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MAJOR RECORD LABELS & TOP INDIE LABELS

 

A-F Records

P.O. Box 71266
Pittsburgh, PA 15213
Contacts: Pat Thetic, A&R
Chris Head , A&R
Justin Sane, A&R
Phone: None Given
Fax: None Given
Email: press@a-frecords.com
Website: http://www.a-frecords.com
Genre: Punk Rock
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/Cassette Tape (NO MP3)
Mail submission with bio/cover sheet/press kit!
Follow Up Method Preferred: Prefer NO Followup!


Aftermath Entertainment

2220 Colorado Blvd., 5th Floor
Santa Monica, CA 90404
Contacts: Angelo Sanders, A&R Director
Andre Young (Dr. Dre), President
Phone: 1-310-865-7642
Fax: 1-310-865-7068
Email: None Given
Website:http://www.aftermathmusic.com
Genre: Hip Hop, Rap, Urban, Contemporary R&B
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 


Alligator Records

P.O. Box 60234
Chicago, IL 60660
Contacts: Bruce Iglauer, President
Phone: 1-773-973-7736
Fax: 1-773-973-2088
Email: info@allig.com
Website: http://www.aligatormusic.com
Genre: Blues, Roots Blues, Contemporary Blues
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD (Max 4 Songs)
Follow Up Method Preferred: NO Followup!
Note: We respond to submissions by mail.
Please include mailing address with any submissions.
We are currently backed up 7 months on submissions.

 


A&M (UMG)

2220 Colorado Avenue, 5th Floor
Santa Monica, CA 90404
Contacts: Ron Fair, CEO/President
Phone: 1-310-865-1000
Fax: None Given
Email: a.ferguson@umusic.com
Website: www.interscope.com
Genre: Pop, Rock, Alternative, Metal
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 


A&M/Octone Records (UMG)

113 University Place
New York, NY 10003
Contacts: James Diener, CEO/President
Phone: 1-646-845-1700
Fax: None Given
Email: info@amoctone.com
Website: www.amoctone.com
Genre: Pop Rock, Alternative Metal
Accepting Unsolicited Demos / Press Kits: YES
EMAIL your website address or MySpace URL (no attachments) to: demosubmission1@gmail.com
Preferred Formats: “See Record Label Website”
Follow Up Method Preferred: Prefer NO Followup!

 

American Recordings (Sony BMG)

 

2100 Colorado Avenue
Santa Monica, CA 90405
Contacts: Richard Csabai, A&R
Antony Bland, A&R Director
Dino Paredes, VP – A&R
Rod Kukla, A&R
Rick Rubin, President
Phone: 1-818-953-3392
Fax: 1-818-953-3392
Email: rico@americanrecordings.com
antony.bland@sonybmg.com
Website: www.americanrecordings.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: EMAIL your website address or MySpace URL (no attachments)
Follow Up Method Preferred: Prefer NO Followup!

 

Astralwerks Records

A&R Department
150 5th Avenue
New York, NY 10011
Contacts: Andy Hsueh, A&R
Justin Nichols, A&R
Phone: None Given
Fax: None Given
Email: andy.hsueh@astralwerks.com
Website: www.astralworks.com
Genre: Electronic, Dance, Alternative, Techno
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO Followup!


Atlantic Records – CA

3400 West Olive Avenue, 3rd Floor
Burbank, CA 91505
Contacts: Mike Caren, Executive VP – A&R
Danny Wimmer, Senior VP – A&R
Molly Moore, A&R
Chris Morris, A&R
Shawn Barron, A&R
Phone: 1-818-238-6811
Fax: None Given
Email: mike.caren@atlanticrecords.com
Website: www.atlanticrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Atlantic Records – NY

 

IK Multimedia - iRig KEYS1290 Avenue of the Americas
New York, NY 10104
Contacts: Andrew Karp, A&R Director
Craig Kallman, Co-CEO
Julie Greenwald, President
Phone: 1-212-707-2000
Fax: 1-212-405-5477
Email: julie.greenwald@atlanticrecords.com
Website: www.atlanticrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

ATO Records

44 Wall Street, 23rd Floor
New York, NY 10005
Contacts: Dave Mathews – Founder
Bruce Flohr, A&R
Phone: None Given
Fax: None Given
Email: info@atorecords.com
Website: www.atorecords.com
Genre: All Genre, Pop, Rock, Acoustic Rock, Indie
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/DVD/CDR
Demo submissions will only be accepted by mail!
Follow Up Method Preferred: Prefer NO Followup!


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Aware Records

624 Davis Street, 2nd Floor
Evanston, IL 60201
Contacts: Steve Smith, VP-A&R
Phone: 1-847-424-2000
Fax: None Given
Email: steve@awaremusic.com
awareinfo@awaremusic.com
Website: www.awaremusic.com
Genre: All Genre, Pop Rock, Acoustic Rock
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Bad Boy Records

1290 Avenue of the Americas
New York, NY 10104
Contacts: Harve Pierre, President
Sean Combs, CEO
Daniel Michell, A&R
Phone: None Given
Fax: None Given
Email: None Given
Website: www.badboyonline.com
Genre: Hip Hop, Rap, Urban, Dance, Pop, R&B
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: “See http://www.myspace.com/badboyonline for more info.”
Follow Up Method Preferred: None Given

 

Bar-None Record

 

P.O. Box 1704
Hoboken, NJ 07030
Contacts: Glen Morrow, Owner
Emmy Black, A&R
Phone: 1-201-770-9090
Fax: 1-201-770-9920
Email: info@bar-none.com
Website: www.bar-none.com
Genre: Indie Rock
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Submissions by mail only!
Follow Up Method Preferred: Prefer NO Followup!

 

Bieler Brothers Records

4100 North Powerline Road, Suite U-5
Pompano Beach, FL 33073
Contacts: Jason Bieler – A&R
Aaron Bieler, A&R
Phone: 1-954-979-4781
Fax: 1-954-979-9709
Email: info@bielerbros.com
Website: www.bielerbros.com
Genre: Hard Rock, Metal
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Mail submission with band bio, photo, contact info on CD and jewel case, video if available of show and/or rehearsal.
Follow Up Method Preferred: Prefer NO Followup!

 

Big Noise

11 South Angell Street, Suite 336
Providence, RI 02906
Contacts: Al Gomes, A&R
Phone: 1-401-274-4770
Fax: None Given
Email: al@bignoisenow.com.com
Website: www.bignoisenow.com
Genre: All Genres, Rock, Pop
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: Call or Email First for Submissions!
Follow Up Method Preferred: None Given


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Blackheart Records

636 Broadway
New York, NY 10012
Contacts: Zander Wolff , A&R
Phone: 1-212-353-9600
Fax: 1-212-353-8300
Email: blackheart@blackheart.com
Website: www.blackheart.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: None Given

 

Blue Note (EMI)

150 5th Avenue, 6th Floor
New York, NY 10011
Contacts: Eli Wolf, Senior Director – A&R
Bruce Lundvall, President
Phone: 1-212-786-8600
Fax: 1-212-786-8666
Email: info@bluenote.com
Website: www.bluenote.com
Genre: Jazz
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

BNA Records (Sony BMG)

1400 18th Avenue Street
Nashville, TN 37212
Contacts:Jim Catino, Senior Director – A&R
Phone: 1-615-301-4300
Fax: 1-615-301-4347
Email: jim.catino@sonybmg.com
Website: www.bnarecords.com
Genre: Country
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Capitol Records – CA (EMI)

1750 North Vine Street
Hollywood, CA 90028
Contacts: Marc Nathan, Senior Director – A&R Research
Darius Jones, VP – A&R
Phone: 1-323-462-6252
Fax: None Given
Email: None Given
Website: www.capitolrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Capitol Records – NY (EMI)

150 5th Avenue, 3rd Floor
New York, NY 10011
Contacts: None Given
Phone: 1-212-786-8200
Fax: None Given
Email: None Given
Website: www.capitolrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Capitol Records – TN (EMI)

3322 W. End Avenue, 11th Floor
Nashville, TN 37203
Contacts: Autumn House, Senior Director – A&R
Mellissa Fuller, A&R Coordinator
Phone: 1-615-269-2000
Submission Info: 1-615-269-2075
Fax: None Given
Email: None Given
Website: www.capitolrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats:Submission Info: 615-269-2075″
Follow Up Method Preferred: None Given

 

Castle Records (Tower Music Group)

19 Music Square West, Suite U-V
Nashville Red Barn
Nashville, TN 37203
Contacts: Kevin Waugh, A&R
Dave Sullivan, A&R
Phone: 1-615-401-7110
Fax: 1-615-401-7119
Email: castlerecords@castlerecords.com
Website: www.castlerecords.com
Genre: Country
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats:See Website for Submission Information!
Follow Up Method Preferred: None Given

 

Century Media Records

2323 West El Segundo Blvd.
Hawthorne, CA 90250
Contacts: None Give
Phone: 1-323-418-1400
Fax: 1-323-418-0118
Email: mail@centurymedia.com
Website: www.centurymedia.com
Genre: Heavy Metal, Hard Rock
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: See Website for Submission Information!
Follow Up Method Preferred: None Given

 

Clubstream Label Group

Eklandagatan 23A
Gothenburg, SE, Sweden 41282
Contacts: None Given
Phone: +46 733 101 808
Fax: None Given
Email: None Given
Website: www.clubstream.se/
Genre: Techno, All types of electronic dance music
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: MP3
Follow Up Method Preferred: None Given

 

Columbia Records – CA (Sony BMG)

2100 Colorado Avenue
Santa Monica, CA 90404
Contacts: Jay Landers, A&R Consultant
Phone: 1-310-449-2100
Fax: 1-310-449-2071
Email: jay.landers@sonybmg.com
Website: www.columbiarecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Columbia Records – NY (Sony BMG)

550 Madison Avenue, 24th Floor
New York, NY 10022
Contacts: John Doelp, Senior VP – A&R
Phone: None Given
Fax: None Given
Email: john.doelp@sonybmg.com
Website: www.columbiarecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Columbia Records – TN (Sony BMG)

1400 18th Avenue South
Nashville, TN 37212
Contacts: Renee Bell, Senior VP – A&R
Phone: 1-615-301-4300
Fax: None Given
Email: renee.bell@sonybmg.com
Website: www.hearsomethingcountry.com
Genre: Country
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Concord Music Group

100 North Crescent Drive, Suite 275
Beverly Hills, CA 90210
Contacts: John Burk, Executive VP – A&R
Nick Phillips, VP – Jazz/Catalog – A&R
Chris Dunn, Senior Director – A&R
Joe McEwen, VP – A&R
Phone: 1-310-385-4455
Fax: None Given
Email: info@concordrecords.com
Website: http://www.concordmusicgroup.com
Genre: Jazz
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Crank! A Record Company

1223 Wilshire Blvd., Suite 823
Santa Monica, CA 90403
Contacts: Jeff Matlow, A&R
Phone: None Given
Fax: None Given
Email: fan@crankthis.com
Website: http://www.crankthis.com
Genre: Rock, Indie, Pop
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD – Mail only, include contact information, attn: new rock. See Website for additional details.
Follow Up Method Preferred: None Given

 

Curb Records

48 Music Square East
Nashville, TN 37203
Contacts: John Ozier, A&R Director
Phone: 1-615-321-5080
Fax: 1-615-327-1964
Email: jozier@curb.com
Website: http://www.curb.com
Genre: Country, Pop, Gospel
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Delicious Vinyl Records

6607 Sunset Blvd.
Los Angeles, CA 90028
Contacts: Rick Ross, GM – A&R
Michael Ross, President – A&R
Phone: 1-323-465-2700
Fax: 1-323-465-8926
Email: None Given
Website: http://www.deliciousvinyl.com
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Drive-Thru Records

PO Box 55234
Sherman Oaks, CA 91413
Contacts: Stephanie Reines, A&R
Richard Reines, A&R
Phone: 1-818-883-3341 Fax: 1-818-883-6471
Email: None Given
Website: http://www.drivethrurecords.com
Genre: Pop Punk, Emo Rock, Indie Rock, Acoustic, Power Pop, Post Hardcore
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

EMI Music Group

150 5th Avenue, 8th Floor
New York, NY 10011
Contacts: None Given
Phone: 1-212-786-8000
Fax: 1-212-245-4115
Email: None Given
Website: http://www.emigroup.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Epic Records – CA

2100 Colorado Avenue
Santa Monica, CA 90404
Contacts: None Given
Phone: None Given
Fax: None Given
Email: None Given
Website: http://www.epicrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Epic Records – NY (Sony BMG)

550 Madison Avneue, 22nd Floor
New York, NY 10022
Contacts: Farra Mathews – VP – A&R
Pete Giberga, Senior Director – A&R
Scott, Graves, Senior Director – A&R
Phone: 1-212-833-8000
Fax: None Given
Email: farra.mathews@sonybmg.com
Website: http://www.epicrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Epitaph/Asylum (WMG)

2798 Sunset Blvd.
Los Angeles, CA 90026
Contacts: Brett Gurewitz, Owner
Sue Lucarelli, Assistant
Dave Hansen, General Manager
Phone: 1-213-413-7353
Fax: 1-213-413-9678
Email: brett@epitaph.com
faq@epitaph.com
Website: http://www.epitaph.com
Genre: Alternatice Rock, Post-Hardcore, Punk Rock, Hardcore Punk, Emo, Hip Hop, Metalcore, Pop, Punk
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: “See Record Label Website for Demo Submissions”
Follow Up Method Preferred: Prefer NO Follow-up!

 

Evenflow Records

P.O. Box 9175
Marietta, GA 30065-2175
Contacts: Eli Watts
Phone: 1-404-617-9285
Fax: None Given
Email: eliwatts@evenflowrecords.com
Website: http://www.evenflowrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Emailing OK

 

Fantasy Records (Concord)

13772 Goldenwest Street 545
Westminster, CA 92683
Contacts: Shervon Esfahani, A&R
Phone: 1-562-592-3438
Fax: None Given
Email: ar@fearlessrecords.com
shervon@fearlessrecords.com
Website: http://www.fearlessrecords.com
Genre: Pop Punk, Punk Rock, Emo, Alternative Rock, Post-Hardcore
Accepting Unsolicited Demos: YES
Please mail all demos to our mailing address. DO NOT email us about demos or with links to MP3’s
Preferred Formats: (“See Record Label Website FAQ”)
Follow Up Method Preferred: Prefer NO Followup!

 

Headliner Records

475 Indigo Springs Street
Henderson, NV 89014
Contacts: George Tobin, Owner
Phone: None Given
Fax: None Given
Email: georgetobinmusic@aol.com
Website: http://www.headlinerrecords.com
Genre: Pop, Alternative, R&B
Accepting Unsolicited Demos / Press Kits: YES
Send all demo and promotion packages to:
George Tobin Music, Inc.
102 NE 2nd Street
Boca Raton, Fl 33432
Preferred Formats: None Given
Follow Up Method Preferred: Prefer NO Followup!

 

Hollywood Records – CA

500 South Buena Vista Street
Old Team Building
Burbank, CA 91521
Contacts: Matt Harris, A&R Manager
Geoffrey Weiss, Senior VP – A&R
Jon Lind, Senior VP – A&R
Jason Jordan, VP – A&R
Phone: 1-818-560-7084
Fax: 1-818-841-5140
Email: geoffrey.weiss@disney.com
Website: http://www.hollywoodrecords.com
Genre: All Genre, Modern Rock, Alternative Rock
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: Prefer NO Followup!

 

Hollywood Records – NY

825 8th Avenue, 30th Floor
New York, NY 10019
Contacts: None Given
Phone: 1-718-832-0868
Fax: 1-718-832-0869
Email: None Given
Website: http://www.hollywoodrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Immortal Records

10585 Santa Monica Blvd., Suite 120
Los Angeles, CA 90025
Contacts: Happy Walters, President
Jason Markey, A&R
Phone: 1-310-481-1800
Fax: 1-310-474-6688
Email: info@immortalent.com
Website: http://www.immortalrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Interscope/Geffen/A&M (UMG)

2220 Colorado Avenue, 5th Floor
Santa Monica, CA 90404
Contacts: Ben Gordon, A&R
Luke Wood, A&R
Wendy Higgs, A&R
Jeff Sosnow, A&R
Phone: 1-310-865-1000
Fax: 1-310-865-7908
Email: ben.gordon@umusic.com
Website: http://www.interscoperecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Island Def Jam Records (UMG)

2220 Colorado Avenue, 5th Floor
Santa Monica, CA 90404
Contacts: Max Gousse, Senior VP – A&R
Paul Pontius, Senior VP – A&R
Phone: None Given
Fax: None Given
Email: None Given
Website: http://www.islandrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Island Def Jam Records (UMG)

825 8th Avenue, 28th Floor
New York, NY 10019
Contacts: Karen Kwak, Senior VP – A&R
Steve Bartels, President
Phone: 1-212-333-8000
Fax: 1-212-603-7654
Email: karen.kwak@umusic.com
Website: http://www.islanddefjam.com
Genre: Hip Hop, Rap, Urban, R&B
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats:None Given
Follow Up Method Preferred: None Given

 

Jaggo Records

10061 Riverside Drive, Suite 718
Toluca Lake, CA 91602
Contacts: None Given
Phone: 1-323-850-1819
Fax: None Given
Email: jaggo@jaggo.com
Website: http://www.jaggo.com
Genre: Pop, Rock, Jazz, R&B, Hip-Hop, Soul, World Music
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO Followup!

