
The Allin Deal
The Spec Deal
Kickbacks to AR
The Major Label Deal from the Record Companys Point of View
To the Artist
A Bit of History
Billboard or Bullboard?
The Independent Record Deal The Birth of the New Indie
The Independent Record Deal from the Point of View of the Record Company
The Independent Record Deal from the Point of View of the Artist
Publishing and Royalties
Indie in Disguise
The Baby Record Deal
The ArtistProducer Production Deal
The Joint Venture
Cutting Out the Producer
The Vanity Label
The Virtual Budget and the Virtual Producers Fee
Producers Compensation Package
Scams and Shams
Watching Your Back
The Myth of Copyright Protection or Hey They Stole My Song
When Band Members Sue Each Other
Collecting Your Money
9to1 Publishing or Why Is There Only One Good Song on the Record?
CD Replicator Scams or Getting Duped by the Duper
The 1x vs 4x Debate
Fingerprinting and Bootlegging
Digital Deceptions iTunes Scams
Termination and Opting Out or See You Later Aggregator
Independent AR Services
Sneaky Lawyer Stuff
Internet Labels and Their Nonexclusive Contracts
The Little Squeeze
Letters of Misdirection
Voted OutThe Band as a Corporate Entity
Warner Bros Record Contract
Miscellaneous Myths and Untruths
A R Dogma
Labels Sign Bad Acts for Tax WriteOffs
The Mercy Signing
SoundScan Tells All
Illegal FileSharing Is Killing the Music Business
Are Sales Really Down?
So Are There Real Losses?
ASCAP vs BMI PRO Pontification
Should You Bother to Join Either of Them?
Who Pays More
Were a Nonprofit So You Can Trust Us
Okay So Were Not Really a Nonprofit Big Whoop We Still Act Like One Right?
So Who Owns These Guys?
Who Controls ASCAP
The Bully Factor
So Which PRO Is Right for You?
You Must Record on a Digital Medium with at Least 100 Tracks
Why the Cassettes Sound Muddy
Getting Credit Where Credit Is Due
Major Label Philosophy on Giving Credit to Sidemen and Engineers
How to Get Even
The Coproduction Credit
People in the Business Jews?
Are Women Discriminated Against in the Music Business?
The Big Picture or the Record Industry from the Point of View of the Rest of the World
Do Record Companies Really Make Any Money?
A Map of the Financial Universe
Major Label Family Trees The Big Four as of 2005
Family Trees of Big Six Distributors as of January 1998
WHO IS MOSES AVALON AND WHAT IS THE MOSES AVALON COMPANY?
actually advance agree agreement album artist ASCAP band become better billion budget called cents chapter claim collect comes complete consider contract copy cost deal difference distribution don't earn engineer example fact Four getting give Group independent indie industry interest it's keep lawyers less license live look major label manager master means months musicians never offer once paid performance person play probably producer producer's profit promotion PROs protect publishing radio reason record company record deal release royalty sample sell side single sold sometimes song songwriters sound studio tell things union units usually vanity Warner Bros writers