The music industry relies heavily on music publishers or companies to develop, protect, and value music. These entities handle both the creative and business aspects, allowing songwriters and composers to focus on their artistic work. This artist-publisher relationship is crucial as many artists and emerging composers may not have sufficient knowledge of copyright laws and royalties. Therefore, music publishers serve as representatives for artists by collecting royalties and managing copyrights when their compositions are used commercially.
When an artist’s song or composition is played on the radio or used in any other form of broadcasting communication, the artist receives royalties. The process of obtaining ownership and administrative rights to the artist’s copyrights through publishing contracts allows the publisher to handle this.
The artist’s main strengths are in the creative area, particularly composing and songwriting. The publisher’s specialty lies in managing the artist’s catalog. This includes not only collecting royalty payments (excluding performing royalties) but also promoting and pitching their songs or compositions for use in television, movies, and other forms of broadcasting. Additionally, publishers negotiate copyright agreements and distribute royalties to the artist from all income sources. Publishers dedicate a significant amount of time to promoting and selling the artist’s work.
Music publishers will typically contact advertisement companies and television producers in order to include their songs. In the case of movies and TV shows, they often seek songs that have a similar sound to popular hits or that fit the mood of the production. The publisher will search their catalog to find a suitable song that either resembles a hit or is appropriate for the desired ambiance. The role and capabilities of music publishers can vary depending on the size of the company and available resources. For instance, a small individual publisher may primarily focus on managing royalty payments and copyrights without taking on additional responsibilities.
A larger music publisher, potentially linked to a record company like Sony or Warner Chappel, has the resources to support emerging talent as they cultivate their skills. This support can take the form of financial assistance for living expenses, including accommodation, utilities, and meals for the artists. Additionally, they can provide facilities and equipment to help the new talent refine and produce their music.
An independent music publisher will analyze the genre of music that the new talent offers and will guide the artist’s writing towards a specific market, whether it is bubble gum pop or melodic death metal. Independent publishers like Wipe Out Music collaborate more closely with artists and typically have a larger number of songwriters and producers. While upcoming artists may sometimes prefer larger publishers for financial support, I believe independent publishers are better because they offer a broader creative scope without neglecting the business essentials.
Once the artist signs a deal with the music publisher, the song (lyrics, composition) will be registered in collecting societies such as PRS, PPL, or MCPS. The PRS collects royalties and ensures proper use of the music. The MCPS covers mechanical royalties for commercially released albums. To receive mechanical rights royalties, licensing is necessary. Publishers inform record labels about the artist’s song and provide relevant information for licensing. A license is then issued to the record label by the publisher for a specific song. With cleared rights, the record label can produce an album and pay royalties to the artist. If there is a band involved, royalty distribution is usually equal among members, although often favoring the songwriter.
After receiving royalties for his work, the artist’s next focus is on securing copyrights. In the USA, publishers and artists often register their work to ensure copyrights. On the other hand, in the UK, there is no official registration form available; instead, all original music automatically receives copyright protection once it is recorded or written down in any format. Nevertheless, having proof of ownership for your work remains essential. This can be achieved by keeping a copy with a solicitor or by uploading parts of songs or ideas onto platforms like YouTube to showcase the progression of your work.
Being a publisher has its advantages, as you get to be among the first to hear an artist’s music before it is released to record labels or radio. However, there is no guarantee of success for your artists in this role. Despite dedicating ample time to refine their skills and help them create music, there is no certainty that you will effectively promote or sell your artist’s work, which can be quite frustrating. On the other hand, record companies are major corporations that own multiple record labels primarily located in London, New York, or Los Angeles.
In the music industry, corporations often have a parent company that owns multiple record labels. For instance, Warner Brothers Records is the parent company of Reprise Records and Maverick Records. Likewise, BMG owns Arista Records, RCA, and J Records. In today’s economic climate, most major record companies are large conglomerates with various subsidiary record labels. These subsidiary labels function as separate entities under the direction of a larger corporation. A typical structure for a record company includes a CEO (chief executive officer) who oversees the overall business operations. Additionally, each affiliated label has its own president.
Under the president of the individual label, there are vice presidents in charge of different departments. Here are a couple of the departments found in a record label:
A&R – The A&R (artists and repertoire) A&R is responsible for discovering new talent. A&R professionals work closely with the artists they sign, assisting with song selection, choosing producers for the album, and deciding on the recording location. This department acts as a bridge between the recording artist and all other departments within the record company.
Art Department – This department is responsible for all the artwork associated with album production, including CD cover art, advertisements, and displays at music stores.