 

Jive Records – Zomba Label Group (Sony BMG)

550 Madison Avenue, 13th Floor
New York, NY 10022
Contacts: Peter Thea, Executive VP – A&R
Wayne Williams, Senior VP – A&R
Jeff Fenster, Senior, VP – A&R
Memphitz Wright, VP – A&R
Nancy Roof, Senior Director A&R Administration
Phone: 1-212-833-5243
Fax: None Given
Email: peter.thea@sonybmg.com
Website: http://www.jiverecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

J Records (Sony BMG)

745 5th Avenue, 6th Floor
New York, NY 10151
Contacts: Peter Edge, President
Rani Hancock, VP – A&R Administration
Peter Thea, Executive VP
Wayne Williams, VP – Urban A&R
Toi Green, Director – A&R
Julius Garcia, Manager – A&R
Phone: 1-646-840-5600
Fax: None Given
Email: peter.edge@sonybmg.com
Website: http://www.jrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Kemado Records

87 Guernsey St.
Brooklyn, NY 11222
Contacts: None Given
Phone: None Given
Fax: None Given
Email: info@kemado.com
Website: http://www.kemado.com
Genre: Hard Rock, Metal
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO Phone or Email Followup!

 

Koch Entertainment

740 Broadway, 7th Floor
New York, NY 10003
Contacts: Cliff Cultreri, Senior VP – A&R
Dave Wilkes, VP – A&R
Alan Grunblatt, Executive VP – A&R – General Manager
Phone: 1-212-353-8800
Fax: 1-212-228-0660
Email: cliff.cultreri@kochent.com
Website: http://www.kochentertainment.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Life Struggles LLC

5850 Par Four Ct.
Lithonia, GA 30038
Contacts: Lamar Smith – A&R
Phone: 1-770-807-8719
Fax: None Given
Email: lifestrugglesllc@gmail.com
Website: slipnslideroecords.ning.com/profile/lifestrugglesllc
Genre: None Given
Accepting Unsolicited Demos / Press Kits YES
Preferred Formats: None Given
Follow Up Method Preferred: Emailing OK

 

Lost Highway Records (UMG)

401 Commerce Street, Suite 1100
Nashville, TN 37219
Contacts: Kim Buie VP – A&R
Phone: 1-615-524-7500
Fax: None Given
Email: kim.buie@umusic.com
Website: http://www.losthighwayrecords.com
Genre: Rock, Country, Folk
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: Follow Up Method Preferred: None Given

 

Malaco Records

3023 W. Northside Drive
Jackson, MS 39286
Contacts: Tommy Couch Jr., President – A&R / R&B
DA Johnson, Director / Gospel
Wolf Stephenson, VP – A&R
Lionel Ridenour, A&R / Urbany
Larry Jones, A&R – Blues & Soul, R&B Promotions Director
Phone: 1-601-982-4522
Fax: 1-601-982-2944
Email: tcouchjr@malaco.com
Website: http://www.malaco.com
Genre: Gospel, Spoken Word, Jazz, Blues, R&B, Soul
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Metal Blade Records

5737 Kanan Rd #143
Agoura Hills, CA 91301
Contacts: None Given
Phone: 1-805-522-9111
Fax: 1-805-522-9380
Email: metalblade@metalblade.com
Website: http://www.metalblade.com
Genre: Heavy Metal, Progressive, Rock, Punk
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: We no longer accept physical submissions of demos. Please go HERE to send us a link to your website or Myspace page.
Follow Up Method Preferred: Prefer NO Followup!

 

Narada Records

The Blue Note Label Group
150 Fifth Avenue, 6th Floor
New York, NY 10011
Contacts: Richard McElroy, Senior Director – A&R
Phone: 1-212-786-8600
Fax: None Given
Email: friends@narada.com
Website: http://www.narada.com
Genre: World, Celtic, New Flamenco, Jazz, New Age, Acoustic Guitar and Piano Genres
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Nettwerk Records

1650 West 2nd Avenue
Vancouver, BC V6J 4R3
Contacts: Mark Jowett, A&R
Polly Greenwood, A&R
Phone: 1-604-654-2929
Fax: 1-604-654-1993
Email: mark@nettwerk.com
Website: http://www.nettwerk.com
Genre: Alternative, Industrial, Electronica, Folk Rock
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Nonesuch Records (WBR)

1290 Avenue of the Americas, 23rd Floor
New York, NY 10104
Contacts: Bob Hurwitz, President – A&R
David Bither, Senior VP – A&R
Phone: 1-212-707-2900
Fax: 1-212-707-3205
Email: info@nonesuch.com
Website: http://www.nonesuch.com
Genre: Classical, Contemporary, Jazz, Traditional, American, World, Pop, Alternative, Music Theater, Dance
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Peak Records

100 North Crescent Drive, Suite 275
Beverly Hills, CA 90210
Contacts: Andi Howard, President
Mark Wexler, Senior Vice President
Phone: 1-310-385-4040
Fax: 1-310-385-4050
Email: None Given
Website: http://www.peak-records.com
Genre: Classical, Contemporary, Jazz
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Putumayo World Music

411 Lafayette Street, 4th Floor
New York, NY 10003
Contacts: Jacob Edgar, A&R
Dan Storper, President/CEO
Phone: 1-212-625-1400
Fax: 1-212-460-0095
Email: jacob@putumayo.com
Website: http://www.putumayo.com
Genre: World Music, Classical, Contemporary, Jazz, Folk, Latin Reggae
Accepting Unsolicited Demos / Press Kits: YES
To: Putumayo World Music
Attn: Jacob Edgar
413 Carpenter Road
Charlotte, VT 05445
Preferred Formats: CD/CDR/DVD, NO Digital Submissions
Follow Up Method Preferred: Prefer NO Followup!

 

Razor & Tie Records

214 Sullivan Street, Suite 4A
New York, NY 10012
Contacts: Beka Callaway, A&R
Phone: 1-212-473-9173
Fax: 1-212-473-9174
Email: info@razoradtie.com
bcallaway@razorandtie.com
Website: http://www.razorandtie.com
Genre: Pop, Metal, Rock, Soul, Folk, Dance, World Music
Accepting Unsolicited Demos / Press Kits: YES – Must Mail In Material
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

RCA Records (Sony BMG)

550 Madison Avenue, 11 Floor
New York, NY 10022
Contacts: Ashley Newton, Executive VP – A&R
Phone: 1-212-833-6200
Fax: None Given
Email: ashley.newton@sonybmg.com
Website: http://www.rcarecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

RCA Records – Nashville (Sony BMG)

1400 18th Avenue South, 4th Floor
Nashville, TN 37212
Contacts: None Given
Phone: 1-615-301-4340
Fax: 1-615-301-4356
Email: None Given
Website: http://www.sonybmgnashville.com
Genre: Country
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Revelation Records

P.O Box 5232
Huntington Beach, CA 92615
Contacts: Vique Martin, A&R
Phone: 1-714-842-754
Fax: None Given
Email: webmaster@revhq.com
Website: http://www.revelationrecords.com
Genre: Hardcore, Punk, Emo
Accepting Unsolicited Demos / Press Kits: YES
Attention A&R Director
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO Followup!

 

Roadrunner Records

902 Broadway, 8th Floor
New York, NY 10010
Contacts: Ron Burman, Senior VP – A&R
Monte Conner, Senior VP – A&R
Mike Gitter, Director – A&R
David Rath, Manager – A&R Administration
Phone: 1-212-274-7500
Fax: 1-212-334-6921
Email: roadrunner@roadrunnerrecords.com
Website: http://www.roadrunnerrecords.com
Genre: Rock, Pop, Heavy Metal, Hard Rock, Goth
Accepting Unsolicited Demos / Press Kits: YES – Submit at: http://signmeto.roadrunnerrecords.com
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

ROIR (Reachout International Records)

P.O. Box 150-460
Van Brunt Station
Brooklyn, NY 11215
Contacts: Attn: Nick, A&R
Phone: 1-718-852-7647
Fax: 1-718-852-7657
Email: info@roir-usa.com
Website: http://www.roir-usa.com
Genre: Punk, Reggae, Rock
Accepting Unsolicited Demos / Press Kits: YES
Accepts physical demo submissions only – NO MP3,s or website links accepted!
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO Followup!

 

Roc-A-Fella Records (UMG)

825 8th Avenue, 29th Floor
New York, NY 10019
Contacts: Shadae Simpson, A&R
Phone: 1-646-688-0482
Fax: 1-212-445-3616
Email: None Given
Website: http://www.rocafella.com
Genre: Hip Hop, Rap, Urban, R&B
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Rotten Records

P.O. Box 56
Upland, CA 91786
Contacts: Dick Shitelmeyer, A&R
Phone: 1-909-920-4567
Fax: None Given
Email: rotten@rottenrecords.com
Website: http://www.rottenrecords.com
Genre: Hardcore, Metal, Punk
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: The best and quickest way to get your demo heard by Rotten Records is to visit our A&R MySpace Page myspace.com/rottenrecordsar. NO MP3’s!
Follow Up Method Preferred: Prefer NO Followup!

 

Rounder Records

One Rounder Way
Burlington, MA 01803
Contacts: Marian Leighton, Owner – A&R
Bill Nowlin, Owner – A&R
Scott Billington, VP – A&R
Chris Wilson, VP – A&R
Dave Godowski, A&R Director
John Virant, Executive VP – A&R
Phone: None Given
Fax: None Given
Email: info@rounder.com
Website: http://www.rounder.com
Genre: Folk, Roots, Rock, Blues, Reggae
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Saddle Creek Records

P.O. Box 8554
Omaha, NE 68108
Contacts: Robb Nansel, President
Conor Oberst, CEO
Phone: 1-402-558-8208
Fax: None Given
Email: info@saddle-creek.com
Website: http://www.saddle-creek.com/home.html
Genre: Electronica Country Rock, Rock
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD or “See Online Submission Form”
Follow Up Method Preferred: Prefer NO followup!

 

Sony Music – FL (Sony BMG)

605 Lincoln Road, 7th Floor
Miami Beach, FL 33139
Contacts: Paul Forat, Senior VP – A&R
Phone: 1-305-695-3500
vFax: 1-305-695-3542
Email: paul.forat@sonybmg.com
Website: http://www.sonymusiclatin.com
Genre: Latin
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Sony Music – NY (Sony BMG)

550 Madison Avenue, 6th Floor
New York, NY 10022
Contacts: None Given
Phone: 1-212-833-8000
Fax: 1-212-833-5607
Email: None Given
Website: http://www.sonybmg.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Sony Music – TN (Sony BMG)

1400 18th Avenue South
Nashville, TN 37212
Contacts: John Grady, A&R President
Allison Booth, Director – A&R Administration
Phone: 1-615-301-4300
Fax: 1-615-301-4303
Email: john.grady@sonybmg.com
Website: http://www.sonybmg.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Sub Pop Records

2013 4th Avenue, 3rd Floor
Seattle, WA 98121
Contacts: Tony Kiewel, A&R Manager
Phone: 1-206-441-8441
Fax: 1-206-441-8245
vEmail: tonyk@subpop.com
Website: http://www.subpop.com
Genre: Alternative Rock, Grunge, Indie Rock
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO followup!

 

Surfdog Records

1126 South Coast Highway 101
Encinitas, CA 92024
Contacts: Megan Lloyd, A&R
Phone: 1-760-944-8000
vFax: 1-760-944-7808
Email: megan@surfdog.com
Website: http://www.surfdog.com
Genre: Rock
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO followup!

 

TVT Records

23 E. 4th Street, 3rd Floor
New York, NY 10003
Contacts: Jennifer Oneill, A&R Director
James Eichelberger, A&R Director
Patricia Joseph, VP – A&R
Leonard Johnson, VP – A&R
Barbara Wesotski, Director – A&R/Administration
Steve Gottlieb, President
Phone: 1-212-979-6410
Fax: 1-212-979-6489
Email: jennifer@tvtrecords.com
Website: http://www.tvtrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO followup!

 

U&L Records

1617 Cosmo Street, Suite 411
Los Angeles, CA 90028
Contacts: None Given
Phone: None Given
Fax: None Given
Email: help@urbandlazar.com
Website: http://www.urbandlazar.com
http://www.myspace.com/urbandlazar
Genre: Indie Rock, Alternative, Singer/Songwriter
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer No Followup!

 

Universal Music Group – NY

1755 Broadway, 6th Floor
New York, NY 10019
Contacts: Tom Mackay, Senior VP – A&R
Avery Lipman, Senior VP – A&R
Monte Lipman, President
Phone: 1-212-373-0600
Fax: 1-212-373-0688
Email: bruce.carbone@umusic.com
Website: http://www.umrg.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Universal Music Group – TN

401 Commerce Street, Suite 1100
Nashville, TN 37219
Contacts: Brian Wright, VP – A&R
Phone: 1-615-524-7500
Fax: 1-615-524-7850
Email: brian.wright@umusic.com
Website: http://www.umgnashville.com
Genre: Country
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Vagrant Records

2118 Wilshire Blvd., Suite 361
Santa Monica, CA 90403
Contacts: Rich Egan, President, A&R / Rock
Dan Gill, General Manager
Phone: 1-323-302-0100
Fax: 1-323-302-0111
Email: info@vagrant.com
Website: http://www.vagrant.com
Genre: Rock, Indie Rock, Emo, Hardcore Punk, Metalcore, Post Hardcore, Punk
Accepting Unsolicited Demos / Press Kits: YES – By Mail Only
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO Followup!

 

Van Richter Records

440 South El Cielo Road, Suite 3-219
Palm Springs, CA 92262 Contacts: Paul Abramson, A&R
Phone: 1-858-731-2995
Fax: None Given
Email: manager@vanrichter.net
Website: http://www.vanrichter.net
Genre: Gothic, Industrical, Metal
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: See Submission Guidelines at Website!
Follow Up Method Preferred: None Given

 

Vanguard Records

2700 Pennsylvania Avenue, Suite 1100
Santa Monica, CA 90404
Contacts: Steve Buckingham, Senior VP – A&R
Gary Paczosa, VP – A&R
Phone: 1-310-829-9355
Fax: 1-310-315-9996
Email: order@vanguardrecords.com
Website: http://www.vanguardrecords.com
Genre: Jazz, Folk Music
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Vapor Records

1460 4th Street, Suite 300
Santa Monica, CA 90401
Contacts: None Given
Phone: None Given
Fax: None Given
Email: webstar@vaporrecords.com
Website: http://www.vaporrecords.com
Genre: Indie, Rock
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO Followup!

 

Verve Music Group (UMG)

1755 Broadway, 3rd Floor
New York, NY 10019
Contacts: Dahlia Ambach, A&R Director
Phone: 1-212-331-2000
Fax: 1-212-331-2005
Email: dahlia.ambach-caplin@umusic.com
Website: http://www.vervemusicgroup.com
Genre: Jazz, Adult Contemporary, Classical
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Victory Records

346 North Justine Street, 5th Floor
Chicago, IL 60607
Contacts: Dahlia Ambach, A&R Director
Phone: 1-312-666-8661
Fax: 1-312-666-8665
Email: None Given
Website: http://www.victoryrecords.com
Genre: Rock, Punk, Metal
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: http://www.victoryrecords.com/submitdemo
Follow Up Method Preferred: None Given

 

Virgin Records – CA

5750 Wilshire Blvd., Suite 300
Los Angeles, CA 90036
Contacts: Georgina McAvenna – A&R
Rob Stevenson – A&R
Phone: 1-323-692-1100
Fax: 1-323-692-6231
Email: None Given
Website: http://www.virginrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Virgin Records – NY

150 5th Avenue, 3rd Floor
New York, NY 10011
Contacts: Georgina McAvenna – A&R
Rob Stevenson – A&R
Phone: 1-212-786-8900
Fax: 1-212-786-8343
Email: None Given
Website: http://www.virginrecords.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Volcom Entertainment

1740 Monrovia Avenue
Costa Mesa, CA 92627
Contacts: Ryan Immegart – A&R
Phone: 1-949-646-2175
Fax: None Given
Email: volcoment@volcom.com
Website: http://www.volcoment.com
Genre: Punk, Indie, Rock
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer No Followup!

