Owen Husney, a manager, talks about income streams for artists. He explains that while artists may not receive money from record labels, there are other methods to get paid. Touring and merchandising are major areas. Also, if the artist writes their own songs, they can make publishing monies. The performers can also make record royalties. Husney mentions licensing monies as well, which are from licensing songs for film and television. Also in this segment, Husney discusses the common monetary trap of artists. Many artists overlook the fact that they have to pay the record label back.
In this segment from http://www.artistshousemusic.org – Mark Davis lectures at a music educators conference at Loyola University New Orleans, entertainment attorney and educator Mark Davis discusses the two (frequently opposed) purposes of copyright law: to protect free transmission of information while giving its creators some control over how that information is distributed and sold.
Back again is music industry vet, Mr. Anthony Hubbard to drop more science about the game, and specifically the evolution of the “360 Deal”. A must see for anyone who watched part 1, and is serious about breaking into and maintaining in the music game.
In the first part of a few to come, I sit down with Mr. Anthony Hubbard, music industry vet, who has managed, and worked multi-platinum artists and producers over the past 10 years. This show is a must see for anyone wishing to have a career in the music industry. It’s imperative that you “know” before you go.
In this segment of his lecture at a music educators conference at Loyola University New Orleans, entertainment attorney and educator Mark Davis explains how artists and their labels profit from sales of sound recordings and the licensing of those recordings. He also makes some predictions as to how the shift from terrestrial to digital radio will enable record companies to collect additional royalties.
In this clip Jeffrey Brabec, Vice President of Business Affairs for the Chrysalis Music Group, talks about two types of publishing deals. The first is the writer deal. A writer agrees to deliver a certain number of songs. The second is the hip-hop and rock deal. Brabec points out that hip-hop and rock deals are structured the same. However, hip-hop and rock deals do have a significant distinction. Rock and roll has very little sampling, while hip-hop has a lot. Brabec explains that samples must be cleared prior to the payment of an advance. Also, hip-hop deals are more expensive.
Real*Industry*Talk