Artist Development – This department plans the careers of signed artists and promotes and publicizes them throughout their career. Some labels have renamed this department as “Product Development” due to the shift in the music business to focus on heavy promotion in the beginning of an artist’s career.
Business Affairs – This department handles the business aspects of the record label, such as bookkeeping, payroll, and general finances.
Legal Department – This department manages all contracts between the company and artists, as well as contracts with other companies. It also handles any legal issues, including lawsuits involving artists and the company.
Marketing Department – The marketing department develops the overall marketing strategy for each album released by the record company. It coordinates the plans of the promotion, sales, and publicity departments.
Promotion Department (Plugging) – The primary goal of this department is to secure radio airplay for artists. Its role is crucial in ensuring the long-term success of the record company by getting new songs played on the radio. Moreover, it facilitates communication among all departments to optimize the artist’s public appeal.
The promotion department may also attempt to have videos featured on specialized music channels such as MTV or 4 Music. Publicity is responsible for spreading awareness about both new and established artists, facilitating articles in newspapers and magazines, and coordinating radio and television coverage. This department often collaborates with independent publicists hired by artists. Sales oversees the retail side of the record industry by partnering with record store chains and other music stores to ensure albums are stocked on shelves.
The sales department often collaborates with the promotion and publicity departments in coordinating these efforts. A record company provides a budget for the newly signed band, which covers expenses for studio musicians, studio engineers, and studio time. The A&R executive then arranges a recording schedule for the band. (In the past, record labels had their own recording studios, but nowadays most labels use independent ones.) Additional budget is allocated for advertising, artwork, publicity, and promotion. As graphic artists, designers, and copywriters begin their work, the A&R department along with publicity marketing and sales determine a release date for the album. The artist development department plans live performances promotional tours radio and TV appearances. The record company ensures that there is national regional and local promotion for the band depending on the label’s willingness to spend.
Live performance holds significant importance in the music industry as it serves as the best means of publicity and income for an artist.
While a well-produced album can achieve success, an artist’s live performance is crucial for maintaining their image and credibility. Personally, I believe that if an artist heavily relies on manipulation to showcase their talent, it may suggest a lack of genuine ability. Avril Lavigne serves as a prime illustration of this phenomenon. While her initial album highlighted melodic high-pitched vocals, her live performances reveal a stark contrast with a limited vocal range. It becomes apparent that extensive studio manipulation was employed on her vocal tracks.
Personally, I would not buy an album that has had excessive vocal manipulation. The live performance involves the collaboration of various roles: booking agents, promoters, and record labels. Booking agents are responsible for securing gigs and managing the artist. They establish contracts with promoters and send press releases to various media outlets. Promoters purchase acts from booking agents and handle the organization of gigs in live venues. They also negotiate all the necessary fees.
The tasks of a PR agent include sending press releases to media outlets, printing and organizing posters and flyers for upcoming shows, and distributing them in the vicinity of the event location. They may collaborate with stores and other public venues to secure gigs in places like shopping centers. Additionally, they are responsible for catering to the needs of artists on tour, providing them with food and drink. On the other hand, venue operators offer event spaces for live performances and ensure security, merchandise display areas, box offices, stage crews, sound and lighting equipment, as well as refreshment facilities for all performances.
Artists not only receive exposure but also gain publicity from various venues such as music clubs, taverns, bars, coffee houses, festivals, fairs, concert halls, schools, churches, and record stores. Additionally, artists often begin their career with traditional club gigs where they encounter challenges in securing their first show due to clubs typically insisting on a demo or recorded music.
Venue managers may ask for references from prior gigs or proof of previous experience. In order to gain experience and references, new bands typically have to perform for free in pubs or small venues, often as background music. Venue bookers will scout the local scene to discover emerging acts, and they will also listen to new or underground material. Once a band or artist is booked by the venue bookers, they will be added to a schedule (line up) and featured in promotional materials for upcoming events, such as calendars, posters, and flyers.
The band is also involved in promoting their gig date. They will put up bill posters themselves, feature dates on their website or in current gigs, or simply use word of mouth. At the beginning of a band’s career, there won’t be any written agreements. It’s mostly a verbal arrangement with a pub manager or small club owner. This arrangement works best since there are usually no earnings for the band. However, as the band gains experience and the venues grow bigger, there will be a need for written contracts. These contracts will include financial aspects, as well as specifying times, dates, and what is expected from the band regarding the duration of their set.