 

Warner Brothers/Reprise Records – TN

20 Music Square East
Nashville, TN 37203
Contacts: Paul Worley, CCO
Danny Kee, Director – A&R
Tracy Gershon, A&R
John Esposito – A&R
Phone: 1-615-748-8000
Fax: 1-615-214-1567
Email: nashville.ar@wbr.com
Website: http://www.wbrnashville.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Warner Brothers/Latin – FL

555 Washington Ave., 4th Floor
Miami, FL 33139
Contacts: Magda Vives, Label VP & Legal Affairs
Andres Wolff, Label Manager
Phone: 1-305-702-2200
Fax: 1-305-266-8771
Email: magda.vives@warnermusic.com
Website: http://www.miwml.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Warner Brothers Records – CA

3300 Warner Blvd., 3rd Floor
Burbank, CA 91505
Contacts: Hildi Snodgrass – A&R
Andy Olyphant, A&R
Lynn McDonnell – A&R
Piero Giramoti – A&R
Todd Moscowitz, CEO
Phone: 1-818-846-9090
Fax: 1-818-840-2343
Email: perry.watts-russell@wbr.com
Website: http://www.wbr.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Warner Brothers Music Group – NY

75 Rockefeller Plaza, 8th Floor
New York, NY 10019
Contacts: Tommy Page, VP – A&R
James Dowdall, Senior VP – A&R
Thomas Whalley, CEO
Phone: 1-212-275-2000
Fax: 1-212-757-3985
Email: tommy.page@wbr.com
Website: http://www.wmg.com
Genre: All Genre
Accepting Unsolicited Demos / Press Kits: NO
Preferred Formats: None Given
Follow Up Method Preferred: None Given

 

Wind-Up Records

72 Madison Avenue, 7th Floor
New York, NY 10016
Contacts: Alan Meltzer, CEO
Phone: 1-212-895-3100
Fax: 1-212-251-0779
Email: dmeltzer@winduprecords.com
Website: http://www.winduprecords.com
Genre: Rock, Pop
Accepting Unsolicited Demos / Press Kits: YES
Preferred Formats: CD/CDR/DVD
Follow Up Method Preferred: Prefer NO Followup!

 

World WIDE Recordings

Willingboro, NJ 08046
Contacts: MUST submit music at: worldwiderecordingssubmission.com
Phone: None Given
Fax: None Given
Email: maysandlewis@yahoo.com
Website: http://www.worldwiderecordings.biz
Genre: Rock, Pop, R&B, Soul, Country, Acoustic, Techno
Accepting Unsolicited Demos / Press Kits: Contact Us First!
DO NOT email music to email address. Must use form on website or submission link listed above.
Preferred Formats: MP3, EPK, Other
Follow Up Method Preferred: Prefer NO Followup!

 

 

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‘A&R Top 2o Contact Info’

A&R TOP 20 CONTACT INFO

Artist & Repertoire:
A&R, the commonly used abbreviation for Artists and Repertoire, is the record label department that serves as the intermediary between record labels and new artists. Boiled down to their essence, A&R men and women are talent scouts, always on the lookout for the next up-and-coming star performer or songwriter. All major labels and many independents have A&R departments stocked with these scouts, that range from experienced musicians to business executives. To be successful, these workers will be artistically minded to find talented performers that will bring a new artistic dimension to the label, but also must think on business terms to know if the artists stand a chance to make money for the label.

Many A&R representatives have become famous for the signings they have made at their respective record labels—though many work for multiple labels throughout their careers. Clive Davis, who also served as president of Columbia Records, Arista Records and RCA Music Group, is credited with playing a major part in signing Bruce Springsteen, Aerosmith, Billy Joel and Santana, among many others. Dr. Dre is a more recent example, recognized for discovering Eminem, Snoop Dogg and The Game.

A&R representatives take note of new talent in various ways, from attending concerts of buzz groups to listening to demos submitted to their company’s A&R department. The most important aspect to get your music heard by A&R representatives is the same as it is with all facets of the music industry—get your name out there! Representatives aren’t going to check out a concert of someone they’ve never heard of, they rely on contacts they have to let them know what artist is generating a buzz on their own. If an artist is independently bringing fans to shows and selling records already, then A&R representatives will see this as a good sign that the artist can make money for their label.

Aside from live shows, new artists can also get their music to the ears of A&R representatives by submitting demos. While the major labels don’t accept unsolicited demos and rely on the recommendations of trusted industry contacts, many other labels will. Research is the key factor here. First, amass a list of labels that have artists that are similar in scope to your musical vision. Then, carefully review their demo submission policy. Usually found on the label website, instructions are often very clear, and you should follow these exactly. Any variations may lead to the person at the label receiving submissions to not listen to your demo. Finally, follow up with the label. Give them a month or two to receive and (hopefully) listen to your demo and then send an email follow up. Though you don’t want to be annoying, following up lets you bring up your name again and can be the element that gets you noticed amongst piles of other submissions.

Though there’s not a clear cut method to getting your music heard by A&R representatives, building yourself independently is the best way to get your name out there, not only to your fans but also those with contacts in the music industry, who can pass along information about the new buzz artist—you.

World Top 20 A&R

1. Clive Davis

20110822-035558.jpg Whitney Houston, Bruce Springsteen, Santana, Chicago, Barry Manilow, Billy Joel, Dido, Angie Stone, Alicia Keys, Clay Aiken, Ruben Studdard, Fantasia, Diana DeGarmo
J RECORDS, 745 5th Avenue 6th Floor, NY 10151 New York, USA
Phone +1 212 833 8000 / Fax

1. Peter Edge

20110824-032400.jpg Angie Stone, Dido, Olivia, Alicia Keys, Mario, Jamie Foxx
J RECORDS, 745 5th Avenue 6th Floor, NY 10151 New York, USA
Phone +1 212 833 8000 / Fax

2. Andre Young a.k.a. Dr. Dre

20110822-035732.jpg Eminem, Blackstreet, Dr. Dre, Snoop Dogg, Warren G, The Game
AFTERMATH ENTERTAINMENT, 2220 Colorado Avenue , CA 90404 Santa Monica, USA
Phone +1 310 865 7642 / Fax +1 310 865 7068

3. Simon Cowell

20110822-050250.jpg Westlife, Five, Robson & Jerome, Zig & Zag, Girl Thing, Will Young, Gareth Gates, Six, Il Divo, Steve Brookstein, Shayne Ward, Journey South, Paul Potts, Ray Quinn, Leona Lewis
SYCO MUSIC, 9 Derry st. Kensington, W8 5HY London, United Kingdom
Phone +44 20 7361 8000 / Fax +44 20 7973 0332


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4. Diana Meltzer Drowning Pool, Evanescence, Creed, Alter Bridge, Seether, 12 Stones, Ben Moody, Scott Stapp
WIND-UP RECORDS, 79 Madison Avenue 7th Floor, NY 10016 New York, USA
Phone +1 212 895 3100 / Fax +1 212 251 0779

5. Ron Fair

20110822-044317.jpg Christina Aguilera, Lit, The Calling, Vanessa Carlton, Keyshia Cole, Pussycat Dolls
A&M RECORDS (CA), 2220 Colorado Avenue 5th Floor, CA 90404 Santa Monica, USA
Phone +1 310 865 1000 / Fax +1 310 865 6270

6. Tommy Mottola

20110822-045218.jpg Jennifer Lopez, Mariah Carey, Lindsay Lohan, Mika
CASABLANCA, 745 5th Avenue Suite 800, NY 10151 New York, USA
Phone +1 212 471 4000 / Fax +1 212 471 4010

8. Martin Kierszenbaum

20110822-053318.jpg T.A.T.U., Feist, Lady Gaga, Far East Movement
INTERSCOPE RECORDS (CA), 2220 Colorado Avenue , CA 90404 Santa Monica, USA
Phone +1 310 865 5000 / Fax +1 310 865 1405

Our Doctors do Pillow Talk - www.healthtera.com9. Teresa La Barbera-Whites Jessica Simpson, Destiny’s Child, Kelly Rowland, Beyoncé
JIVE (Houston), 116 N. Houston , TX 76048 Granbury, USA
Phone +1 817 910 0584 / Fax +1 817 910 0589

10. Kawan Prather

20110823-031735.jpg

20110823-031902.jpg John Legend, Dungeon Family, GooDie Mob, Outkast, Pink, Usher, Youngbloodz
GHET-O-VISION ENTERTAINMENT, c/o Sony Music 550 Madison Avenue, NY 10022 New York, USA
Phone +1 212 833 4000 / Fax +1 212 833 4389

11. David Massey

20110823-034155.jpg Anastacia, Good Charlotte, Jonas Brothers
MERCURY RECORDS, 825 8th Ave , NY 10019 New York, USA
Phone +1 212 333 8000 / Fax +1 212 333 7255

12. Riggs Morales

20110823-043741.jpg
Marc Labelle D12, 50 Cent, Obie Trice
SHADY RECORDS, 151 Lafayette Street 6th floor, NY 10013 New York, USA
Phone +1 212 324 2410 / Fax +1 212 324 2415

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13.14. Marshall Mathers a.k.a. Eminem 50 Cent, Obie Trice
SHADY RECORDS, 151 Lafayette Street 6th floor, NY 10013 New York, USA
Phone +1 212 324 2410 / Fax +1 212 324 2415

20110822-042859.jpg

14. Kevin Law Nelly, St. Lunatics, Ali, Murphy Lee
UNIVERSAL MUSIC, 1755 Broadway 7th Floor, NY 10019 New York, USA
Phone +1 212 373 0600 / Fax +1 212 373 0688

15. Max Lousada The Darkness, Goldie Lookin Chain, James Blunt
ATLANTIC RECORDS, 46 Kensington Court , W8 5DA London, United Kingdom
Phone +44 207 938 5500 / Fax +44 207 368 4935

16. Linda Perry James Blunt
CUSTARD RECORDS, 8939 ½ Santa Monica , CA, 90069 West Hollywood, USA
Phone +1 310 859 8940 / Fax LW:

17. Jay Brown Lil Mo, LL Cool J, Ne-Yo, Rihanna, Tweet
Unlocated, , , USA
Phone / Fax

18. Björn Teske French Affair, Die Prinzen, Alexander Klaws, Gracia, Daniel Küblböck, Yvonne Catterfeld, Elli, Lucry, Tobias Regner, Mike Leon Grosch, Deutschland Sucht Den Superstar
SONY MUSIC ENTERTAINMENT, Neumarkterstr. 28 , 81673 Munich, Germany
Phone +49 89 413 60 / Fax +49 89 41 36 90 60

19. Ron Burman Nickelback, Chad Kroeger, Theory Of A Deadman
ROADRUNNER RECORDS, 902 Broadway 8th Floor, NY 10010 New York, USA
Phone +1 212 274 7500 / Fax +1 212 505 7469

20. Brian Michel Bacchus Norah Jones
SOULFEAST MUSIC, 50 Kingston Avenue , NY 11001-3518 South Floral Park, USA
Phone +1 646 485 1232 / Fax +1 718 360 4609

21. Bruce Lundvall

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Norah Jones
BLUE NOTE RECORDS, 150 5th Avenue , NY 10010 New York, USA
Phone +1 212 786 8600 / Fax +1 212 786 8668

22. Mark Williams Queens Of The Stone Age, Gwen Stefani
COLUMBIA RECORDS (CA), 9830 Wilshire  Blvd , CA 90212 Beverly Hills, USA
Phone +1 310 272 2100 / Fax +1 310 272 2173


MUSIC VIDEOS 101

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Writing Music Video Treatments

At the beginning of every music video project, there is a need to work with the artist to define a desired treatment. A video treatment, also known as video concept, outlines information with regards to what the music video will be about. Conceptually, a music video could show the artist performing the song in front of a live audience or by itself; alternatively, a music video can also present a story line where certain situations and storytelling takes place. Furthermore, it can also be an experimental exercise where random images are shown to complement the music in a more abstract way. All of these angles constitute the treatment, or concept, of a music video.

However, a video treatment goes beyond this exercise of defining the overall direction of the video. The treatment goes down to describe the kind of locations, situations, stories, images, look and feel, tone and color, pacing and so on of the music video. Even though most treatment writers don’t follow specific guidelines or structures, a well written treatment is one that can successfully communicate complete ideas to artists.

Also, a video treatment can help with the process of creating the production budget where items identified in the treatment are included in the budgeting process.

Summarizing, a music video treatment is the starting point of every project. It allows the production company to communicate its ideas to the artists and it allows artists to make decisions regarding the direction of their video. The treatment also helps production companies to write production budgets that are accurate and that give artists a complete view of what to expect when embarking on the production of their music video.

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SAMPLE MUSIC VIDEO TREATMENT

RICKY LYNN GREGG MUSIC VIDEO SYNOPSIS ON “THREE NICHELS AND A DIME”

This music video will be photographed on 16mm film. INTERIOR of a small, intimate niteclub with RLG rehearsing on stage without band. ANGLE ON beautiful girl sitting at table, reading a newspaper, completely ignoring RLG on stage in the background. TRUCK BY girl at table (medium shot, camera at table level, slightly panned upward) to stage in the background. (continuous shot) Well baby here’s my name and number Three nickels and a dime If you get to feelin’ lonely Girl you can call me any old time CUT TO: CLOSE ON RLG (full close-up, canted frames), singing And if you’re lookin’ For some real good loving Girl I got what you got in mind FAST PULL BACK TO REVEAL (medium full shot) – RLG with banner behing him. Banner has his phone number on it. (Banner is only seen in this shot.) Baby here’s my name and number CUT TO: ANGLE ON RLG (medium shot) FAST PAN FROM – RLG’s face (medium close shot, side view) down length of arm to hands TO CLOSE-UP of hands throwing coins in air toward the direction of girl at table. F/X: CLOSE ON coins, showing RLG likeness on the faces of coins in SLOW-MOTION Three nickels and a dime DISSOLVE FROM CLOSE-UP of coins TO PANNING TO girl’s table ANGLE ON girl (full side shot). (Locked-off camera for static shot) STATIC SHOT of girl leaving table area, moving left out of frame. STATIC SHOT of 4 large coins (3 nickels and 1 dime) ENTERING FRAME FROM RIGHT as girl leaves frame from left F/X: These large coins will be fabricated to look like real coins with RLG’s likeness on the faces. The coins will range in size (4 ft. – 6 ft. dia.) and could have legs attached to them. CUT TO: ANGLE ON RLG (full close-up) on stage Chorus: Just a ding a ling a ling me I’ll be waitin’ on the other end CUT TO: EXTERIOR of club ANGLE ON girl (medium close shot), outside of club, looking at RLG poster on marquee CUT TO: CLOSE ON (extreme close-up) of “post-it note” on poster with RLG’s phone number on it and girl’s hand grabbing note (note has RLG logo printed on it.) Girl just reach out and touch me If you’re ever lookin’ for a friend CUT TO: EXTERIOR of niteclub parking lot exit (daytime) ANGLE ON driver’s window of girl’s car (medium full shot) FAST PULL BACK TO REVEAL car leaving parking lot Verse 3 “cause I’m a rarin’ to go And I’m a ready to roll CUT TO: INTERIOR of club ANGLE ON RLG (extreme close-up) on stage A good man is hard to find Baby here’s my name and number CUT TO: ANGLE ON hands (close-up) doing “slight-of-hand” magic with coins DISSOLVE TO: F/X: coins bouncing out of hands into air. And again showing RLG’s likeness on coin faces (in sync with music leading into instrumental break) Three nickels and a dime

INSTRUMENTAL BREAK CUT TO: RLG playing guitar ANGLE ON guitar (medium shot to close-up, canted frames) INTERCUT WITH: EXTERIORS ANGLE ON girl driving by phone booths in use, looking for a phone to call RLG ANGLE ON phone booths: tall phone booth with Superman (low angle shot) tall phone booth crammed with 15 college students (low angle shot) phone from car (cars waiting to use phone) ANGLE ON large coins in various situations near phones ANGLE ON hands (close-up) doing “slight-of-hand” magic with coins CUT TO: keyboard instrumental ANGLE ON keyboards (medium shot to close-up, canted frames) INTERCUT WITH: INTERIORS ANGLE ON girl walking by phone booths in use, looking for a phone to call RLG ANGLE ON phone booths at: shopping center airport (bank of phones) convenience store laundromat ANGLE ON large coins in various situations near phones ANGLE ON hands (close-up) doing “slight-of-hand” magic with coins CUT TO: ANGLE ON RLG (full close-up) on stage Repeat Chorus: Just a ding a ling a ling me I’ll be waitin’ on the other end CUT TO: EXTERIOR (daytime) ANGLE ON girl in car at stop sign (girl’s POV) looking out windshield and seeing repair truck (pickup) with phone booth in bed. (the only phone booth empty, but it needs repair) Girl just reach out and touch me If you’re ever lookin’ for a friend CUT TO: EXTERIOR of front door of club (daytime) ANGLE ON girl opening door and walking in. (sign on front door that reads,“closed for rehearsal”) Repeat Verse 3 ‘Cause I’m a rarin’ to go And I’m a ready to roll CUT TO: INTERIOR of club WIDE ANGLE ON stage from girl’s POV. RLG has left the club; the rehearsal is over. A good man is hard to find

CUT TO: ANGLE ON girl looking around club and spots jukebox playing this song, (from girl’s POV) ZOOM DOWN ON jukebox (medium close-up) Baby here’s my name and number ZOOM DOWN ON jukebox (extreme close-up) showing name of selection Baby here’s my name and number CUT TO: ANGLE ON (over the shoulder shot) girl dialing pay phone in club Well the love is free The calls on me CUT TO: EXTERIOR ANGLE ON the same repair truck with phone booth in bed WIDE PAN from rear of truck to MEDIUM CLOSE SHOT on driver’s window REVEALING RLG as the driver All yo got to lose is time Baby here’s my name and number Three nickels and a dime CUT TO: after vocal and at the end of song WIDE CLOSE-UP AUDIO F/X: phone ringing ANGLE ON RLG putting cell phone to ear DISSOLVE TO BLACK.

