The Recording Process – Skip Section on Setting up Your Own Label
Texas Music Office
https://gov.texas.gov/music/page/tmlp_recording
30 Replies to “September 27”
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Course Readings: Introduction to the Music Industry | Fall 2018
Dr. Stan Renard
Wow, what an intricate and detailed layout of all the options that are available to recording artists. Although in reviewing the production options between labels and self producing , it seems more and more beneficial to self produce. With all the hands in the process of creating an album, the more money funneled back to the artists and producers, the better.
I second what Joey explained about self production. As an artist adds more people to the mix of creating and producing their music, the artist will generally end up with less money. I’m a self producing musician and am also trying to find new ways to become more successful in creating professional studio quality demos/songs. This video really helped me out on establishing a solid studio setup and understanding the bare basics of studio work: https://www.youtube.com/watch?v=hNnJguc5Oas
Not sure if I read this right but seeing all the steps you need to get started in the music business is very resourceful. I think being able to make your own music business I always a good ideal. With the steps this article gave I think it would be great tp be able to actual sit and make a legit plan for your future. This goes to show that it is okay to get out there and network. Talking to different labels and getting their input is something that is very helpful because you are using your resources in the way that it could benefit you.
The article I found talks more about getting in the music industry https://www.musicindustryhowto.com/music-industry-advice/
The article provides a bountiful amount of information, including some review on previous material but also presents it in a step by step sort-of way, to make it easier on the reader to digest. Although this is completely my opinion, the deals through record labels aren’t usually what they are worth, and many of the artists i listen to and know of their work, aren’t happy with their agreements and deals. One of the worst cases that comes to mind is Lil Wayne and the issues he had with Birdman and Cash Money Records and his on going battle with them to get the royalties he deserved and for the ability to release his long awaited album “Tha Carter V”. It has been y e a r s of back and forth between the two parties and it includes all from legal battles, accusations, and even physical violence against the parties. For a quick timeline on the battle starting back from 2014 to 2017:
https://www.complex.com/music/lil-wayne-cash-money-beef-timeline/?utm_source=google&utm_campaign=referral_google_amp&utm_medium=organic
However, an update to the story is that on June 7, 2018 Lil Wayne’s attorney confirmed that Lil Wayne and Cash Money have reached a settlement and Lil Wayne now owns “his music and his assets”. With a side-note i do not believe it is beneficial for us to skip the setting up your own label section for this article, i believe that having that knowledge is essential and can be the key in keeping your assets from the beginning.
https://www.billboard.com/articles/columns/hip-hop/8459954/lil-waynes-cash-money-settlement-lawyer-confirms
And furthermore, on September 25, 2018 Lil Wayne announced that on his birthday, September 28th, he’s going to release “Tha Carter V” via his twitter with a link to the YouTube video announcement in which he thanks his fans as well:
https://youtu.be/B9uMw-qvC7o
The takeaway that i get from Lil Wayne’s situation especially is as an artist it is always important to protect yourself, know your rights, and, if possible, try to stay independent as long as possible. Also getting a good lawyer is probably not a bad idea.
my apologies ***** EDIT****
SEPTEMBER 27th is Lil Wayne’s birthday, however there is speculation as to when exactly it’ll be released on that date. However, it is still confirmed for this week.
Starting my own label has always been a goal of mine. After reading this article the information given makes owning a label seem like more of a doable reality. Although I now know the realities of the industry, like my label being sold to a larger label, my thought processes have changed. When first hearing this information i was a bit perplexed and a little upset. All of the hard work and money I would be putting into the label would just go to someone else is what upset me. After reading the attached article, featuring one of my favorite artists who has her own label. She has made it work and that gives me hope. The name of her label is Wondaland Records and it is owned by Epic Records which is owned by Atlantic, another label I’ve always wanted to work with. The path that she has taken sounds very appealing to me and might be a blueprint I decide to use in my journey.
I also enjoy the fact that she looks at her label as a “collective rather than individuals.” That is a philosophy I hope to use when my label does come to fruition.
https://www.billboard.com/articles/business/6472849/janelle-monae-mini-mogul-wondaland-label-epic-la-reid
So much information. This stuff is incredible, very exciting, and head aching all at once. As a producer I’ve certainly taken into account a lot of this new information, Spec deals especially. I’m going to forward my recommended link to the 360 deal article Dr. Renard had mentioned and recommended us to read on the content tab of black board. Specifically I’d like to point out how record deals are so financially depriving towards the artist, especially new and medium level artists. In the reading, Donnelly gives ranges of nets and royalties from $35,000 and 6% or $10,000 and 2% from a $250,000 record deal. That’s insane! Then there are so many other ways either the production company, publisher, or record label can reach into the revenue sources of your work. Even the Lawyer who’s supposed to help you! Spotifys new plan for accepting direct music uploads from artists and the effects of the Music Modernization act surely won’t help these numbers.
