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Evaluating the relationship from the music management perspective
A decent artist music management relationship is a two-way street. This is the reason the initial exploratory conference is only an import similarly as important for talent management as it is for the artist. Basically, the artist management inquiries during the gathering should concentrate on certain key areas that correspond to the goals and concerns of the artist. As in the case as on account of the artist, the talent management ought to ask, for what reason did the artist come to me? Was the individual in question recommended or referred by one of my customers, and associate, or a friend inside the music industry? Whatever Avenue the artist has traveled to reach them a manager, these points of interest are important.
The artist career to date
First of all, prospective talent management will want to know where the artist currently stands in his or her career. For instance, if the referral came from the head of a major record label who had quite recently dedicated and to a multi-record of guarantee, the manager would be in a lot stronger parts posture to assess the ad at the advisability of visibility of getting included. In the event that, then again, the artist was brand-new or had quite recently been dropped by a record company, the manager would want to realize that as well. In any occasion, one of the first calls and artist management should make is to the general population who could provide reliable information on the artist who is looking for career help.
A compatible match with the artist
The talent management ought to next evaluate his or her met managerial style, logic, and current customer obligations to check whether the potential for a compatible match exists. For example, a talent management whose strengths are in the country music market would be extremely cautious of marking a hard rock attraction except if the performers were looking for a change in artistic direction. And, after its all said and done a talent management would be very much advised to pass on the off chance that the person in question inferred that such a reversal was a lot of a stretch for them. Except if the talent management has the requisite information of the particular music industry section required by the artist, the person cannot adequately represent that customer. A talent manager capable of wearing several hats is certainly not impossible to discover, however, such versatility isn't, In short, the manager talent management must be aware of his or her very own capabilities and limitations while considering marking another customer.
In addition to other considerations, the music management perception of the artist at art form must be an artful form must be analyzed. The talent management must be in the same artistic frequency as the artist. Each must be a clear agreement on the career direction of the artist and be focused on taking that path. On the off chance that for example, a talent management sees the potential customer as a rock act with subtle country overtones, while the artist and imagines himself as a mainstream country artist with rock overtones, there is a serious gap in terms of image and direction, to say the least. Such a fundamental difference in image perception can just lead to problems. This is the reason it is crucial crucially important to give time to aid a detailed exchange of artistic goals and direction.
The dimension of music management compensation
As noted above and considering the artist perspective on the initial exploratory conference, the artist management compensation can take many forms. The primary point here is for music management to know and understand his or her bargaining position. The same gent general considerations on compensation examined earlier are equally applicable. Additionally, if a talent management is slated to sign the artist, the goals at and time requirements for accomplishing these objectives must be analyzed, especially if the talent management has several other customers. Also, the financial arrangement must be equitable in terms of time expenditure versus compensation. Ideally, from a business standpoint, a talent management should see customers as a venture portfolio some being current revenue producers music producers, others on the brink of financial maturity, and still others advance at advancing through a building and growth stage with little expectation for immediate return. A blended portfolio of customers can be a strength of the term determining factor concerning the artist management flexibility in setting the amount and technique for compensation.
Evaluating Artist Talent Management Relationship
More than any other person the full-service personal talent manager is the most influential force behind any artists career. His or her info. and efforts are frequently critical to the artists/bands ultimate dimension of accomplishment or failure. Given the critical role that a talent management plays in planning, execution, and day-to-day career control, it is essential that artists and talent management be on the same wavelength both professionally both personally and professionally. The artist must have total trust in the talent management thought processes and strategies while converting conversely; the manager must be totally dedicated to the artist and his or her music. Except if an overriding feeling of reciprocity and trust is established at the beginning, the relationship is, more then likely, headed for trouble. This is the reason it is so important for the artist and talent management to enter into partnership completely informed with their eyes open wide open. The best way to do this is to be sure that the artists and talent management are both asking the right inquiries.