SONGWRITER AGREEMENTS 101

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Songwriter Agreements:

Songwriters exist in many different forms in this business. Some are lead singers of your favorite bands that you can recognize immediately, and some wrote your favorite song, though you’ve never even heard their name. And they exist everywhere in between, writing songs for themselves, co-writing with others, and writing songs just for other people. Without this diversity, chances are good that we’d have many less great songs in the world than we do.

Though there are many artists out there that write songs purely for their own enjoyment, songwriting can be, obviously, a very lucrative venture. And some of the most successful songwriters only write for other artists to perform. But how do the writers have their songs recorded by others? This is often where a publisher comes in, to take songwriter’s songs and present them to artists to perform and, hopefully, turn into the next number one hit. Publishing houses make a lot of money doing this, and writers know that they can, in turn, also make money by partnering with a publisher. Writers often sign exclusive agreements with publishers, providing songs directly to (and only to) a specific publisher, who then sells the songs to other artists. These exclusive agreements will have many different stipulations depending on the writer, publisher and other circumstances, but must touch on the following topics:

Term:

The duration of the contract is very important, as the writer cannot sell songs to any other entity during this time. Length of the contract will be discussed before the contract is written.

Rights of the Publisher:

As with many specifics of songwriting contracts, the actual language of this section will vary widely depending on what the two parties agreed to beforehand. Usually, these will state who obtains and owns copyrights to the work, and additional rights the publisher has with the compositions. The contract will often state the publisher has power of attorney over the songs in the writer’s name.

Compensation:

Again, this will change with each situation, but this section will state what the writer will get paid for presenting compositions to the publisher. Usually expressed in percentages, the amount owed to the writer will be broken down into different categories, such as money received from the wholesale selling price, net sums and from printed sheet music. Additionally, the contract will stipulate when the publisher must pay the writer.

Collaboration:

Since many writers co-write with other songwriters, songwriter contracts will often include notes of what will happen when there is a co-writer on a song. Often this will state that separate agreements must be agreed to at the time a co-written song is submitted.

Depending on the specifics of the contract, there will be many additional clauses. These will state any obligations the writer is under, that the writer is an independent contractor and that confidentiality agreements are in place. As these contracts can be very complex and cumbersome, it is crucial that there be a mutual agreement between the two parties before the contract is written, and that, with the help of a music lawyer, all the language is understood. When hit songs are written, both parties have the opportunity to gain greatly from songwriter contracts, so it’s important these contracts are fair in the beginning.

 By James KazualKazh Owens

PRESS KITS 101

20110826-085005.jpgWhat is a Press Kit:

First of all, there is nothing magical about the term “press kit”. All I’m talking about is a little background on you/your band, some basic facts, good quotes about your music, a couple of good pictures, and a sample of your music. You will use this to send to newspapers, lawyers, radio stations, A&R reps, promoters, and anyone else who is willing to spend five minutes reviewing your material. Additionally, on the internet you will hear about an electronic press kit, or EPS. An EPS is the exact same thing as a conventional press kit, except it is downloadable as an electronic file instead of a hardcopy form which must be mailed. The main purpose of the press kit is to generate interest in the artist and their music.

Sony Creative Software Inc.What to include:

Include a limited amount of background information on yourself. It is fine to say where you are from, but no one really wants to hear about every singing performance you did during elementary school. Sometimes less is more.

Talk about your music. Who do you sound like, and who does your music remind people of. The reader needs to be able to have a good idea of what your music sounds like just from your description. Be thoughtful and feel free to be a little funny here (but stay professional). Saying something like your band sounds like a cross between “Maroon 5 and Green Day after 20 cups of coffee” helps the reader understand. Remember, if you don’t generate enough interest in the first minute, they will never listen to your demo.

Talk about what you are good at. What makes your band special and different from others? What skills and experiences do you bring to the table? Remember if you are looking for a record deal, you need to prove to your reader that you have all the right ingredients for them to spend hundreds of thousands of dollars marketing you. Launching a new artist is risky, so you need to help the record exec understand why you are a solid investment.

Include quotes and/or press clippings as you generate them. A good quote from a reputable source (not your brother-in-law) can add a lot of credibility to your press kit. It lets the reader know that you have already been reviewed and your material is worth listening to. Ninety percent of press kits unfortunately end up in the trash, some good quotes and positive reviews can create the momentum necessary to get heard, and who knows – maybe even become famous.

You can go with one page dedicated to a bio (biography), and a separate page focused on quotes about your music, or you can combine the two into what some people call a “one pager”. My personal preference is to boil everything down to a tight one pager. My desk gets cluttered and papers get separated. If you have you quotes separate from your bio, there is a possibility that I could misplace one or the other. With the advent of digital photography and high quality color printers, it is even possible to include a small picture on your one pager to make it even more complete.

Make sure the overall language and tone of the press kit is consistent with your image. If you have someone help you write your bio, make sure they have heard you music and know what you are all about before they hand you something that might sound great, but isn’t about the real you.

Include a couple of different 8×10 pictures that show off different features about you and your band. Include shots that would be appropriate in a news article, but also highlight your key assets from a visual perspective. Your press kit should look professional, but your pictures should reflect your style and music, so you pictures can be much more crazy and creative. Make sure you clearly label the picture with you name and contact information.

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If you don’t have good pictures of your band, one of the best ways to get some is to go to a modeling agency and ask for a referral to a good local photographer. These photographers are often willing to do some great work for around $300 for the whole package. Make sure you get an agreement upfront that you own the copyrights after the shot and get the high resolution digital images on CD (with a copyright release you can print these photos at any major retailer). A photographer who does work with models is very different from a photographer who takes family pictures. They have a much better idea of what you want, they will encourage your creativity, and they are much more willing to give you the copyrights.

A current gig sheet can also be useful showing where you have recently played and where you are playing in the near future. This can demonstrate that the music is current and has a following in the community.

And of course, your music. Send a high quality CD demo, preferably mastered if you budget permits. Avoid burning your own CD on your home computer with a stick on label – it looks cheap. There are many new CD duplication services on the internet that will manufacture you CD with a printed color insert, and on disc printing even if you only want a few copies (CD replication is for batches over 1,000 but CD duplication is for batch sizes as small as 1). Expect to pay around $5 a retail ready disc for 1-5 CDs, with prices dropping off for larger batches. Make sure you clearly label the CD and the case with you name and contact information. The worst thing in the world that could happen is that they love your music, but they have already lost the rest of the press kit and don’t remember the name of the band.

What Not to Include:

Don’t oversell yourself. Saying that you are the greatest band that ever lived, might be true, but it probably isn’t. Be positive and promote yourself, but focus on statements that are credible. People in the music business hear hype all of the time, and for the most part are numb to it. Hype is good to use with the general public on things like posters (they often believe it), but your press kit reader is more sophisticated and will see it as cheap theatrics.

Including too much of your personal history can make you seem like an amateur with nothing meatier to talk about. Your reader wants to understand your music today, only your psychologist needs to know about every little detail of your childhood.

Don’t include anything that makes you look too desperate. You want to come across as a quality professional artist. Remember, you make great music. If your band is called the Chicken Heads, then it might be cute to include a rubber chicken in the box, but otherwise I would stick to the basics – bio, quotes, gig sheet, pictures, and music.

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How to Package It:

Include a professional looking, personalized cover letter targeted at the person you are sending the press kit to. Your message needs to be different if you are sending it to an A&R rep at a label seeking a record deal, versus sending it to your local newspaper for a review in their music section. Be brief and to the point. Also, be clear and state exactly what you would like from them.

Put it all together in an organized package. Since you are most likely mailing your press kits, make sure that the CD does not bend the photos, and that your kit will arrive looking the way you intend. You may even want to test a press kit (send it across the country to a wrong address, and then it will come back to your return address) to evaluate your packaging.

Your Music Is Art, But Your Press Kit Is Business:

Remember, be professional. The person you are sending this press kit to probably gets hundreds of them, most of them are garbage (and that’s where they end up too). Your music can be crazy and wild, but your press kit needs to be more business like. You are asking someone to spend their valuable time reviewing your material. You may also be asking them to enter into a high risk expensive financial relationship with you. The person you are dealing with is in the music business, they need to make a living. The only way they can do that is to deal with real talent. By presenting a professional package you give them confidence that you are dedicated to making great music, and not just messing around.

A Word About Unsolicited Press Kits:

Avoid wasting your time and money sending a press kit to someone you have not talked with already. Always call and make contact first, ask who you should send it to and what their process is. If possible, have someone who knows the person act as an intermediate and make the initial introduction (this can work wonders). The music business is all about contacts, create and leverage your network. After sending your press kit, call in a couple of weeks and follow up to make sure they received it and got a chance to review it.

 By James KazualKazh Owens

MARKETING & PROMOTION 101

Fiverr.comIn the music industry, a record label is a brand and a trademark associated with the marketing of music recordings and music videos. Most commonly, a record label is the company that manages such brands and trademarks, coordinates the production, manufacture, distribution, marketing and promotion, and enforcement of copyright protection of sound recordings and music videos; conducts talent scouting and development of new artists (“artists and repertoire” or A&R); and maintains contracts with recording artists and their managers. The term “record label” derives from the circular label in the center of a vinyl record which prominently displays the manufacturer’s name, along with other information.

If you want to succeed at music marketing and promotion, you must follow a different path. First of all you need to define your unique identity as a musician. You must discover what it is that distinguishes you from everybody else, in clear and unambiguous terms. Don’t be just another pop, rock or hip hop act. Be yourself, and know yourself.

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Now that you know who you are, the next step is to know who your fans are. What is it that excites them? What is their culture? Where do they hang out? What is their lifestyle like? I try my best not to alienate myself from my fans. After all without fans you are no where. I try to mix with them sometimes, so as to ‘feel’ them.

Music marketing and promotion also includes clearly identifying what your fans want. Refine your act, and hence your songwriting, to suit their wants (not their needs). Give them what they want!
The mistake that a lot of songwriters and musicians make is to force their own preferences down people’s throats. It doesn’t work in the regular business world and won’t work in the music business. If you take music as nothing but a hobby, ignore me. But if you’re running a business, you should see some light in my position.

RingCentral for Google, Zendesk, Salesforce and more. 30-Day Free Trial!Now that you know who your fans are and what they want, you need to find out through what mediums you can reach them. Find out what newspapers and magazines they read, what websites and forums they visit, what radio stations they listen to, and so on.

Do your music marketing and promotion through the mediums which you’ve identified and selected. In other words, since you know where they are, you go where they are.

Don’t try to promote your music to everybody. Start by targeting a specific group of people and carry out your music promotion.

 By James KazualKazh Owens

 

ROYALTIES 101

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What are music royalties?

Royalties have been defined legally as an agreement between a creator and someone who uses that creation. A royalty can be a percentage of future profit from sales or regular income, and will be settled by an agreement (usually in writing) between the parties. Songwriters in particular are given the right to license or sell their copyright to others in exchange for specific monetary compensation. For the music industry, this money earned is called a royalty.
Music Royalties and the U.S. Copyright Office

For some music royalties, the U.S. Copyright Office has set up specific rates of royalty payments. Mechanical licensing fees (e.g., for songs played over a radio or sold on CDs) are among these. For these fees, the play rate is 9.1 cents per song or 1.75 cents per minute for songs over 5 minutes long. Internet broadcasters have lower rates than radio, but these rates have been steadily creeping upward for years. Note that though there are specific royalty rates (e.g. – the mechanical rate), the reality is that U.S. copyright rates are only used as guidelines…and are often not followed. This is because there is no easy or completely accurate way to keep track of all public uses.

US Copyright law gives songwriters the exclusive right (for a limited period) to transfer, lend or even sell part or all of their exclusive copyright protections. In return for these licenses, grants, assignments, and/or sales, the copyright owner receives “royalties.” Thus, music royalties are generally considered monies earned from songs and/or sound recordings.
How Royalties Are Promoted and Enabled.

The music publisher is usually the key player in promoting and tracking profits from several types of licensing:
•Synchronization Royalties: music that’s placed in movies and multimedia.
•Mechanical Royalties: physical product sales containing your music, e.g., CDs.
•Print Music Royalties: printed forms such as sheet music/ arrangements.
•Grand Rights: this is the “show music” category.
These royalties are generally collected in two ways. One way is through direct payments, usually for a specific use, and is negotiated on a case-by-case basis. Live performances or television specials are two common examples of this. The second way is through professional groups, which represent artists or recording companies for the specific purpose of collecting royalties. The largest group that represents record companies is called SoundExchange, and has aggressively sought to calculate and collect profits from Internet and satellite broadcasters. The largest groups collecting for individual artists include: SESCAP, BMI, and ASCAP.
The process can get complicated because everyone in the process wants to negotiate their cut of the royalties: the artist negotiates with the music publisher, the music publisher negotiates with radio stations, the radio stations negotiate with record companies, and so on.

There are four (4) different types of royalties, each derived from a separate and distinct copyright. The four potential sources of royalty revenue in the music recording and publishing industry are:

(1) Mechanical royalties: paid from record companies for record sold based on the exclusive to reproduce and distribute copyrighted works.

(2) Public performance royalties: paid by music users for songs in the operation of their businesses and broadcasts based on the exclusive right to perform publicly copyrighted works.

(3) Synchronization fees: paid by music users for synchronizing music with their visual images based on the exclusive right to reproduce and distribute copyrighted works and to prepare derivative works of copyrighted material.

(4) Print music income: paid by music printers for sheet music and folios based on the exclusive right to distribute copies of copyrighted material.

Royalties are determined and divided according to their type and source.
DawgsThey are calculated and divided as follows:

Mechanical Royalties: Record companies pay the publisher mechanicals based on the amount of phonorecords sold. Sales of sound recordings are determined by the record companies through Sound Scan and other sales reporting systems. Unlike most countries, which base mechanical royalties on percentages, US mechanical royalties are calculated on a penny (¢) basis per song. Record companies pay the recording artist either a current minimum statutory penny rate, or a “reduced” penny rate. The current statutory rate for a U.S. copyright is 7.1¢ per song. This minimum rate is effective until January 1, 2000, after which it will go up every two years until 2006, at which time it will remain at 9.1¢ per song until changed.

However, recording artists rarely get maximum (statutory) rates from their US record companies. This is because most of their the domestic recording or production contacts usually contain a standard “controlled composition” clause which allows the record company to pay the artist and/or music publisher less than the minimum rate for songs written or “controlled” in whole or in part by the recording artist. This negotiated or “reduced” mechanical royalty rate is generally a percentage of the minimum compulsory license rate, up to a maximum number of songs. A common example is 75% (of 7.1¢) per song, with a cap of 10 songs, no matter how many songs are recorded and released on the album. This negotiated “min stat x 10 rate” is collected by the music publisher, which then pays the residual to the recording artist per their publishing agreement.

Before the artist/songwriter eventually receives their “reduced” US mechanical royalties, there are numerous withholdings by the recording company pursuant to the artist’s recording contract. There are frequently several clauses that give away “freebies” and eat away at the artist’s basic royalty rate (e.g., getting paid on less than 100% of units sold, receiving no royalties for “free goods” or promotional CDs, or for “non-controlled” songs, getting a lower royalty rate for CD’s, cassettes, and record club or budget records, giving free licenses for promotional music videos, etc).

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There are also other provisions in the recording contract that delay and reduce payment of royalties. For example, most record companies pay mechanicals on a quarterly basis, i.e., 60 to 90 days after each quarter. Moreover, a certain percentage of the reduced royalty rate is withheld by the record companies in “reserve against returns”,.i.e. in case of over shipment and returns.

After the record company takes out its numerous deductions and withholdings, it pays the mechanicals royalties to the music publisher, if any. Under a typical “co-publishing” deal, American music publishers also deduct their 25% publisher’s share and sometimes take out “administrative” deductions. Sometimes, a music publisher may also deduct for using the services of a third party to help administer and audit compositions or catalogues.

Foreign mechanical royalties are calculated differently from domestic mechanical royalties. Unlike in the US (where musical compositions are licensed on a cent per-song basis), foreign mechanical societies grant mechanical licenses for the entire record based on a percentage of the wholesale or retail price, regardless of the number of songs. The rate of foreign and/or domestic mechanical royalties paid to the songwriter is determined by the US publishing and/or sub-publishing agreement by specifying in those contracts whether the writer will be paid by an “at source” or “receipts” method of calculation. “At source” means the percentage paid to the sub-publisher is based on earnings in country where earned (e.g. England), which is considered the “source”. “Receipts” means the percentage of the foreign mechanicals paid to the sub-publisher is based on earnings in country where received (e.g. USA).