Managing the career of an artist or band, known as Artist Management, is a demanding and time-consuming task. To excel in this role, managers must have a strong understanding of the music industry as well as essential knowledge in business and law. Their responsibilities include handling daily tasks to facilitate the progress of an artist’s career and actively seeking opportunities for profitable projects and increased exposure. The experience plays a vital role in enabling managers to navigate various situations effectively and turn them into advantageous outcomes for both themselves and their artists.
Despite what people commonly think, the manager is not a booking agent and does not have the task of arranging shows and tours for an artist or band. The main responsibility of the manager revolves around aiding in negotiations and organizing tours and shows, but it is talent agents or agencies who handle the booking process. Typically, the manager’s payment is determined by a percentage of the artist’s earnings, with 20% being the accepted norm within the industry. This implies that for every £100 earned by the artist, £20 is allocated to the manager.
Managers may receive a salary per gig, typically around 15%. There are various types of managers, including professional managers who focus on artist management and have multiple clients affiliated with major record labels. Touring managers, on the other hand, are hired by either the artist or personal manager to handle day-to-day management tasks while on tour, such as coordinating transportation, collecting fees, and booking accommodations.
Unlike a personal manager, professional managers are typically paid a fixed fee. In contrast, there are also amateur managers, who are usually freelance workers and specialize in managing emerging bands. Most amateur managers prioritize gaining experience over monetary compensation. Thus, their service rates are relatively lower and occasionally even free of charge. Amateur managers may also engage in aspects of the music industry such as promotion or A manager’s job is atypical, as it does not follow a standard schedule or include set vacation periods.
The working pattern in the music industry can be extremely stressful and demanding, requiring a significant amount of stamina and character. This may be why the stereotype of a manager being loud and grumpy exists. Managers play a crucial role in the business by handling paperwork, managing commitments, and other mundane tasks, allowing artists to fully concentrate on their music. Due to the extensive time spent together, it is not surprising that managers and artists often develop strong bonds. The music industry includes various roles, such as A&R (artists and repertoire).
The A&R department of a record label serves as the gatekeepers of the company, and they have the crucial task of discovering new musical talent. In larger record labels, there are various roles within the A&R department, such as scouts, A&R managers, senior A&R managers, and the head of the department. The A&R personnel not only sign bands to the label but also closely collaborate with them throughout their entire musical journey. Being noticed or discovered by A&R individuals is essential for artists to have a chance at being signed by a major record label.
Previously, artists used to send unsolicited demos to A&R departments in the hopes of being discovered by record companies. However, the overwhelming number of demos received made it impossible for A&R people to keep up, leading labels to stop listening to unsolicited material due to legal issues. As a result, it has become challenging for a typical musician’s demo tape to reach the hands of influential A&R executives. Instead, scouts are usually the first individuals to approach bands after listening to some tapes and CDs.
If the scouts discover something interesting, they will inform the A&R manager, who will then assess the material to determine whether to attend the band’s performance and extend a deal. A&R professionals are constantly inundated with new material, often struggling to find time to review the numerous demo tapes provided by colleagues, agents, managers, attorneys, and other reliable sources. Breaking into the record industry is challenging due to the limited number of gatekeepers and the vast number of aspiring bands and singers. Some A&R individuals review demos that are recommended by trusted business sources.
Other executives in the music industry analyze the market for any gaps. They may search for artists who are making different types of music than what is currently available. Being part of the A&R department allows you to discover new music and build industry connections. A&R professionals constantly meet musicians and are highly compensated. It is crucial to note that when A&R executives uncover and support a particular artist, they are staking their own reputation.
If the artist doesn’t succeed, an A&R executive’s job may be at risk. It is important to note that while many bands are rejected, some still manage to pass through the A&R gates. Once an artist is discovered by a record company, all departments (such as promotion, marketing, legal, etc.) of the record company will begin working towards selling the new “product” to the masses. Record producers play a significant role in working closely with artists to create a new album or promo CD. Although the specific tasks of record producers may vary, there is a general job pattern.
Record companies’ A&R departments commission producers to work with bands or artists in a studio, creating albums or singles. The production process can vary in duration, taking weeks or even months, as it is not uncommon for bands and producers to be dissatisfied with the initial results and choose to re-record material. In addition to their role as producers, they may also contribute as arrangers, composers, or songwriters, bringing new and innovative ideas to the music. The producer is responsible for making songwriting and arrangement adjustments, as well as controlling the creative mix.