As previously recommended, a strong artist talent management or artist management relationship is old no-load goodness to a decent marriage. Research indicates that the longer couple couples date prior to marrying, the greater the probability for a lasting marriage. We believe this principle applies to fruitful artists and music management partnerships. An all-inclusive courtship offers both artists and talent management the opportunity to evaluate the other in order to build up the dimension of mutual duty, trust, and respect necessary to make the collaboration work. Without these qualities, problems will undoubtedly surface sooner or later. Although time is him almost always a luxury given the fast pace of the entertainment industry, both parties to the eighth prospective artist talent management relationship should, in any case, be very sure about each other before taking on an obligation of this magnitude. A key component to ensuring and a strong working relationship between the parties is the initial exploratory conference.
The purpose of the initial exploratory conference is to avoid both artists and talent management the opportunity to accumulate the necessary information to create a basis for duty and trust. Information exchange at this conference will also determine the sort of music management relationship that is actually required. Furthermore, the information evoked at this early stage will aid the attorneys in the preparation of the final music management agreement. The purpose of this initial gathering ought to never be to negotiate the management contract, but rather to assemble data supportive to both artists and talent management in evaluating the edge of the ad for admissibility of a formal relationship. In the event that the initial conference all ultimately results in an artist talent management relationship, a strong foundation for continuous achievement will have been laid. In the event that, then again, the choice isn't to proceed, for whatever reason, both artists and talent management will have been spared the fate of writing one more music business horse story. There are already enough of those to go around.
Evaluating the relationship from the artist's perspective
Assuming there is adequate interest with respect to the prospective talent management, the parties should set up a conference to examine to explore the Ed add visibility of representation? Prior to this gathering, you, the artist, should take an opportunity to formulate the answers to for key inquiries.
1. How could I get included with this manager?
2. What is this meant artist management background and track record?
3. What exactly do I want from my career?
4. Is this the right talent management for my career and me?
Reason for inclusion with the talent management
Again and again, talent management is retained because it simply happens or because the person has been a long-lasting friend who will tell the artists what the individual in question wants to hear. Being a dear friend or relative ought not necessarily to avoid a person from being considered as potential talent management, but that person ought to be subject to the same objective scrutiny as any other potential talent management. Because of the profound impact that talent management has on an artist career, it's absolutely essential that the artists investigate the potential talent management as thoroughly as possible. To offer consideration to how you engaged with the prospective talent management. Was it through a recommendation or referral from another person in the music business? Clever responses to these inquiries are essential.
The artist management background and track record
Another key theme for initial explored a Tory conference relates to the artist management qualifications. Is this talent management track record in the music industry what is this music management track record in the music industry? Who are his or her other customers? Regardless of whether a seasoned pro, does the individual in question have adequate time to dedicate to my career? Will this person be to hand hands-on talent management, or will an associate have a few or all of the responsibility? Except if an artist management reputation is notable, you ought to inquire directly, but tactfully and, into the music management capabilities and past experience.
Another frequently overlooked qualification is a music management dimension of formal education. Although it is essential that talent management have an advanced education to be qualified for artist management, it would certainly be a valuable credential. This is true in the entertainment industry but in any business. Moreover, if the artist management degree is in business or brain research, the credential is the potential the credential is potentially worth considerably more to the artists. As and if the artist manager holds graduate or professional degrees, the value is even higher. Probably the most critical factor in determining a prospective artist management credentials is his or her reputation. This can be easily determined by asking others in the music industry. Is this part a person whose abilities are respected? What about his or her genuineness, integrity, and fairness? Because talent management is an augmentation of the artist, these are critical inquiries. Reputation can also be determined by discovering that the music management customers are. A very effective customer roster speaks for itself, although it doesn't always provide an accurate measure of the music management integrity and genuineness. That question ought to always be asked separately and verified to your satisfaction without regard to track record.