(2) Performance Royalties: Each quarter, the US PRO’s first deduct from gross receipts a small administrative fee for “operating” expenses. They may also get reimbursed for payment of fees to foreign societies for their sub-publishing percentage. Then the remaining net performance fees are divided among the participants of the same PRO, depending of the amount of their respective radio and TV air play. After “weighing” the air play, the PRO then bypasses the music publisher and pays all of the net “writer’s share” performance income to their songwriter member writer directly, with the music publisher getting paid their “publisher’s share” separately.

The amount of public performance monies collected by the PRO’s depends on their survey and consensus of how many times your songs were played, when, and on what type of medium. The amount of blanket license fees charged to music consumers and received by the U.S. PRO varies, as each have their own unique monitoring systems and detection techniques based on either a random survey, census, sampling, or digital detection method.

ASCAP uses the random survey and consensus method to detect performance royalties. In contrast, BMI uses a scientific sampling method of tracking performances. SESAC relies on cue sheets for TV royalties, but, utilizes a more accurate and cutting edge method of detecting radio performances. It uses digital pattern recognition technology created by Broadcast Data System (BDS), the same company that monitors radio air play and that Billboard magazine relies on to help determine chart positions.

Under a “standard” co-publishing deal, and per a letter of direction to the PRO with which the author is affiliated, the song writer gets 100% of the writer’s share, and 50% of the publisher’s share, or 75% of all performance royalties. The music publisher gets the “publisher’s share” of performance royalties, or 25%.

(3) Synchronization Fees: Unlike mechanical royalties, synch fees are purely negotiable and are not regulated by statute; they are strictly contractual and vary greatly in amount depending on the usage, subjective importance of the song and production, and medium used. Ranges can vary as low as free for an unsigned artists for an unknown and un-released song for a local public TV program, up to $250,000 or more for a major artist’s hit song featured in a high-budget feature film. Generally, however, synch fees are determined and negotiated by custom and practice based on a number of objective and subjective factors.

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(4) Print Income: Domestic (US) print royalties are paid by printers to the song owner that granted the print music license (usually the music publisher). The print licenses are usually non-exclusive and limited to three to five years in duration. For a single-song sheet music, publishers are usually paid 20% of the marked retail price (or about 70¢ @ $3.50 retail price). Folio royalties are paid at 10% to 12½¢ of the marked retail price (or about $14.95 to $16.95). There is usually an extra 5% of marked retail price for personality folios, which requires an additional license or consent for the right of publicity.

Foreign print music is collected by the foreign sub-publisher(s), which base their charge depending on whether they actually manufacture and sell the material. If they do, they generally charge from 10% to 15% of the marked retail selling price. If they license out the print music, the sub-publisher retains the same percentage as all other income (15% to 25%), and remits the balance to the writer.

If a folio is the selected work from a single songwriter, only that writer’s music publisher receives the print royalties. If the writers on a folio collection vary, different music publishers will receive their pro-rata share. For example, if one publisher owns 10 songs from a 20 song collection, it gets 50% of the (10% to 12.5%) royalty.

Under a standard “co-pub” deal, after taking their 25% share, the music publisher pays the artists 75% of their pro-rated share. For personality folios, the extra 5% for the use of name and likeness (if any) is paid directly to the artist.

How are royalties collected?

Royalties are collected depending on the nature and source of the revenues. There are four (4) potential types of royalties in the music recording and music publishing industry:

(1) Mechanical Royalties: Domestic (US) mechanical royalties are collected by domestic record companies for records sold. Foreign mechanical royalties are collected from foreign Performance Rights Organization (“PRO”) by sub-publisher(s) for records sold in their territory.

(2) Performance Royalties: Domestic (US) performance royalties are collected by one of the three main Performance Rights Organization: (1) ASCAP; (2) BMI; and (3) SESAC. These PRO’s issue blanket licenses to music users for publicly performing their songs in the operation of their businesses and broadcasts. To ensure prompt and timely payment of performance income from a PRO, each songwriter and music publisher must first join as a member and properly register their songs and current whereabouts.

Foreign performance royalties are collected by foreign, government-owned PRO’s. To ensure prompt and timely payment of performance income from a foreign PRO, each songwriter and music publisher should enter into a “sub-publishing” agreement and properly register their songs and current whereabouts with the sub-publisher in each territory their songs are performed. The foreign performance societies contact each sub-publisher in their territory and request they designate an agent for the performance rights in all their songs. They then contact the users of those songs in their territory (e.g. local radio stations, nightclubs, TV, etc.), and grant them performance licenses to use all the songs of all the sub-publishers they represent. The foreign PRO’s then collect and pay the publisher’s share of performance income to sub-publishers, and pay the writer‘s share to one of the American PRO’s (ASCAP, BMI or SESAC), which then pays the artist. If there is no foreign sub-publishers, the publisher’s share eventually is paid to the US music publisher via one of the American PRO’s, but this process takes much longer.

(3) Synchronization Fees: Synchronization fees are collected by the song writer and/or music publisher that grants a synchronization license to users or broadcasters of the songs, which then create a derivative audiovisual work in the form of movies, TV programs, commercials, etc.

(4) Print Music Income: Print music income is collected by the song writer and/or music publisher that grants a print music license to music printers which then prints sheet music or folios.

By James KazualKazh Owens

PRESSING & DISTRIBUTION 101

P&DPressing & Distribution (P&D)

A Pressing & Distribution (P&D)
Agreement is exactly that–the record company agrees to manufacture your records for you (although in some situations this isn’t even so; the product is manufactured elsewhere), and then to distribute them solely as a wholesaler. This means you sell the records to the distributing entity for a wholesale price less a negotiated distribution fee to help cover the distributing company’s overhead, operations and profit. The distribution fee ranges in the 18%-25% range (less, if you’re a big label), and the balance of the monies is paid to the production entity.

Fiverr.comFor example:
If a cassette wholesales for $5.00, under a deal with a 25% distribution fee, the production entity gets $3.75 per cassette ($5.00 less 25%). Out of this, the production entity pays manufacturing, mechanicals, artist royalties, promotion, overhead, salaries, and everything else.

In these deals, the entire risk of manufacturing falls on the production entity. Remember how records are sold on a returnable basis? This means that, if you guess wrong, the returns come back home to roost. So not only are you losing your potential profit on the sale, but you’re also coming out of pocket and losing the cost of manufacturing and shipping a record you can’t sell (although they make passable doorstops). Many deals also require you to pay a distribution fee even if the record is returned, adding insult to injury.

The distributing company typically offers no services whatsoever in terms of marketing, promotion, accounting, etc. You really are on your own.

You may well be treated as a second-class citizen. This is because the distributing company will favor its own product over yours–they make a bigger profit on their own stuff, and they have a bigger investment in it.

These types of deals can be made at the highest level (for example, A&M Records was distributed by BMG under such an arrangement for many years), and the true independent record companies make these deals with independent distributors.

P&D deals can also be made at a more modest level by anyone insane enough to want to try or desperate enough to get their records out even when no one else wants to pay for the privilege. However, unless you’re a real record company, with a full staff, I strongly recommend against this type of deal.

FOREIGN LISCENSING 101

If you are an artist or indie label, one way to significantly expand your universe is to license your master recordings to record companies outside the United States. There are various advantages of doing so. Aside from the obvious advantage of generating additional record sales, there is also the advantage of creating a relationship with a record company outside the United States who will have various music business relationships in that foreign country and who can connect you up with forbooking agencies, venues, festival organizers, music publishers, etc. in that territory. This may enable you to do touring and to build an audience in those countries that otherwise might not be practical to try to do. THE BASICS OF LICENSING When you enter into a music licensing agreement with a foreign record company, you are in essence authorizing them to duplicate and sell copies of existing masters, in exchange for paying you a royalty for each record sold. The label is responsible for paying all costs, such as the costs of manufacturing, promotion, and advertising, and it is up to the foreign label to manufacture CDs and to get those CDs distributed in their territory. One alternative to a foreign licensing arrangement is to manufacture your CDs in the United States yourself, then export them to distributors in other counties. However, one big disadvantage in going the “export” route, at least if you do it legally, is that for most foreign countries, you will usually be paying a government-imposed tariff in those countries of 20% to 40%. Also, a distributor gets a much smaller piece of the pie, and generally is not going to do the level of proactive marketing and promotion that will need to be done to break you successfully into foreign markets. As a result of these various factors and others, the best alternative for the vast majority of U.S. indie artists and labels trying to break into foreign countries is going to be a licensing arrangement with labels based in those countries, rather than a distribution agreement in those countries. APPROVAL RIGHTS A U.S. label that wants to enter into licensing arrangements with one or more foreign labels must first make sure that it has the rights to do so under the terms of its recording contracts with its artists. If the label doesn’t already have such rights, then the label needs to get its artists’ approval before entering into any such licensing arrangements with foreign labels. NEGOTIATING CLOUT As a general rule, it is going to be much easier for a U.S. label or artist to get a foreign licensing deal, and especially a deal on terms that are quite favorable to the U.S. label or artist, if its records are already selling well in the U.S. and the artists already have a significant reputation in the U.S. BASIC DEAL POINTS The basic deal points of the typical music licensing agreement are as follows: 1. Scope of License. The license may cover only one or a few specified recordings, or may cover your entire catalog. It is sometimes a good idea to start out with less than your entire catalog, so that you can “test drive” the relationship first, before committing your entire catalog. 2. Territory. if you are licensing masters to indie foreign labels, you will normally be licensing only for a particular county or for a particular group of countries. Often the agreement will be for so-called “bundled countries,” such as Benelux (standing for Belgium, the Netherlands and Luxembourg) and GAS (Germany, Austria, and Switzerland). On the other hand, if you were entering into a foreign licensing agreement with one of the major worldwide labels, such as WEA or BMG, you might be licensing your masters to one company for all countries outside the United States in one fell swoop. As a practical matter, though, a deal with one of the “majors” is normally not available to a U.S. artist or label unless you already have major sales in the U.S. Incidentally, if the territory is defined in the licensing agreement as the “European Union” or similar terminology, the territory will in effect change over time as more countries join the European Union. 3. Term. Typically the term of the agreement will be for five years, though sometimes such agreements are for three years and sometimes for seven years. Generally, the smaller the advance, the less of a justification there is for entering into a longer term. Normally, there is also a “sell off” period added to the end of the term of the agreement, which allows the label to sell off any existing inventory for an additional six months to a year after the end of the term. If there is a “sell off” period included in the agreement, it is wise to add a clause prohibiting the label from manufacturing more copies of a CD during the original three, five or seven year term than they can reasonably expect to sell during that three, five or seven year term. A practical tip: As soon as the licensing agreement expires, it is a very good idea to send the label a “Notice of Termination” even if the contract doesn’t require it. (It usually doesn’t.) Otherwise, there is a significant risk that the foreign label will, innocently or not so innocently, continue selling your records. The risk of that happening can be significantly reduced by sending them a “Notice of Termination.” Be sure to send any such notice in such a way that you have proof that it was actually received. 4. Exclusivity. Normally the agreement is “exclusive,” in which case you cannot later authorize any other company in that territory to sell your records during the term of the licensing agreement. 5. Royalty Rate. Unlike the United States, where royalty rates are usually based on the retail price of records, the royalty rates in most other countries are based on some price that is somewhere between the wholesale price and the retail price. For example, in some countries the price is based on the “PPD” (“Published Price to Dealer”) price. CDUniverse.comIn other countries, like France, they often use the so-called “BIEM-IFPI” rate. Typically, the royalty rate is in the 15% to 20% range (and sometimes more) – which is higher than the typical rate in the U.S. – because the foreign royalty rate is not based on the retail price as in the U.S., but instead (as mentioned above) on a price that is significantly lower. Hence, in order for you to come out roughly the same in terms of dollars and cents, the foreign royalty rate has to be higher. In any event, here are a few random tips about evaluating the royalty rate being offered: A. The best way to evaluate the royalty rate is to run the royalty calculations and figure out what you will be earning for each record in dollars and cents, rather than getting fixated on percentage rates etc. In order to do any useful number crunching, you will need to find out the exact price that the label is currently using, then convert that amount to U.S. dollars, and then do your royalty calculations based on the royalty terms contained in the proposed licensing agreement. B. There is often a difference from one county to the next in regards to what are considered acceptable royalty provisions. What is customary in one country is often not customary in another country. So, if you are negotiating royalty provisions for particular foreign countries, you need to know what is customary in that country. For example, in the U.S., royalties are typically not paid on promotional free goods that the record company gives away, but in some other countries that is not the case. C. If you’re comparing offers from two or more companies, you need to investigate and compare the reputation and financial stability of each company. You can sometimes end up doing much better financially with an average deal from a relatively honest company than you will do with a great royalty rate from a crooked or financially borderline company. D. If the licensing agreement contains any definitions of, for example, the “PPD” price, read the fine print very carefully. 6. Advances. The amount of the advance that is paid, if any, will depend on the foreign label’s forecast of how many records can be sold in their territory. Advances vary wildly and can be anywhere between $500 and $50,000 (but sometimes higher and sometimes lower). In some cases, it will make sense for you to enter into the licensing agreement even if the advance is minimal, if there is a good chance that your relationship with the foreign record company will significantly help you to get established in their territory. By the same token, because of the difficulty of auditing foreign countries and trying to collect money from foreign companies, often times you have to assume that the advance is the only money that you will ever see from the deal. By the way, the advance should be described in the contract as being non-refundable (i.e., you won’t have to ever pay it back). Also, the advance is normally deemed “recoupable” (i.e., the label can reimburse itself for the advance from your future royalties), so if your advance is $5,000, and if the total royalties end up being $15,000, the label later will pay you only $10,000 (i.e., the $15,000 in royalties minus the $5,000 advance). 7. Release Commitment. You should have a clause in the licensing agreement requiring the label to release the record by a certain date, and that if they don’t do so, you have a right to terminate the agreement. For masters that already exist at the time of the licensing agreement, you will normally want to have a fixed calendar date by which time the record has to be released. For records not yet recorded, but that will be recorded and released during the term of the licensing agreement, the release commitment is usually 90–120 days within the date of your delivery of the master to the label. You want to be careful that the contract language is very specific and precise, and you will also want to be sure to ship the masters in such a way that you will later be able to prove the exact date of delivery if necessary. 8. Sharing in Other Types of Income. Sometimes there is potential income from sources other than record sales. For example, a U.K. ad agency might want to use a track in a film, and so the licensing agreement needs to deal with this scenario. If at all possible, have the contract provide that the rights to enter into those kinds of deals stays with you and are outside the scope of the licensing agreement. Coffee.clubBy the same token it usually makes sense to give the label the piece of any such deal that they find for you, so that they have a motivation to make such deals happen. Sometimes the contract will say that the foreign label has the rights to enter into such deals for your masters, but only for territory/countries covered by the agreement, and that in return, you will receive a share of the income from such deals. The bottom line here: The main thing you absolutely want to avoid here is a contract that gives a foreign label the right to enter into such deals, but doesn’t spell out your rights to receive a certain specified share of the income from such deals. 9. Payment. Payments are usually made semi-annually. The agreement should provide for the royalties to be wired to your account at the label’s expense (as opposed to the label mailing you a check, which can cause very long delays in your actual receipt of the money and the clearing of the check). 10. Foreign Taxes. You will also normally want a clause requiring the foreign label to help you file the necessary paperwork with the foreign government(s) involved, so that the foreign label will not have to withhold foreign taxes from the royalties that are otherwise payable to you. If that is not possible, you will at the very least want some arrangements whereby the foreign label gives you a formal statement at the end of each year as to the amount of foreign taxes that were withheld that year, so that you can claim the appropriate tax credits on your United States tax returns. 11. Audits. There should be a clause allowing you to audit the foreign label’s business records, and providing that if there is a discrepancy of more than 10%, they must pay your audit costs. However, as mentioned above, it very likely will not be practical for you to audit the foreign label’s business records, but you want to have that option if at all possible. MECHANICAL ROYALTIES FOR FOREIGN SALES Mechanical royalties –- i.e., the royalties that record companies pay to music publishers/songwriters based on how many records are sold –- are handled differently almost everywhere outside the U.S. than they are handled in the U.S. The details are really too complex to cover well here, but the main thing to remember is this: If you are an artist who is also a songwriter, or if you are a label that also operates as a music publisher, and if your material is on records being sold outside the U.S. and Canada, and if you are not represented by a worldwide music publisher and have not entered into sub-publishing agreements with foreign publishers, then you need to take the necessary steps to make sure that you receive the foreign mechanical royalties that you are due. HOW TO FIND MUSIC LICENSING OPPORTUNITIES There are a various ways to find music licensing opportunities, for example: 1. Researching Foreign Labels. You can obtain the necessary contact information from such directories as the Billboard International Buyer’s Guide. (Check with the “Reference Librarian” at your local library to see if they might have a copy on hand that you can use, and if not, ask if they can borrow a copy for you through an inter-library loan from another library.) Also, some Internet searching can be very helpful in locating foreign labels that are appropriate for you. Before submitting material to a foreign label, it’s usually a good idea to send them a professional and non-hypey e-mail first, just to find out whether they are even interested in considering your material. 2. Tip Sheets. Tips sheets such as “New On The Charts” allow subscribers (and sometimes non-subscribers) to post a listing of masters that they have available for licensing. 3. Referrals. Check with any established artists and American labels that you know of, in case you think they might be able to turn you on to appropriate foreign labels. 4. MIDEM. There is a large international music business conference in Cannes, France every year (in late January), called “MIDEM,” where people negotiate music licensing deals. The practical side of it is that unless you are a well financed artist or label, it won’t be affordable to attend that conference. One alternative is to buy the MIDEM conference directory, which you can use as another resource directory to locate appropriate labels. Incidentally, there are occasionally people who will advertise that, for a cash fee, they will shop your material at the MIDEM conference. Be very careful with any such arrangements and check those people and their track records out thoroughly. You obviously don’t want to find out after the fact that you have just financed someone’s vacation in the south of France and have nothing to show for it.