Reference: Click “360” article in content page
The financial end of creating your own label has always interested me, and this article does a great job of listing out all cost that should be considered and ways of financing those cost. After doing some research, the cost really can add up. A small end label cost on average about $35,000, and can only support minimal output. A medium scale to top end label can run between $250,000-$2,500,000. If you’re interested in a break down of a cost, the link I post below will break down the cost , and used with the link Dr. Renard posted focusing on the ways to finance these cost, will hopefully help display what the monetary side of a record label looks to those who are interested in starting their own label.
https://www.profitableventure.com/cost-starting-a-record-label/
The information provided here is extremely valuable to any new artists looking to jump in the game. There are far too many instances where artists attempt to “make it”, but have no clue what they’re doing. Even just reading one section here provides so much help. The section, “How do I get my demo heard” is one that sticks out especially in our era today. Yes, social media is an important tool that should be utilized, but the steps provided here are very helpful as well. Overall, I think artists should familiarize themselves with everything in here. It could save them from being blindsided when they jump in the business. Too many sign deals without knowing what it really means for them.
This article here helps explain a lot of the technical terms used in the music business.
https://www.soundonsound.com/music-business/recording-contracts-explained
This website has the potential to help a small band that has no idea what they are doing because it lays out every step you should take with a record label and the amount you should pay a producer and the different deals and contracts you can sign to get the most out of your experience. This also helps someone like me, who doesn’t have a band and wants to be more on the managing side of music, on the steps to take to help an artist. If I have any questions or need help deciding what kind of deal to get , the Texas music office website can help me understand each concept thoroughly.
This article on the recording process was very informative, but a lot to take in all at once. And most of the information was very factual but extremely helpful. I like to read about real-life examples and how this information can be applied. Therefore I found an article titled “The Truth About Record Deals (And How To Negotiate Them.)”
This article is interesting because it points out the things should be looking for when signing a recording contract. I found this article intriguing because I also read “WHAT’S THE DEAL WITH PRODUCTION DEALS?” by Bob Donnelly, and as a result, I am now skeptical of 360 deals. Nonetheless, it is very interesting to learn about the inner workings of the industry and of record labels.
The Truth About Record Deals (And How To Negotiate Them:
https://heroic.academy/truth-about-record-deals/
I found the link to be full of valuable information. One thing that caught my eye when reading was about demo deals. One thing I don’t understand is what you gain by having a record company pay for your demo. If by doing this you give them first negotiation rights as well as first refusal rights, and in the end you’ll still have to pay them back, why not make a demo on your own before coming to the record company? I looked into the topic a little further and found this article about what and what not to do when it comes to demos. It also includes rough estimations on recording costs.
https://songtown.com/song-demo-cost/
This article was very insightful on the various steps an individual can and should take when starting their own record label. I really enjoyed reading about contracts, investors, and even recommended books to read because I myself am wanting to own my own record label so this information will be very useful in the near future. There are many different aspects that must be addressed when starting a record label, which the article disscuses. The essential topics I believe are the most important from the article are:
1) Financing a label
2) Legal contracts and terms
3) Royalties
However, the article didn’t discuss how much it would actually cost to start and run a record label. The following article goes into great detail on how much it costs to start a label by examining insurance costs, cost of studio equipment, hiring business consultants, etc.: https://www.profitableventure.com/cost-starting-a-record-label/
I really was interested on the section on trying to go from an independent artist to earning a record deal. The list of recommended skills and qualities can seem daunting to newly established artists just for these same labels to turn around and have strict expectations of you as far as continued song quality, tour time, and performance ability all while holding on to a good portion of the money you earn along the way. I wanted to see if there were more loosely contracted record labels and this is the article I found on how some labels are evolving.
https://www.forbes.com/sites/cheriehu/2016/10/15/the-record-labels-of-the-future-are-already-here/#347af3fd872a
I guess I never really understood how much money had to be invested for artists to start making music. Granted, the cost will differ for every situation with recording, but even after the songs are written and recorded you (and your group if you have one) will still have to pay a bunch to get it trademarked and copyrighted. Music isn’t the only thing you have to worry about when you’re writing and recording, but also all of the legal stuff as well so that you can get paid and make sure people don’t rip you off.
Here’s an article I found about the costs of recording:
https://www.laweekly.com/music/how-much-does-it-actually-cost-to-make-a-song-8-320-4166244
For anyone looking into getting started with a label – either creating or signing with one – this article was a very informative read. While it seemed a bit daunting, it went into great detail on the exact steps required. Something that I found interesting was the option period. It seems like something that can be both beneficial for the label and for the artist. If the artist’s initial albums didn’t do well, the label can cut them loose by not exercising the option, giving the artist the freedom to go somewhere else and potentially do better.