Another gauge is to observe the artist management contribution in various organizations. Is it accurate to say that he is or she a member of important professional organizations or trade associations associated with the music industry? Does the individual served or participate as a paint panelist at music industry forums and seminars? Answers to such inquiries will provide some indication of how connected the industry to the industry the talent management is.
The artist career objectives
On the off chance that you as the artist don't have some origination of what of your future career path and your goals, you can hardly anticipate that a talent management should improve. Significantly more dangerous is turning your career over to a talent management who may have divergent ideas or clashing rationality of a can of career advancement. Sooner or later, there will be trouble and a great deal of time wasted. You can be explicit in requesting managerial help just in the event that you have formulated clear goals. Although you may generally know where you want to run with your career, then how may be a riddle. This is where decent talent management earns his or her percentage. When the artists/bands have established goals, and the manager has acknowledged that they are both realistic and inside the music management range of expertise, the dialog should turn to how those goals can be reached. This may incorporate an initial timetable for action and the formulation of subordinate goals and proposed strategies for meeting them. The parties ought not to try to map out the artist career for the following five years at this initial stage, but the approach provides a framework for substantial talks aimed at flushing out goals, rationalities, and capabilities. It's a great way to see whether the perspective artist a talent management or on the same wavelength. Beware of a talent management who has no answer to the how question. A lack of ideas regarding the initial construction of an artist career plan could indicate a lack of interest or insufficiency and expertise necessary to enable the artist to go into the desired direction they want to be.
The appropriateness of a talent management for the artist's career objectives
One of the first inquiries an artist ought to ask him or she is the talent management right for me and my career? This inquiry will enable you to consider the services offered by talent management in light of your preconceived needs. While deviation or disagreement over the artist perceives music management needs won't necessarily determine the ad visibility of a relationship, it will provide a starting point for initial talks. Objectives and necessities may change, or you may discover what's really required is a lawyer, banker, music producer, or music publicist. Therefore, it is substantially more productive to examine but explicit rather than to have a conversation that goes something like this:
Talent management: How can I help you?
Artist: I need talent management.
Talent management: Fine. Where might you want to see your career go?
Artist: I want to be a star.
Talent management: Good. I'm only the person you need.
Reveals to you a great deal, isn't that right?
During the initial conference phase, examine your goals and needs in detail and welcome the talent management to scrutinize them objectively and aggressively. In fact, you ought to be suspicious of anyone who does not ask you about your professional and personal goals early on. It is, after all, it's your career was talking about. In the event that there will be a personal analogy, a contention or only a failure to associate with the initial conference is an ideal opportunity to discover. In like manner, if the artist management ideas are off-the-wall or just not upsetting yours, it's better than realize that before a deal was struck.
Compatibility is also an issue here. Regardless of whether talent management has great ideas and address book loaded with contacts, that is no guarantee that you two will associate person personally. Because of the closeness of the relationship and the overriding importance of the trust factor referenced earlier, we feel the person per that personal rapport is essential. At the very least, there ought to be a basic comfort level accompanied by mutual respect and a feeling of professionalism. In the event that these are missing, you'll have to mull over marking on with this particular talent management.
The level of music management compensation
What level of compensation does the talent management want for his or her services? This is an issue of obvious importance that should be confronted at the initial exploratory phase. Depending on the relative bargaining position of the parties, several alternatives are available. Commission the commission arrangement, whereby the artist management paid a percentage of the gross earnings of the artist, is the most common. The percentage will vary from 15 to 25% of gross earnings, with some music management taken an even higher percentage. The customary rate is 15 to 20% of gross earnings. A refinement of this approach is to base the percentage on that income; the problem here is defining the term, net.
Another approach is to set the artist management percentage at an escalating rate, depending on the amount of total gross income. As gross income goes up, so does the percentage. Or, depending on the status and negotiation position of the parties, a music management process percentage could decrease as gross earnings increase. Each particular arrangement is as unique as the parties themselves.