By James KazualKazh Owens

MUSIC SAMPLING 101

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“Sampling” is the practice of digitally copying or transferring snippets or portions of a preexisting (copyrighted) record to make a new composition. An artist will take a piece of a pre-existing recording and use that piece (i.e., “sample”) to create a new recording. Sampling exists mostly in rap, hip-hop, street, or dance records. A prime example of a successfully sampled song is the huge MC Hammer hit single, “U Can’t Touch This,” which was a sample of Rick James’ prior hit, “Super Freak.” Thus, samples are basically “derivative works” of a previous copyrighted song. The right to prepare derivative works based on the copyrighted work is one of the five bundle of rights of the copyright owner– the song writer(s) or publisher(s). As such, the copyright owner must grant permission (a mechanical license) before the copyrighted song(s) can be used.

Sony Creative Software Inc.For permission to use samples, simply call the performance rights organizations such as www.ascap.com, www.bmi.com and www.sesac.com to determine the owner(s) of any song(s) you want to sample.

Once you get the address of the copyright owner(s), write or fax over your proposal to the owners or their licensing agent. If this does not work, try contacting Warner Bros. Publications or Hal Leonard, Inc. They are owners or agents of many copyrights of different publishing companies and are good at responding to inquires.

When negotiating a “sampling license,” remember you must secure two licenses: (1) a mechanical license from the record company (which owns the sound recording); and (2) a licence from the writer/publisher (which owns the underlying song).

Unauthorized sampling actually violates two potential legal rights. First, the instant you sample a portion of someone’s song (no matter how small), it constitutes a violation of the copyright in song itself – the © symbol – which is owned by the song writer or the music publisher. Second, sampling violates the sound recording copyright – the symbol – which is usually owned by the record company or recording artist. Thus, sampling without prior permission subjects the illegal copier to a copyright infringement in federal court by the original author (or publisher) and by the record company.

There are rumors that sampling only four notes is not copyright infringement because it is protected as “fair use”. This notion of reducing copyright infringement down to the number of notes uses, however, is simply wrong. If you sample a single note, beat, or line from a sound recording without permission, that constitutes copyright infringement . Under current US copyright law, unauthorized “sampling” – no matter how minimal or seemingly innocuous- is usually not considered “fair use”.

Under US Copyright law, the true test for copyright infringement is not the number of notes sampled, but whether the sample is “substantially similar” to the original work. The other main questions is whether it should qualify as “fair use”.

In short, if you engage in unauthorized sampling and get sued by the owners, don’t expect to prevail in court on a “fair use” defense if you use the songs commercially for your own private benefit.

If you sample without permission, not only are you violating US Copyright laws, you may also be in violation of your own recording contract. If you are signed to a major label, most recording contracts contain several provisions called “Warranties,” “Representations” and “Indemnification,” in which you promise all the material on your album is original and agreeing that if your label are sued for copyright infringement , you agree to reimburse them for all their court costs, legal expenses and attorneys fees.

Similar “warranties” and “indemnification” clauses exist in the distribution agreements between your record company and the retail stores. Thus, when you violate a copyright by sampling it without consent, all the warranties point back to you as the artist. Therefore, if you sample illegally, be prepared to possibly shell out substantial sums of monies to not only the copyright owners, but also possibly to your label and their distributors and retail outlets.

In addition to these costly legal problems, the penalties for copyright infringement is harsh. If you sample somebody’s song without obtain proper clearances, you may be liable to the author for “statutory damages,” which generally range from $500 to $20,000 for a single act of copyright infringement . If the copyright owner proves you willfully infringed their music, you can be liable for damages up to $100,000. The copyright owner also has the right to obtain an injunction against any further infringements, forcing you to cease your further violation of the copyright owner’s rights. There is also a destruction procedure, which forces the infringer to recall all the illegal copies of the song in the albums and destroy them. Finally, you may even face criminal charges from the U.S. Attorney’s Office if you engage in intentional copyright infringement. Therefore, before any artist tries to sample somebody’s copyrighted material to create a new song, no matter how small a portion of the song is used, they should secure the right to do so from the owners of the pre-existing copyrighted owners – the writers, publishers and/or the record companies.

By James KazualKazh Owens

RADIO AIRPLAY 101

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RADIO AIRPLAY 101:

The Stations No conversation about music marketing would be complete without the word RADIO. Few songs sell well at retail without it. None sell millions without it.

Radio is one of the prominent resource that record companies use to promote music to a wide-spread audience. It is the only medium that gets songs to an audience on a REPEATED basis (meaning, a person can hear a song on a particular station 20 or 50 or 100 times…just compare that to TV, film, print…or even touring.) So the question stands: How do you get your songs on the radio? With this and following installments of Airplay 101, we will look at what radio avenues are realistically available to indie bands and indie labels, whether or not you use an independent promoter.

MP3's at CDUniverse.comThe Total Number of Available Stations

Radio is broken down into two main categories: Commercial and Non-Commercial.

If your favorite station promotes itself on billboards and TV, and if its commercials are “in your face”, then it is a commercial station. But if it never seems to have blatant ads for itself, and if its “commercials” are very “soft sell”, then it is a non-commercial station. The two types of stations are treated very differently as far as airplay is concerned.

There are approximately 10,000 commercial stations, and 2,500 non-commerical stations, in the United States. Here is a rough breakdown of the ones that have new-music formats:

Commercial: Adult Contemporary 692 Hot Adult Contemporary 335 Modern Adult Contemporary 59 Soft Adult Contemporary 376 Adult Album Alternative 75 Urban 176 Urban Adult Contemporary 103 Rhythmic Top 40 61 Top 40 292 Spanish 495 Rock and Modern Rock 306 Alternative 103 Country (all forms) 1,990 Jazz 85 Smooth (contemporary) Jazz 80 Classical 32 Kids 36 Religious 1,067

Non-Commercial (consists of college, community, and NPR stations):

All styles on one station 1,000

Religious 500

Classical 272

Jazz 120

Stations that are not listed here are either news/talk, oldies, foreign language (besides Spanish), traffic info, or some other non-new-music format.

Sony Creative Software Inc.THE CHARTS Regardless of what you were thinking were the “charts”, you should familiarize yourself with radio-only publications that “track” airplay (as opposed to tracking retail or ticket sales.) Also, you need to be careful of the word “chart”, because confusion will inevitably occur if you do not specify what chart you mean: “Charting” in the “trades” or magazines is what most people mean when they use the word “chart”, but it is constantly mistaken as meaning charting on an individual-station’s chart, or “playlist”. The first chart is an average of many stations, while the second chart is from just one station.

A long-standing entry-level publication for this purpose is CMJ (College Media Journal). With the variety of genres that it covers, and with its acceptance of up-and-coming projects, you can get a good feel for what you are competing against in the radio airplay world. If you are hiring an airplay promoter, then you do not need to subscribe to CMJ or other charts, but you do need to know how the charts work. Note: Your music MUST fit what college stations play, in order for CMJ to be of use to you.

CMJ is the starting point for non-commercial (mostly college) stations. It comes in two versions…the consumer’s monthly version (found on some newsstands) which is called the New Music Monthly, and the professional weekly version (available by subscription only) called the New Music Weekly. The professional version is the one that is of interest here.

With its seven different weekly-airplay charts, the weekly version covers the seven basic areas of music heard on college radio. They are Alternative (called the TOP 200 chart,) Metal (called the LOUD ROCK chart,) Electronic (the RPM chart,) New Age/World (NEW WORLD chart,) Hip Hop, Latin Alternative, Jazz, and Singer-Songwriter (AAA chart).

Radio Airplay 101 – Music, CD and Case Requirements

Radio has the most stringent requirements for the CDs that you send them, the discs you put them on, and the cases you put them in. Let’s go over them…

MUSIC SPECIFICS:

Should you make albums or singles? The easy answer is relatively simple: If you are sending to college radio, send an album or EP. If you are sending to commercial radio, send a single. If the format is AAA or Americana (the only formats that are both comm and noncomm,) you can send either one, but preferably send the album.

As for the number of tracks on an album, try to keep it below twelve. And make the first track begin with some energy… don’t begin with a song that has a long, slow, building-start (you can do that later on when you are promoting an accepted talent.) For a station that received 20 or 30 releases for review THAT DAY, an album from an unknown artist that starts slow is going to have a tough time being reviewed.

For singles, generally you should have four versions on the CD: The radio edit (clean lyrics); a full length (i.e., “album version”): an a capella version; and an instrumental version. The radio edit should be no longer than 3.5 minutes long. The a cappella and instrumental versions are sometimes used in station commercials, liners, and ID’s. Others versions which may be useful are mix/dance versions and 12-inch cuts (genre permitting).

SPECIFICS ABOUT THE CD:

First off, I should make a point that you NEVER send more than one release to a station. It’s difficult enough getting one release from a new artist reviewed. You are only insulting the station by sending more than one release (i.e., sending a current release and a previous release too.)

CD recordables (or “burned” CDs) are the type that are blue-ish or greenish in color. They are printed on computers, and they are the type you get when you order small quantities like 10 or 100, or if you order from MP3.com. CDRs can be sent to college stations only. CDRs are too unreliable (and are an insult) to commercial stations.

Manufactured CDs are the mandatory type for commercial stations. These are the types of CDs that have a minimum run of 300 or 500, and are silver in color. They are reliable, and show that you have a serious project that you are not going to skimp on.

On the CD graphics, be sure to state artist, title, label, song lengths, the versions, contact info, and (if it is a single) that the song is “from an album”, with a small picture of the album.

For commercial radio, do not use any CD oddities like mini’s, special shapes, odd colors, built-in videos or anything else that is wildly different. Commercial stations only view these as “tricks” by new artists who want attention. Leave that stuff for established artists. For college radio, however, anything goes for any artist.

JuiceBeauty.comCASE TYPES:

There is a simple answer to this… use standard (not slim line) plastic jewel boxes ONLY. Period! It is the worst peeve of stations when slim cardboard or vinyl cases are used… they don’t fit the CD racks properly, and will just get thrown away. Cardboard and vinyl sleeves literally “slip through the cracks.”

As for the wording on the case, make sure the artist, title(s), label, song lengths, and version descriptions are all on the OUTSIDE of the case (they can be inside, too). And very important… if you have a bar code (or you’ll have a space for one), put it on the back of the case, in the corner, so that you can poke a hole through the plastic/barcode without harming the CD (you do this by using a soldering iron or drill). Note: If the CD is being sent ONLY to radio (and will not to be sold at retail,) then a barcode is not needed.

Finally, when mailing the CDs, use first-class postage. Third-class postage will cause great delays, and can jeopardize the project’s timing.

Radio Airplay 101 – Commercial Radio Formats

Commercial radio has a word for what music people call “genre”…it’s called a “format”. A format is like a category of automobiles… trucks, cars, SUV’s, station wagons, etc; each category is made up of different makes from different manufacturers, but no matter where in the country you go, everyone understands what you mean when you say “truck”… you simply have to specify what make and model you are referring to. Same with radio. A commercial radio format is a collection of types of music that are similar, from different artists. Most of the broadcast day will stick to the format, and every station in the country that is of that particular format will play the same types of artists. The purpose of a format (on a commercial station) has to do with how a station sells advertising, but we won’t go into that now. Note: Formats do not really apply to non-commercial radio, and especially not to college radio.

Below are the main new-music formats in the United States; most U.S. cities will have a station for each one. Canada is similar but smaller, and with many French stations too. The formats below are sorted (roughly) by the number of stations in each group. Note, however, that this does not correspond to the number of LISTENERS. The number of listeners (or “ratings”) of a format or station will be covered at a later time. Also, these formats are broad groups; you most likely would only promote your music to a portion of a particular group. The formats are…

COUNTRY: 2,300 stations. Country is the real “top 40″ of the U.S. because of the number of stations. “Young Country” and “Hot Country” appeal to the younger listeners, using newer artists, younger DJs, and a more energetic approach. The whole “new” approach really took hold about the time Garth started gaining popularity. More traditional country stations (sometimes known as “Heritage” stations) are sort of the “oldies” of country radio… but they also are specific in which new artists they play. One special sub-category of Country is the “Americana” format. It is a more roots-based country, and it has about 100 stations, most of which are small. Americana is an interesting new format, with some really eclectic artists and new labels supporting it.

RELIGIOUS: 1,900 stations. Includes Christian in several music styles, Gospel in many styles, Praise and Worship, and Ministry. Although a big format, hundreds of these stations offer less chance for new music because of the large amounts of talk, satellite programming, and older songs that they play. There is no absolute number of religious stations which play new music; instead it is a variable, and a particular station can play anywhere from one to 24 hours of new music.

ADULT CONTEMPORARY: 1,500 stations. Also called “AC”. Includes “mainstream AC”, “modern AC”, “hot AC” and “soft AC”. More people listen to AC than any other format. AC is similar to Religious, in that hundreds of the stations have limited capacity for new music because of the talk, satellite or sports programming they carry. Nevertheless, AC still remains as one of the melding pots for new artists on small labels. By this I mean that there are enough small AC stations (which play new music) for a new artist to stand a chance… if promoted correctly.

ROCK: 800 stations. Includes “modern rock”, “alternative”, and straight-ahead rock. Most people know of these stations. Problem is, they are tougher for independent artists to get played on. One thing saves the day, however… their specialty shows.

SPANISH: 600 stations. All variations included.

TOP 40: 400 stations. Called Contemporary Hit Radio (CHR), it includes “rhythmic crossover” stations; i.e., Top 40 with a beat. A very difficult format for indie artists. But again, specialty shows (and mixshows) save the day.

URBAN: 300 stations. Includes Urban, R&B, Hip Hop, and Urban AC. Also very difficult for new artists, but thankfully it also offers mixshow support.

CLASSICAL: 150 stations. JAZZ: 150 stations. Includes “straight” Jazz (i.e., traditional), and “smooth” Jazz. Straight Jazz is a viable format for an indie artist. Smooth, however, will take some serious promotion.

KIDS: 50 stations. These mostly are your Radio Disney stations, and they are all programmed from the Disney home office.

File your incorporation or LLC with Intuit!Radio Airplay 101 – How Retail and Radio Work Together

Although I recommend that a new label get their radio and gigs going first (so they can sell their CDs at the gigs… i.e., tour distribution), if the label gets to where it has at least four or five acts, and EACH one is charting in their respective airplay chart, and each one is doing 100+ gigs per year, and each one is getting 50+ articles/reviews per year, then it MIGHT be time to consider real retail promotion and distribution. But not sooner, and not with less than four acts. And when I say retail, we’re not talking about consignment, either. The first thing you’ll want to do once your distro is set up (real distro, not web) is set up a retail buy-in, which will cost you $3,000 to $15,000 per city in the small stores; this may include ads in the chain’s or distro’s house publication, and a purchase of 500 to 3000 units from the chain. You’ll also want to tag the fact that you are doing radio. If the promotion is big enough, you’ll get POP space in addition to the listening stations and ads, but you can go beyond this by trying to get talkers on your bin or listening stations, on which you would print something like “As Heard On WXWY”… provided of course you are spinning on that station.

Similar in cost are co-op ad (or underwriting) buys on the pertinent stations. In the case of music, “co-op” is you, paying 100% of the bill. You run the spots for your release(s), which include tagging of the local retailer. And if you can afford it, a remote at the retailer would make everyone happy. Remotes start at about $300 in small/unrated markets, $3,000 in medium markets, and $30,000 in major markets. Your releases are not the focus of a remote, but then they don’t need to be… everyone at the station will know who paid the bill.

You’ll also want to coordinate drop-bys (or “meet-and-greets” or full performances) with the stores, while the artist is in-town visiting stations. While at the stores, ask the GM if he/she would like to post the playlist of the station somewhere in the store (and hopefully you are on the playlist) if it’s not already there. While it’s true that the first thing a station does is try to get its playlist into stores, extra help from smiling folks like you won’t hurt.

Don’t forget to ask the stations (or have your radio promoter ask the stations) for their recommended stores that your product should be placed in, and further, what is the name of the buyer is that you or your retail promoter should speak with there. When you do speak to that buyer, you have a much greater chance of them caring what you have say if you preface it with “Bob at WXYZ is playing our record and said you might be interested in it… can I send you a copy?”

One last area of available exposure would be the community events announcements that stations make. Many stations (even college stations) have someone who’s job it is to collect and announce what interesting things are occurring in their town that week. When you have a confirmed appearance/performance at a store, make sure the station hears about it. And if your announcement is aired, try to get a tape or transcription of it, and give it to the store GM or buyer to impress them.