Here’s an article with more information on option periods. https://entertainment.howstuffworks.com/recording-contract6.htm
For my research purposes, I chose to focus my efforts on the option of: “If company X paid for my demo, do I have to accept its offer?”.
In theory, I understand the reason why the company should have “first negotiation rights” to an artist, but I also think that the necessity to recuperate the losses taken from recording the demo. Mainly I think of it in the perspective of going on a first date. While it would be nice to lead to a second meeting with the person, you should not expect anything more from them. I realize that this negotiation is not entirely about the fiscal element of the music industry, but unfortunately, the gears of industry advancement would not work if they are not kept well maintained with the monetary oils.
To read more about Demo/ Development Deals, Click here:
http://www.wallacecollins.com/demo-dls.html
While there was a ton of information given in this article, I found it very interesting reading the “how do I get my demo heard?” section. I want to work with artists and music festivals, typically already running labels and artists but if it comes down to me starting from the bottom by promoting up and coming artists, I will definitely know how to apply my PR major to the tactics needed to get my artist heard. I actually do have a friend back in LA where I’m from who wants me to help his career take off and be his manager if i’m up for it, so who knows, maybe after all this learning I will have the skills needed to develop artists!
I am currently learning how to create a website, although we did create one for our class last semester also, but I feel I can do better in all aspects of learning how to make it more appealing. Facebook and YouTube are givens, that is the only way people will be able to socially network with you and get your name out there. Being from LA he is already ready to tour and travel because lets face it, for those of you who have been or lived in LA, it’s not pretty! That is the reason I am in Texas now! All the copyright and trademark stuff I will have full responsibility for since I am learning all of it right now and where to get them done, I will also be in charge of merch because I am taking photoshop as well and have a much more creative eye than he does! haha. Most of these things listed on the “how to get your demo heard,” article are things I am learning to do currently or practicing currently after learning them last year. I am really excited to see where my career takes off after finally learning something in school I feel I will be able to use in the future! haha!
This article talks about more things to do to “make it” in the industry, check it out: https://diymusician.cdbaby.com/musician-tips/15-things-must-make-music-industry/
The content provided in the article is significant to upcoming artists. This information can, ultimately, help decide whether the new artist would like to sign a deal or which deal to sign. In the end, I believe that doing it all on your own would be the most beneficial. You will be able to keep your rights to your music and the cash.
Attached is an article on the pros and cons of making your own music release.
https://www.thebalancecareers.com/self-releasing-music-pros-and-cons-of-diy-music-releases-2460380
I like knowing that there are all of these options available for people to use when creating, but like my fellow classmates, I also believe it is more beneficial to self-produce. When thinking like a business owner, you want to maximize your inflow, and minimize your outflow, and learning how to get down in the studio will definitely help to maximize cost efforts toward growing one’s career. A few $100 studio sessions in a matter of months can definitely add up and this is money that could have been spent on other outlets of your business. These are great tips and places to start though!
Below is a link which goes through a lot of pros and interesting cons that I was not so aware of:
https://www.thebalancecareers.com/self-releasing-music-pros-and-cons-of-diy-music-releases-2460380
This article does a great job of noting the nuances within the music industry that you might not learn without actually experiencing it, which is why this article is so useful. For example, getting to know a record label on a more personal level first instead of sending unsolicited songs to them. Little things like this are important to recognize in the music industry because by making a mistake you could burn bridges to certain opportunities.
Attached is an article on some things you might want to consider in the music industry.
http://www.musicbizacademy.com/articles/sm_burningbridges.htm
The information contained in this article is of great value to those seeking a career in the music business today. For someone with little or even no knowledge of the business, one can follow the steps listed and ensure they are doing things correctly and legally. I was very intrigued with the section pertaining to “spec deals”. It seems to me that this could be a way for an artist, producer, or studio, to test the waters in the DIY realm before deciding to go with a label, and helps to ensure that agreements and contracts are in order.
below is a site that offers more information on this issue.
http://blog.sonicbids.com/5-types-of-producer-deals
While my interest doesn’t span towards starting my own label, it is very interesting to see all the strategies recommended to a person that is very interested in starting their own label.
Obviously, the most taxing part of starting your own label is coming up with funding, which in most cases is incredibly risky, which is why banks are usually apprehensive towards giving those types of loans out to starting bands. The most interesting part of this article for me was reading about how most freelance bands usually look towards family members to help them get on their feet financially. Alongside that, the information the Texas Music Office provides is fantastic! A resource that wasn’t available in years past that greatly helps artists looking to start their own labels.