Both the sound engineer and the producer play important roles in the recording process. The sound engineer focuses on the technical aspects of recording, while the producer ensures the overall marketability of the project. In some cases, sound engineers also assume the role of producer. Producers not only coach and motivate artists to deliver their best performance, but also serve as intermediaries between artists and technicians. They ensure that your needs are effectively communicated to the technical team and advocate for the interests of both the artist and the record label. Additionally, producers safeguard against any misuse of studio time and ensure that it is used efficiently. If you have a reasonable recording budget, it is worth considering hiring a producer for your album project.
The ideal producer possesses knowledge of the genre and offers objective feedback. It is important to have someone who will give an honest opinion while presenting practical solutions that both parties feel satisfied with. Employing an experienced producer (despite the higher cost) can assist in developing unique sounds that will distinguish the band. Additionally, they may provide connections to help promote the band’s music and offer guidance on publishing, royalties, and other industry-related matters. In contemporary times, having a reputable producer involved can potentially attract attention or lead to success (as exemplified by Timbaland’s production credits).
Timbaland and Phil Spector have different approaches to producing. Timbaland prefers to collaborate with artists as creative partners to create the best track possible, while Phil Spector takes complete control of the project, leaving little room for negotiation. Producers like Phil are often commissioned by big labels without input from the band. The fees charged by producers vary depending on experience and contacts. For example, if a producer knows the artist and decides to collaborate and produce a single, the cost might be cheaper due to friendship bonds.
Ultimately, the type of producer you can hire depends on the budget allocated by the A&R department. Before signing up, the producer will evaluate the band’s live performance or demos to determine suitability for the project. In some cases, producers may have established partnerships with preferred sound engineers. Working as a record producer is an attractive position, as it provides a sense of control and creative input, involvement in all aspects of production, decent wages, and opportunities for travel and close collaboration with artists.
The difficult part is that it takes time to distinguish oneself from other producers and connections are necessary for success. Radio DJs have a significant impact on the music industry due to their potential to reach thousands of listeners (BBC Radio 1). If a song is not favored by the radio, it will receive less airplay. However, if the DJ likes the song, they can give it more airplay in contrast to other tracks (instead of no airplay), while still following instructions from radio executives.
A radio executive producer collaborates with the radio DJ to curate a playlist containing appropriate music and highlighting specific tracks, particularly the latest releases. The DJ subsequently chooses which songs to play. Radio DJs can come from diverse backgrounds, including journalism or office jobs, but often they have gained experience in other roles within radio production, such as assistant or sound engineering, before rising to prominence. Many prominent DJs initially began their careers in local radio.
The fusion of personality and work is key for successful DJs who often become the public face of certain radio stations. DJs play a vital role in attracting specific audiences, catering to different age groups. The high demand for commercial radio DJs stems from their ability to captivate audiences, much like TV presenters, resulting in exposure to a wide audience. Being a radio DJ is an excellent job with minimal effort, as it primarily requires a compelling personality, commanding vocal skills, excellent music taste, and industry experience.
Depending on your success, you have the potential to achieve wealth and success, which can also open up opportunities for other types of jobs, such as presenting live events or festivals. Radio DJs have the ability to reach a large audience, but this also means that they are susceptible to criticism and scrutiny. The role of a road technician, also known as a roadie, is crucial and can be carried out by one or multiple individuals depending on the band’s size and level of success. Roadies are often undervalued despite the fact that they are the ones who handle all aspects of concert production except for actually performing the music with the musicians.
Being on tour with a band, roadies are musicians themselves and travel in sleeper buses. They have the ability to handle multiple tasks such as lighting, guitar technician work, and sound engineering. Along with preparing for a concert, they are always present near the stage to ensure smooth operations. If any technical issues arise, like a loose guitar lead, roadies immediately intervene. They also assist performers by providing drinks or even saving their lives during emergencies. For instance, when Gene Simmons of KISS unintentionally set his hair on fire while attempting a fire-blowing stunt on New Year’s Eve 1973, a roadie quickly put out the flames with a wet towel.
Consequently, a roadie’s life on the road is busy and stressful. They are the first to arrive at the venue, typically at 8am, and spend hours setting up for the concert. Once the band arrives, they assist with sound checks and make any necessary adjustments. Throughout the concert, roadies must stay close to the stage to handle any unexpected situations.
After the concert, the roadies will spend several hours dismantling the stage and packing up all the equipment. Once they finish their tasks, they will sleep on the bus at around 3am as they head to their next destination, and this routine continues. Roadies do not make much money and are usually not acknowledged for their work at the concert; they are typically driven by their love for music. However, they often develop strong bonds with the band. For instance, David Gilmour was a roadie for Pink Floyd before he was invited by Nick Manson to join the band as a guitarist.