Lastly, there is the need to inform the distro’s reps about your project. Even with real distro, you (being a new indie) are just a single page in their book of 1000 other releases that they take with them when they meet with buyers. In their twenty minute meetings, maybe they get around to talking about ten releases; yours will not be one of them, unless it has more “apparent activity” than all the other 990 releases (most of which are major labels.) So you have to make it appear to the rep that you have a lot of things going on, and you do this by informing them, once a week, of everything that is happening with your project.

By James KazualKazh Owens

Sony Creative Software Inc.

CONTRACT ANATOMY

A Look At Music Contracts and their Anatomy: It has been said that a verbal contract isn’t worth the paper it’s written on. And for many bands, singers, DJs, producers and many others whose work is in a creative field, it’s often easier to just have that verbal agreement than to worry about the financial aspects of their art. Too many times, however, the lack of a Contractwritten contract has cost artists money, ownership of their work and, in some cases, even their careers. Music contracts are too important to overlook just because it seems easier to trust that those working around you will always do what they say they’re going to do.

And the world of music contracts (and any legal contract) is a convoluted one, filled with dense legalese that often can be hard to wade through by anyone without a law degree. But these contracts are ones that you will have to not only read, but also understand as you enter into partnerships and working relationships with others to help your career grow. Often, you will find you need a lawyer to look over the contracts to ensure that you understand exactly what you are signing, and that the contract will be a benefit to your art. When your career reaches a point that you need to employ an entertainment lawyer, you will even need a contract for your lawyer’s services. Though the amount of contracts is seemingly endless, once you begin to recognize your needs, you realize just how helpful these contracts will be in the future success of your career.

In the following section, I’ll lay out some typical cases in which you need certain types of contracts. This is by no means a comprehensive list, and it will vary from artist to artist, but it will give you an idea of what contracts you’ll need and when in your career that you will need them.

Band Partnership Agreements If you’re in a band, this should be one of your starting points as you begin to look at making a career of music. Your best buddies may be in the band with you, but even the best of friends find ways to fight over money and song rights. Manager Contracts Managers can play many different roles depending on artist type and success level, but as soon as your career succeeds to a level that you need someone on the outside to look after the affairs of your career, it’s time to find an manager and ensure, with a Manager Contract, that everyone agrees to work for fair terms. Record Label Contracts Oh, the dream…that elusive record deal. You’ve been starry-eyed over this one since you first strummed a guitar (or sang into a mic, or sat behind a piano, etc.). But these can be some of the most dangerous and career killing pieces of paper out there. Record companies, no matter how dedicated to their artists, exist to make money, and tales of artists’ careers dying at the hands of a record label are all to common. On the other hand, a good contract is still the dream, and record contacts make dreams come true, as long as you understand what’s in it for you. Songwriter Contracts These contracts are important whether your songs are being recorded by someone else or if it’s your own band performing the songs. From the outset, a contract should specifically state who wrote what percentage of each song; this will help prevent fights and lawsuits when the money starts coming in later. Again, this is by no means all the contracts that should be looked at, nor is it all the contracts available on this site. But it should start you thinking about which contracts you will need as your career progresses, and how to ensure you get a good deal on each one you sign.
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Band Partnership Agreement (Abbreviated) This Band Partnership Agreement “Agreement” is made this [insert date], by and between [insert all band member names] collectively referred to as “Band,” individually referred to as “Partners”). 1. Partnership Name. The Partners shall establish themselves as a general partnership (the “Band Partnership”) known as ___________________________. 2. Band Name. The Band Partnership will do business under the name _______________ (the “Band Name”). The Band Name belongs to the partnership, and Partners shall not be permitted to use the name independently without the written consent of the Band Partnership. 3. Indemnification. Each Partner indemnifies the other Partners from all claims, demands, and actions from any breach of this agreement. 4. Warranties. Each Band Partner warrants that each Band Partner is free to enter into this Agreement and under no restriction that will interfere with this Agreement. 5. Profits and Losses. Unless agreed upon otherwise in writing by the Partners, the Partners will share equally in all payments that are paid to the Band Partnership or to any Partner as a result of Band Partnership activities, after deducting Band Partnership expenses. 6. Unanimous Consent. (List issues that require unanimous consent) a. ______________________ b. ______________________ c. ______________________ d. ______________________ e. ______________________ 7. Majority Voting. Any matters that require a majority vote shall be listed here and a 2/3 affirmative vote will be required to adopt any Partnership decision. a. ______________________ b. ______________________ c. ______________________ d. ______________________ e. ______________________ 8. Mediation; Arbitration. If a disagreement arises under this Agreement, the Partners agree to first try to resolve the dispute with the help of a mutually agreed upon mediator. Any costs and fees other than attorney fees will be shared equally by the Partners. If it proves impossible to arrive at a equally acceptable resolution, the Band Partners agree to submit the dispute to binding arbitration in the same city or region, conducted on a confidential basis under the Commercial Arbitration Rules of the American Arbitration Association. _____________________________________ ____ ________________________________ Band Member Signature/Date Band Member Signature/Date ____________________________________ _____________________________________ Band Member Signature/Date Band Member Signature/Date 728x90 iBN10 Bluetooth Stereo Executive Music Station CD Artwork Agreement This Artwork Agreement “Agreement” is made this [insert date] between _________, having its principal place of business at ________________ (“Band”) and ________________ _______, having its principal place of business at ____________________________ (“Artist”). 1. CREATION. The Band hereby employs Artist to create Artwork for the cover, cd booklet, inserts, and any additional artwork for the album currently titled ____________. The artwork will be completed on the following date: ____________ 2. COMPENSATION. The Band agrees to pay the Artist $_ ___ per hour OR a flat fee of $__ __ for the entire Artwork project. Band has paid the sum of $__ __ as an initial deposit to the Artist. The remainder of the balance shall be paid when the Artwork is completed. 3. EXPENSES. Band agrees to reimburse Artist for all reasonable production expenses including but not limited to halftones, stats, photography, disks, or illustrations. These expenses will be itemized on invoices, and in no event will any expense exceed $50 without approval from the Band. 4. RIGHTS. Artist assigns all copyright of Artwork to the Band and agrees to cooperate in the preparation of any documents necessary to demonstrate this assignment of rights. Artist retains the right to display the work as part of Artist’s portfolio and to reproduce the Art in connection with the promotion of Artist’s services. 5. ROYALTIES: In addition to any other payments provided under this Artist is entitled to _ ____ % on net profits from sale of merchandise. 6. CREDIT. Credit for Artist will be included on reproductions of the Art as: ______________________________________________________________________ 7. WARRANTIES. Artist warrants that Artist has the power and authority to enter into this Agreement. The Artwork will not infringe any intellectual property rights or violate any laws. If necessary the Artist has or will obtain all necessary rights or licenses associated with any artwork, photos, or illustrations incorporated into the Artwork. 8. INDEMNIFICATION. Artist indemnifies Band and will defend Band from any claims and damage arising out of any breach of this Agreement or of claims arising out of copyright infringement. 9. GOVERNING LAW: This AGREEMENT shall be governed and construed in accordance with the laws of the State of _____________ and by the laws of the United States, excluding their conflicts of law principles. Signature below will constitute this as a binding agreement. DATED: _______________________ Band Partnership Name: ____________________________________ Band Partner Name and Title: ________________________________ Band Partner Signature: ______________________________________ Address: __________________________________________________ Date: _____________ Artist Name: ______________________________________________ Artist Signature: ___________________________________________ Address: _________________________________________________ Date: _____________ Notice of Intention to Obtain Compulsory License for Making and Distributing Sound Recordings To ___________________________________, the copyright owner of ____________________, written by _____________________________. Pursuant to the compulsory license provisions of the U.S. Copyright Act (17 U.S.C. 1115), we apply for a license to make and distribute sound recordings of _____________________ and provide the following information: Legal name of entity seeking the compulsory license: _________________ Fictitious or assumed names used for making and distributing sound recordings: ____________________________________________________________ Address: ____________________________________________________ Names of individuals who own a beneficial interest of 25% or more in the entity: __________________________________________________________ If a corporation, names of the officers and directors: __________________________________________________________ Configuration(s) to be made under the compulsory license: ___________________________________ Catalog number(s): __________________________________________ Label name(s): _____________________________________________ Principal recording artists: ____________________________________ Anticipated date of initial release: _____________________________ We agree to pay the copyright owner royalties at the statutory rate provided by the Copyright Act. By: _____________________________________________________ Name and Title: ___________________________________________ Date: ______________ $1/ mo Hosting + Free domain! Stick it to the slow websites! EMPLOYMENT CONTRACT This Agreement for Employment (hereinafter referred to as “AGREEMENT”) is between ______________, having its principal place of business at____________________ (hereinafter referred to as the “COMPANY”) and ____________, located at____________________ (hereinafter referred to as the “EMPLOYEE”). The COMPANY employs the EMPLOYEE on following terms and conditions: 1. Employment The EMPLOYEE is employed in capacity of __________________. EMPLOYEE hereby accepts such employment in accordance with the terms of this AGREEMENT and of employment applicable to regular employees of COMPANY. Election or appointment of EMPLOYEE to another office or position, regardless of whether such office or position is inferior to EMPLOYEE’S initial office or position, shall not be a breach of this AGREEMENT. 2. Duties of Employee The following duties and responsibilities shall be competently performed by the EMPLOYEE: _________________________________________________________________. In addition to the duties stated above, the EMPLOYEE shall perform all such duties typical of the office held by EMPLOYEE as described in the bylaws of COMPANY and such other duties and projects as may be assigned by a superior officer or the board of directors of COMPANY. 3. General Obligations During Employment a) During your normal working hours and at such other times as reasonably be required of you, you shall devote the whole of your time, attention, skill and abilities to the performance of your duties under this Contract and shall act in the best interests of the COMPANY. You shall not undertake any work or employment, other than for the COMPANY, during your hours of work. b) Outside your normal hours of work, you shall not be entitled to be employed by, work for and/or be engaged by other parties and/or carry out any other sporting, physically recreational and/or associated activities of a paid or unpaid nature, unless you obtain prior written consent from the COMPANY. 4. Protection of Confidential Information : EMPLOYEE agrees, during or after the term of this employment, not to reveal confidential information which includes information relating to COMPANY’S business, or trade secrets to any person, firm, corporation, or entity. Should EMPLOYEE reveal or threaten to reveal this information, the COMPANY shall be entitled to an injunction restraining the EMPLOYEE from disclosing same, or from rendering any services to any entity to whom said information has been or is threatened to be disclosed, the right to secure an injunction is not exclusive, and the COMPANY may pursue any other remedies it has against the EMPLOYEE for a breach or threatened breach of this condition, including the recovery of damages from the EMPLOYEE. 5. Compensation During the term of this AGREEMENT, EMPLOYEE will be compensated as follows: a) A base salary of _____________ ($________) per year, payable in installments according to COMPANY’S regular payroll schedule. The base salary shall be adjusted at the end of each year of employment at the discretion of the board of directors. b) During the term of this AGREEMENT, an incentive salary equal to ____________________________________ of the adjusted net profits of COMPANY, beginning with year end 20___ and each fiscal year thereafter. “Adjusted net profit” shall be the net profit of COMPANY before federal and state income taxes, determined in accordance with generally accepted accounting practices by COMPANY’S independent accounting firm and adjusted to exclude: (i) any incentive salary payments paid pursuant to this AGREEMENT; (ii) any contributions to pension and/or profit sharing plans; (iii) any extraordinary gains or losses (including, but not limited to, gains or losses on disposition of assets); (iv) any refund or deficiency of federal and state income taxes paid in a prior year; and (v) any provision for federal or state income taxes made in prior years which is subsequently determined to be unnecessary. The determination of the adjusted net profits made by the independent accounting firm employed by COMPANY shall be final and binding upon EMPLOYEE and COMPANY. The incentive salary payment shall be made within thirty (30) days after COMPANY’S independent accounting firm has concluded its audit. If the final audit is not prepared within ninety (90) days after the end of the fiscal year, then COMPANY shall make a preliminary payment equal to fifty percent (50%) of the amount due based on the adjusted net profits preliminarily determined by the independent accounting firm (subject to payment of the balance, if any, promptly following completion of the audit by COMPANY’S independent accounting firm). The maximum incentive salary payable for any one year shall not exceed __________________of the then applicable base salary of EMPLOYEE. 6. Benefits. a) Holidays. EMPLOYEE will be entitled to at least ______ paid holidays each calendar year and _____ personal days. COMPANY will notify EMPLOYEE on or about the beginning of each calendar year regarding the holiday schedule for the coming year. Personal holidays, if any, will be scheduled in advance, subject to requirements of COMPANY. Such holidays must be taken during the calendar year and cannot be carried forward into the next year. EMPLOYEE is not entitled to any personal holidays during the first six months of employment. b) Vacation. Following the first six months of employment, EMPLOYEE shall be entitled to _____ paid vacation days each year. c) Sick Leave. EMPLOYEE shall be entitled to sick leave and emergency leave according to the regular policies and procedures of COMPANY. Additional sick leave or emergency leave over and above paid leave provided by COMPANY, if any, shall be unpaid and shall be granted at the discretion of the board of directors. d) Medical and Group Life Insurance. During this AGREEMENT, COMPANY agrees to include the EMPLOYEE in the group medical and hospital plan of COMPANY and to provide group life insurance for the EMPLOYEE at no charge to the EMPLOYEE in the amount of _________________________. EMPLOYEE shall be responsible for payment of any federal or state income tax imposed on these benefits. e) Pension and Profit Sharing Plans. EMPLOYEE shall be entitled to participate in any pension or profit sharing plan or other type of plan adopted by COMPANY for the benefit of its officers and/or regular employees. f) Automobile. COMPANY will provide to EMPLOYEE the use of an automobile of EMPLOYEE’S choice at a gross purchase price not to exceed $___________________. COMPANY agrees to replace the automobile with a new one at EMPLOYEE’S request no more than once every two years. COMPANY will pay all automobile operating expenses incurred by EMPLOYEE in the performance of an EMPLOYEE’S company duties. COMPANY will procure and maintain in force an automobile liability policy for the automobile with coverage, including EMPLOYEE, in the minimum amount of $1,000,000 combined single limit on bodily injury and property damage. g) Expense Reimbursement. EMPLOYEE shall be entitled to reimbursement for all reasonable expenses, including travel and entertainment, incurred by EMPLOYEE in the performance of EMPLOYEE’S duties. EMPLOYEE will maintain records and written receipts as required by COMPANY policy and reasonably requested by the board of directors to substantiate such expenses.

Sony Creative Software Inc.