Here is an article going into greater detail on Musician Financing.
https://www.royaltyexchange.com/artist-guides/a-guide-to-music-financing-for-artists
This website was extremely informative on how to make it as an artist in the music industry. I have been particularly interested in learning more about how to make it as an independent artist after realizing how extensive and overbearing signing to record labels can be. By being an independent artist, 100% royalties can be received. The section “Setting Up Your Own Label” was interesting to me. When being an independent artist, a lot of work and effort is required, more so than being with a major label. Signing record deals are also not a solid set future for new artists, as most record labels with present contracts that only cover one or two albums. If those albums do not sell as well as prospected, the label could drop the artist without renewing the contract, leaving them back where they started. So many artists are beginning to go the independent route because of the uncertainty and lack of royalties collected when signing their lives away to labels. I recently watched an interview with Chance the Rapper’s manager that goes into depth on making it as an independent artist. The interview is linked below.
https://www.youtube.com/watch?v=gHMXA_o26Wc
This article was very informational and dense but in regard to setting up your own label it was very straight forward. It gave a lot of literary resources that can help you with the processes as well as other helpful steps like creating a business plan, talking with distributors, assessing foreign markets, etc.
I found a link on other resources on how to start a label that has a lot of the same information that could be helpful to any entrepreneur in the business.
Link:https://www.loopmasters.com/articles/2720-10-Steps-To-Setting-Up-Your-Own-Record-Label
While reading this article, I decided to focus on the potion about advances and Cross-Collateralization. While I seemed to grasp the concept of an advance quite quicky, I had more difficulties understanding cross collaterization. I did a little more research and below is a little more information regarding the basics behind cross collaterization clauses.
http://musicglobalization.com/2013/06/21/the-basics-behind-cross-collateralization-clauses/
The article provided plenty of information on the specifics and mechanics of financing recordings and gaining attention from the “higher powers” of the music industry. I find it interesting that labels have a demo deal where they actually provide funds (on a loan basis) for artists to essentially create a presentable rough draft before they create the professional recordings. The section titled “How do I get my demo heard?” was a little puzzling, as well as exciting when i thought about the current situation with my band in context with the article’s information. We’ve done most of the things listed in that particular section, including attaining thousands of followers on multiple social media platforms, creating pages and sites that are professional in presentation, trademarked our name, and having live performances with bigger names like Sleeping With Sirens and at local festivals, such as Oyster Bake, as well touring experience under our belt. Perhaps all that’s really missing for us to be noticed is the professionally recorded EP and music videos we have to release in the fall, which was entirely self funded through our part time jobs rather than with any loans or investors as suggested in the article. Our gold record producer has credit on the recording and even though it is extremely accessible by the mainstream public and professional not only audio quality wise but in presentation as well, there is absolutely no 100% guarantee that we will be successful. What this article seems to not quite hit is how much the changing tastes of the mainstream media and simple luck matters, because we can do everything correctly as described in this article to bring us as close as possible to success and breaking through the local band wall, but still fail to generate any significant revenue or buzz simply due to being in the wrong place at the wrong time or because someone else sounds better than us. It is that unpredictability that makes this industry so competitive to find success in.
After going through all the information in the article what I found most intriguing is how the recording contracts work. The music industry is all about making money, so when you want a record label contract it is not like any other contract. Instead of basing it by years it is based by album productions. A label wants to sign someone who will make them more money therefore you won’t be released until you deliver the final record. There has been cases in the past where an artist is not content with their label but due to their contracts they are stuck, sometimes not being able to make more music or refuse do to their personal reasons. For example, Amanda Palmer was signed to Roadrunner Records but her label wouldn’t allow her to release her music of free which she wanted to so she decided to not make any music until she was released from the contract.
You can find more information about it here:https://www.theguardian.com/music/musicblog/2010/apr/15/artists-held-hostage-labels
This website is a very valuable resource for up and coming artists. There is a wealth of knowledge and it is presented in a way to which an individual with no prior knowledge could understand. One aspect of the website that I found intriguing was the link to the part of the website about maintaining “creative control on marketing and recording”. The link was basically blank and that lead me to dive deeper on the subject, because I was curious into how much creative control you do maintain being signed to a label.
After looking through some articles, I found one advocating for negotiating a better licensing deal rather than signing fully to a label. With a good license deal, the artist can lend the copyright to the record label “temporarily”, which gives the label full access to the copyright for a limited time, so the artist can still maintain true ownership. This isn’t just with the master copy of music, but its also with regards to how the record is distributed and marketed. This demonstrates a deal within a label that grants more control over the marketing aspect of a record, rather than signing a transfer of copyright to a label.
For more information regarding negotiating a better record deal, check out:
https://heroic.academy/truth-about-record-deals/
Ever since it was mentioned in class I have been amused by 360 deals. The fact that an artist is willing to change their whole style and scene to become famous. I first thought that was a 360 deal until I read the article. It is more about making the money the label lent out then changing the artist for fame. I found a article that puts 360 deals in very simple terms. https://www.tunecore.com/blog/2017/07/look-360-agreements-multiple-rights-deals-part-1.html