Sometimes a young artist may be in a very weak financial position, incapable of paying any music management percentage but be as in a desperate need of a talent management. A possible situation here is the retainer method of compensation. Instead of a percentage of all monies received, a flat or fixed sum is paid to the talent management on a weekly or monthly basis. Although the retainer may be much less than a fixed percentage of gross earnings, it may help bridge the gap between the artist and talent management during the artists early years when he is struggling to make ends meet. Perhaps, with the help of effective talent management, the artist's earnings will accrue increased to a sufficient level to allow conversion to a percentage of gross earnings arrangement.
In some cases talent management might offer services for no compensation at all until the artists earnings reach a certain level, and therefore take a higher percentage than normal to make up for the earlier deficit. The attraction of this is obvious but the artist should consider the downside as well. While it may appear that the artist is getting a great deal, the actual net cost could turn out to be substantially higher than with other arrangements.
Another pitfall in the nonpayment situation is a lack of commitment of both artist and talent management. An unsatisfied artist is in a weak position to voice complaints if he or she is not paying for the privilege.
Potential conflicts of interest
Another issue that should be raised during the initial exploratory conference pertains to the music management potential conflicts of interest. Simply stated, he or she should be asking, do you have any conflict of interest that might have a detrimental effect on your ability to manage my career?
For example, talent management may also be a music producer or music publisher. In this event, with the artist career be best served by the talent management wearing an additional music producer music publishers hat rather than seeking other creative options and outlets. There is also the issue of double-dipping on fees. For example, should the talent management collect fees based on the artist growth for record or publishing royalties if he or she is already receiving income from the same sources? Although various state statutes, as well as musicians’ union music management Association guidelines, prohibit overlap of an artist management involvement in other areas, such overlap does on occasion take place. Why you should be cautious while you should be cautious in identifying potential conflicts they shouldn't necessarily be construed as negative in themselves. Many times, talent management owns or has an interest in a recording studio or production company. This, in turn, this can turn out to be beneficial to the artist client. As long as all the parties are aware of the potential conflicts, and appropriate steps are taken to guard against potential problems, talent management wearing multiple hats may not be detrimental to the artist. On the other hand, if in talent management does not openly divulge potential conflicts or, worse yet, take steps to conceal potential conflicts of interest, the artist should take this as a signal to head for the door. We can guarantee that a lack of candor at the outset of the relationship on the onset of a relationship will only mean trouble down the line. No matter how good everything else sounds, head for the hills.
Another question for an artist to ask is how inquisitive is the potential talent management during the initial exploratory conference? In addition to your professional and personal goals, and experience talent management will want to know all he or she can about you. There should be a multitude of questions aimed at accumulating personal and business data in order to construct the initial career plan. Beware of the talent management who don't seek information, for without it a plan cannot be formulated. And without a plan, there is no music management foundation.
Specifically, astute talent management will want to know about the artist's career history and financial condition, both professionally and personally. For instance, he or she will want to know if the artist has a lawyer, accountant, or businessman talent management. Does the artist have a life insurance, equipment vehicle insurance, and so forth? Are there any at outstanding contractual commitments with record companies, music publishers, music agents, or other artist management? What about debts or other financial obligations? If the prospective talent management fails to address these issues, doubts about his ability or commitment should be raised.
Once you have been through the initial exploratory conference, you should have a great deal of information, coupled with a strong first impression with which to evaluate a prospective unit music management relationship. You should take at least a week, if possible, to reflect on the initial exploratory conference, reviewing objectively the music management ideas, proposals, and suggestions, especially if they are at odds with your own. Careful consideration should be given to the personal chemistry between the two of you, as well as the artist management contract credentials and the reputation in and his reputation and or her reputation in the is a business. It's also important that you can reconsider your own goals and preconceived ideas about your role talent management should play in your career development and direction. If there are any major areas of doubt or conflict, clear them up before going forward. If this can't be done, you should be well advised to continue your search for the right managed music management situation.
A music management agenda
All together for the talent management to recommend an initial career plan for the artist, a wide range of business-oriented inquiries must be answered. This agenda of fundamental inquiries can serve as a basis for discourse. Every man talent management will want to tweak and execute it as individual circumstances dictate. This rundown is equally applicable to artists want full service talent management.
1. What legally what legal element is the artist working together as, sole proprietor, partnership, constrained liability, company, corporation, or joint venture? As an ownership substance must be established especially with, especially where the artist is a team or group.
2. Is there any current music management, music booking agent, recording, music publishing, or corporate endorsements or sponsorship agreements as a result? Is assuming this is the case, what of the terms of those agreements, and what is the status of the artist with regard to the parties to those contracts? On the off chance that there were previous agreements that are allegedly inappropriate are there proper releases confirming this?
3. What are the music professionals assets?
4. Is the artist a member of the applicant pulled applicable association, for example, the AFM or AFTRA?
5. What is the artist's personal and business debt structure?
6. Do the artists possess a registered service mark or on his or her name? And what about other legal safeguards relative to the right of publicity, unfair to compare rivalry? And other applicable doctrines designed to protect one's name, likeliness, and personality?
7. What is the artist earning history over the previous five years, broken down into amount and source?
8. Does the artist keep proper financial records?
9. Do the artists have great banking relations?
10. Has the artist recorded proper federal and state salary tax return for the last five years?
11. Do the artists have proper insurance coverage?
12. What are the artist reputation and current image?
13. Does the artist write his or her very own material? Assuming this is the case, would he say he is in the event that it is the individual in question a member of a performing rights society? Who controls an amended administers the artist copyrighted musical organizations?
14. Do the artists have any affiliated companies, for example, publishing or production concerns?
15. What are the artist past recording experience and track record?
16. What has been the artist's exposure and experience as a live performer?
17. What current industry trends may impact the artist career?
As stated earlier, these inquiries are fundamental. While they don't indicate the entire spectrum of inquiry relating to business planning, talent management could do to dig into, they do provide the basics. As each inquiry is raised, additional inquiries will undoubtedly be proposed. Prior to drafting a final music management agreement, expertise of a music attorney and music accountant will probably be required, contingent upon the training and background of the talent management.
Finally, as proposed earlier, the most important aspect of the potential talent management met the music management relationship is personal measurement. Talent management must determine what sort of personal relationship will be established with the artist. The person in question must ask, are we compatible? Is the artist willing to work towards the stated goals or does the individual in question anticipate that I should do everything? Is the artist realistic? Does the person have the ability and order to face hard occasions as well as a decent? Is this artist dependable? What is his or her reputation in the music industry? Answer answers to all these inquiries related to talent, potential, and business considerations may be certain, but except if the same can be said of the personal measurement, the talent management ought to seriously scrutinize any choice to proceed. The real-biography of personal problems wrecking a promising career has been amply reported. Be careful that the opportunities are exceeded by the potential problems, and act accordingly.
The formal vehicle of the initial exploratory conference provides both artists and talent management with a comprehensive apparatus to evaluate each other's talent, personality, and per capabilities. At this stage, should a music management relationship is all the talent management should have enough data to begin to structure a career plan for the artist, while the artist ought to have a vastly improved understanding of his or her music management needs. The matter to what extent the initial exploratory phase takes to be it several days or a long time, it ought to be thorough.
When the inquiries have been asked and answered? Approaches and ideas shared? Both talent management and artists have a choice to make. Procrastination doesn't enhance a decent talent manager relationship. Assuming the prospective artists and talent management agree on goals, direction, and strategies, and most importantly, on each other, they should it be eager to begin providing them utilizing manager has an opportunity to give to the artist career improvement. In the event that the answer is true, explicitly stated it, and then go pair will get down to business. On the off chance that it's a no on either side, for whatever reason, and continue looking.