7. Term and Termination. a) The Initial Term of this AGREEMENT shall commence on ______________, 20__, and it shall continue in effect for a period of __________ year(s). The AGREEMENT shall then be renewed upon the mutual agreement of EMPLOYEE and COMPANY. This AGREEMENT and EMPLOYEE’S employment may be terminated at COMPANY’S discretion during the Initial Term, provided that COMPANY shall pay to EMPLOYEE an amount equal to payment at EMPLOYEE’S base salary rate for the remaining period of Initial Term, plus an amount equal to ___________________ of EMPLOYEE’S base salary. In the event of such termination, EMPLOYEE shall not be entitled to any incentive salary payment or any other compensation then in effect, prorated or otherwise. b) This AGREEMENT and EMPLOYEE’S employment may be terminated by COMPANY at its discretion at any time after the Initial Term, provided that EMPLOYEE is paid _____________________ of EMPLOYEE’S then applicable base salary. In the event of such a discretionary termination, EMPLOYEE shall not be entitled to receive any incentive salary payment or any other compensation then in effect, prorated or otherwise. c) This AGREEMENT may be terminated by EMPLOYEE at EMPLOYEE’S discretion by providing at least thirty (30) days prior written notice to COMPANY. In the event of termination by EMPLOYEE, COMPANY may immediately relieve EMPLOYEE of all duties and immediately terminate this AGREEMENT, provided that COMPANY shall pay EMPLOYEE at the then applicable base salary rate to the termination date included in EMPLOYEE’S original termination notice. d) In the event that EMPLOYEE is in breach of any material obligation owed COMPANY in this AGREEMENT, habitually neglects the duties to be performed under this AGREEMENT, engages in any conduct which is dishonest, damages the reputation or standing of COMPANY, or is convicted of any criminal act, then COMPANY may terminate this AGREEMENT upon five (5) days notice to EMPLOYEE. In event of termination of the agreement for this reason, EMPLOYEE shall be paid only at the then applicable base salary rate up to and including the date of termination. EMPLOYEE shall not be paid any incentive salary payments or other compensation, prorated or otherwise. e) In the event COMPANY is acquired, or is the non-surviving party in a merger, or sells all or substantially all of its assets, this AGREEMENT shall not be terminated and COMPANY agrees to use its best efforts to ensure that the transferee or surviving company is bound by the provisions of this AGREEMENT. 8. Ambiguity. In the event of any conflict or ambiguity between the terms of this AGREEMENT and employment applicable to regular employees, the terms of this AGREEMENT shall be upheld. 9. Notices Any notice required by this AGREEMENT or given in connection with it, shall be in writing and shall be given to the appropriate party by personal delivery or by certified mail, postage prepaid, or recognized overnight delivery services. 10. Final Agreement This AGREEMENT terminates and supersedes all prior agreements and may be modified in writing, provided both parties are in agreement. 11. Headings Headings used in this AGREEMENT are provided for convenience only and shall not be used to construe meaning or intent. 12. No Assignment Neither this AGREEMENT nor any interest in this AGREEMENT may be assigned by EMPLOYEE without the prior express written approval of COMPANY, which may be withheld by COMPANY at its absolute discretion. 13. Severability If any term of this AGREEMENT is held by a court of competent jurisdiction to be invalid or unenforceable, then all of the remaining terms will remain in full force and effect as if such invalid or unenforceable term had never been included. 14. Arbitration The parties agree that they will use their best efforts to amicably resolve any dispute arising out of or relating to this AGREEMENT. Any controversy, claim or dispute that cannot be so resolved shall be settled by final binding arbitration in accordance with the rules of the American Arbitration Association. Judgment upon the award rendered by the arbitrator or arbitrators may be entered in any court having jurisdiction. Within fifteen (15) days after the commencement of the arbitration, each party shall select one person to act as arbitrator, and the two arbitrators so selected shall select a third arbitrator within ten (10) days of their appointment. Each party shall bear its own costs and expenses and an equal share of the arbitrator’s expenses and administrative fees of arbitration. 15. Governing Law This AGREEMENT shall be governed and construed in accordance with the laws of the State of _____________ and by the laws of the United States of America, excluding their conflicts of law principles. Any dispute or legal proceeding regarding the AGREEMENT shall take place in the county of _____________, in the State of _________________. IN WITNESS WHEREOF, the COMPANY has caused this Agreement to be signed and its corporate seal to be hereunto affixed by its duly authorized officers, and EMPLOYEE has hereto set his hand and seal on the date first above written. Attest: (NAME OF COMPANY)(NAME OF EMPLOYEE) By: ———————————————————-   WP Engine Managed Hosting for BuddyPress Mechanical License and Authorization for First-Time Recording of Song This Agreement is made and effective on this [insert date] between ___________________, having its principal place of business at _________________ (“Song Owner”) and ____________________, having its principal place of business at _________________ (“Record Company”),. WHEREAS, Song Owner owns certain Songs and related rights described below in this Agreement as “Band Rights”; WHEREAS, Record Company desires to have license and Authorization from Song Owner to record such Songs; Song Owner desires to give such license and Authorization to the Record Company on the terms set forth herein. NOW, THEREFORE, in consideration of the mutual agreements promises set forth herein, the parties agree as follows: 1. Authorization: ________________________, the copyright owner of ________________________, written by ________________________, authorizes ________________________ to record and distribute ________________________. Catalog number(s): ______________________________________________________________ Label name(s): _________________________________________________________________ Principal recording Song Owners: ________________________________________________________ Anticipated date of initial release: __________________________________________________ 2. Payment: ________________________ agrees to pay the mechanical royalty rate of $_________ and issue statements and pay royalties on a quarterly basis. 3. Warranties: The song owners acknowledge that they are the sole song owners and that they have the right to authorize this first recording. The song owners do not require that a notice of intention to obtain a compulsory license be served or filed. 4. Indemnification: Song Owner hereby agrees to indemnify Record Company and defend Record Company from any claims and damage arising out of any breach of this Agreement or of claims arising out of copyright infringement. 5. Relationship of Parties: The Parties acknowledge and agree that nothing in this Agreement shall be deemed to constitute a partnership, joint venture, agency relationship or otherwise between the parties. 6. Final Agreement: This Agreement terminates and supersedes all prior understandings or agreements on the subject matter hereof. This Agreement may be modified only by a further writing that is duly executed by both parties. 7. Waiver: Except as expressly provided in this Agreement, waiver by either party, or failure by either party to claim a default, of any provision of this Agreement shall not be a waiver of any default or subsequent default. 8. Notice: Any notice required by this Agreement or given in connection with it, shall be in writing and shall be given to the appropriate party by personal delivery or by certified mail, postage prepaid, or recognized overnight delivery services. If to Song Owner: (Specify the name and address of Song Owner) If to Record Company: (Specify the name and address of Record Company) 9. Arbitration: If a dispute arises under this Agreement, the parties agree to first try to resolve the dispute with the help of a mutually agreed upon mediator. Any costs and fees other than attorney fees will be shared equally by the parties. If it proves impossible to arrive at an equally acceptable resolution, the parties agree to submit the dispute to binding arbitration in the same city or region, conducted on a confidential basis under the Commercial Arbitration Rules of the American Arbitration Association. 10. Severability: If any provision of this Agreement is held to be invalid or unenforceable for any reason, the remaining provisions will continue in full force without being impaired or invalidated in any way. 11. Headings: Headings used in this Agreement are provided for convenience only and shall not be used to construe meaning or intent. 12. Governing Law: This Agreement shall be governed by and construed in accordance with the laws of State of _____________ and by the laws of the United States, excluding their conflicts of law principles. IN WITNESS WHEREOF, the parties hereto have caused this Agreement as on the effective Date. Band or Record Company Name of Company That Owns Recording: ___________________________________________ Representative Name & Title: _____________________________________________________ Representative Signature _________________________________________________________ Address: _____________________________________________________________________ Date: ______________ Song Owners Name of Company That Owns Song: _______________________________________________ Song Owner Name & Title: _______________________________________________________ Song Owner Signature ___________________________________________________________ Address: _____________________________________________________________________ Date: ______________   PHOTOGRAPHER CONTRACT AGREEMENT made this _______ day of ____________, 20__, by and between the undersigned PHOTOGRAPHER and the undersigned CLIENT. This Agreement is entered into in the City of ________and County of ________________, State of __________ and is guided by and governed by the laws of that state. The undersigned parties hereby agree that all rights, copyrights, titles and interest in any photographs taken by photographer, on behalf of Client belong solely and exclusively to the Owner free from any claims whatsoever by the Photographer. The enticement and consideration for this Agreement is the promise by the Client to pay the Photographer the amount of $______________. This is a one-time compensation for Photographer’s services (sometimes known as a work-for-hire) and Photographer understands that this will comprise Photographer’s complete and sole payment. IN WITNESS WHEREOF we have entered into this written contract as of the date above written. ___________________________ __________________________ PHOTOGRAPHER CLIENT   Hot Watches at CooliCool.com RECORDING AGREEMENT Date:___________________ Dear Artist: [Company Name] hereby employs you as vocalist and song stylist for the purpose of making phonograph records. Your services are non-exclusive. Two record sides have been recorded. Additional recordings shall be made only if we both wish to. The musical compositions and arrangements to be recorded shall be selected by you; and the manner of presentation shall be approved by you. We will pay you in respect of recording made hereunder a royalty of TWELVE (12%) of the wholesale list price in the country of manufacture, on NINETY (90%) percent of all records sold and paid for embodying performances hereunder on both sides thereof. However, that for records sold outside the United States, the royalty rate shall be one-half of the amount actually received by us. Royalties shall be paid to you when received by us, our affiliates, subsidiaries or associates or otherwise on our behalf. All royalties are payable to you when received by us in the United States and in the dollar equivalent at the rate of exchange at the time we receive payment. We agree to convert royalties from foreign countries into local currency. The charges for recording costs, album photography, art, color separation, type setting, distribution and promotion shall be taken from your royalties when earned. We will render an accounting to you within SIXTY (60) days after the 30th of June and after December 31st of each year. You may audit our books during normal business provided you have given us notice one week in advance. You may terminate your obligation to record at will. Our obligation to pay royalties shall continue after your termination. You will not perform any musical compositions recorded hereunder for any other person, firm or corporation for the purpose of making phonograph records, within FIVE (5) years after the recording is made. The term “phonograph records”, as used herein, shall be deemed to mean all methods of duplication of the performances embodied on the recordings including, but not limited to phonograph records, cassette tapes, digital audio tapes, compact discs and any other method of duplication now in existence or which may come into existence in the future. You acknowledge that your services are unique and extraordinary. Nothing contained herein shall be deemed to restrict you right to record other musical compositions. All recordings and all reproductions made, together with the performances embodied therein, shall be entirely our property, free of any claims whatsoever by you or any person deriving any rights or interests from you. Without limitation of the foregoing, we shall have the right to make records or other reproductions of the performances embodied in the recordings, or we may, at our election. In connection with recordings and reproductions made pursuant to this contract, we shall have the right to use and allow others to use the names, likenesses of you and biographical an publicity material concerning you for advertising purposes and for purposes of trade. Notwithstanding the foregoing, we shall have no right to utilize your name, likeness, or any other material, or authorize such use in any manner that would constitute a direct or implied endorsement of any products or any kind or nature. Yours Truly, ACCEPTED THIS ___ day of ____________________, 20__. By Artist:_____________________________________________________ File your incorporation or LLC with Intuit! WORK-FOR-HIRE AGREEMENT This AGREEMENT (hereinafter referred to as the “Agreement”) is made on this _____ day of _______________, 200__ by and between ____________________, located at ________________________________________ (hereinafter referred to as the “Contractor”) and ____________________, located at ________________________________________ (hereinafter referred to as the “Client”). WITNESSETH: In consideration of the respective covenants contained herein, the parties hereto, intending to be legally bound hereby, agree as follows: 1. Services. The Contractor agrees to provide following Service: ________ (please specify the work in brief for which Contractor is hired) (hereinafter referred to as the “Work”). 2. Ownership of Work and Copyright Assignment. In consideration of compensation as specified in Clause 3 of this Agreement, Contractor certify and agree that all of the results and proceeds of the services of every kind heretofore rendered by Contractor in connection with the Work created for Client is and shall be deemed a work “made-for-hire” and it constitutes a work specifically ordered by Client for use as a contribution to Work. Accordingly, Contractor further acknowledge, certify and agree that Client is and shall be deemed the author and/or exclusive owner of all of the foregoing Work for all purposes and the exclusive owner throughout the world of all the rights of any kind comprised in the copyright thereof, and of any and all other rights thereto, and that Client shall have the right to exploit any or all of the foregoing in any and all media, now known or hereafter devised, throughout the universe, in perpetuity, in all configurations as Client determines. Contractor hereby agrees not to make any claim against Client or any party authorized by Client to exploit the Work based on such moral or like rights. To the extent that Contractor may be deemed the “author” of the Work, Contractor hereby grant and assign to Client all rights of every kind and nature whether now or hereafter known or created (and so far as may be appropriate by way of immediate assignment of future copyright) throughout the universe in perpetuity and, in connection therewith Contractor hereby grant to Client the right as attorney-in-fact to execute, acknowledge, deliver and record in the U.S. Copyright Office or elsewhere any and all such documents if Contractor shall fail to execute same within five (5) days after so requested by Client. In connection therewith, Contractor hereby grant to Client the exclusive worldwide right in perpetuity to sell, reproduce, adapt, distribute, transmit, communicate and otherwise use the Work in any form and by any method now or hereafter known, including, without limitation, via cable transmission, satellite transmission, electronic transmission, transmission via the Internet (including any promotional or commercial downloads), to lease, license, convey or otherwise use or dispose of the Work by any method now or hereafter known, in any field of use, to use the Work under any trademarks, trade names, or labels, or any other method now or hereafter known, all upon such terms and conditions as Client may approve. Contractor agrees that all rights, copyrights, titles and interest in the Work created by the Contractor on behalf of Client, belong solely and exclusively to the Client, free from any claims whatsoever by the Contractor. 3. Compensation. The consideration for this Agreement is the promise by the Client to pay the Contractor the amount of $____________. This is a one-time compensation for Contractor’s services known as a “work-for-hire” and Contractor understands that this will comprise Contractor’s complete and sole payment. 4. Delivery. The Work will be completed by the Contractor no later than ________________ 5. Client’s Alterations. There shall be no charges to the Client for revisions or corrections or additions made necessary by errors on the part of Contractor. No additional payment shall be made for changes required to conform to the original assignment description. 6. Modifications of the Agreement. Modifications of the Agreement must be written, except that the invoice may include, and the Client shall pay, fees that were agreed by the Client in order to progress promptly with the work. 7. Warranty of Originality. Contractor warrants and represents that, to the best of its knowledge, the Work hereunder is original and has not been previously published, or that consent to use has been obtained on an unlimited basis; that all work or portions thereof obtained through the undersigned from third parties is original or, if previously published, that consent to use has been obtained on an unlimited basis; that Contractor has full authority to make this agreement; and that the work prepared by Contractor does not contain any scandalous, libelous, or unlawful matter. CONTRACTOR EXPRESSLY AGREES THAT IT WILL HOLD CLIENT HARMLESS FOR ALL LIABILITY CAUSED BY THE CLIENT’s USE OF WORK TO EXTENT SUCH USE INFRINGES ON THE RIGHTS OF OTHERS. 8. Hold Harmless. Contractor hereby indemnifies and holds the Client harmless from and against all claims, suits, threats, demands, liabilities, settlements, negotiation costs and expenses, other costs, and attorney fees relative to any third party’s claim that the Web Site or any of the Web Site content, infringes upon or interferes with any proprietary right of such third party, including but not limited to copyrights, trademarks, trade secrets, privacy rights, moral rights, patents, publicity rights, or any other right that may now or at any time in the future exist under any federal or state law. 9. Arbitration. Should a dispute arise regarding the rights or obligations of the parties under this Agreement, either party shall have the right to submit said dispute to binding arbitration in accordance with the then effective rules of the American Arbitration. If binding arbitration does not work, the losing party shall pay the attorney’s fees to the winning party. 10. Severability. In the event any provision of this Agreement shall be held illegal or invalid for any reason, said illegality or invalidity shall not affect the remaining provisions hereof, and this Agreement shall thereafter be construed and enforced as if said illegal or invalid provisions had never been included therein. 11. Governing Law. This Agreement shall be interpreted, construed and enforced in all respects in accordance with the laws of the State of________________, excluding its conflict of laws principles. The parties irrevocably agree that any action to enforce the provisions of this Agreement or arising under or by reason of this Agreement shall be brought solely in the _____County, ________ (specify the state) Superior Court or a federal court impaneled in _______County, _________ (specify the state). This Agreement is entered into in the City of __________ and State of __________ and is guided by and governed by the laws of that State. IN WITNESS WHEREOF, the parties hereto have executed this Agreement on the day and year first above written. AGREED TO AND ACCEPTED: “Contractor” ____________________________ By: _________________________ Title: _______________________ “CLIENT” (COMPANY NAME) ____________________________ By: _________________________ Title: _______________________ WristWatch.com = How the Internet Finds Time.

AGENTS AND MANAGERS

Shadonj logoWhat is a Music Agent?Music agents, sometimes also called talent agents or managers can open doors that a band or artist can’t on their own. That’s because an agent spends time building the necessary contacts with concert promoters, sponsors and others who play a part in bringing musicians together with their audiences. And an agent knows the ins and outs of complicated contracts in ways that bands and artist don’t.
Medical Supply DepotBeing a music agent combines responsibility with the chance to help talented musicians gain the notice they deserve. Becoming a successful agent takes passion, contacts, hard work, people skills, sales expertiJuiceBeauty.comse and a talent for hard-headed negotiations combined with a thorough knowledge of the legal complexities of the music industry.The simplest definition of a music agent is probably a person who books live personal appearances for musicians or bands. But there’s a lot more to being a music booking agent than just that. For example, they also can negotiate contracts to bring the band or artist other types of work, such as radio or television appearances, or appearances in commercials and finding sponsors for tours.Even booking a club or concert performance takes more than a phone call and a signed contract. An agent becomes familiar with concert venues and builds relationships with concert promoters to book bands and artist into the places that’ll best showcase their talents. Agents know the ins and outs of negotiating contracts and work to secure the best deal for their bands. In addition, agents work on tour routes, planning schedules that make sense physically and financially

Buy hot men clothes at CooliCool.comMusic agents receive a percentage of the band’s revenue from a performance. Because of that, they usually want to work with groups that they know will bring in an audience or have a recording company’s support. Sometimes, though, a music agency will take a risk on a group that they think has the potential to become popular.Because music agencies act like employment agencies, they’re heavily regulated, with guidelines set by state labor laws and unions. In California, for example, a music agency or other talent agency has to submit a detailed license application and file a $10,000 bond. Agencies may also be members of a music union, such as the American Federation of Musicians or the American Federation of Television and Radio Artists, or be franchised by one of these unions. These agencies have to follow union rules on setting fees and how long contracts last.

Find Phantom of the Opera Tickets at VenueKings.com!What’s a typical day like for a music agent? Here’s a look at one agent’s daily routine at International Creative Management, one of the largest talent agencies in the United States: Clear voice mails and e-mails, starting about 10 a.m. Make calls to concert promoters in a specific geographic region to give a band’s available dates for shows. Create a route for the tour and place holds on venues in the markets you want. Gather offers from promoters, which include the money for the band or artist and performance details. Review the offers with the band’s manager and the regional booking agent. Decide which deals to accept, which to pass on and which to accept after working out details. Continue until all tours are booked or the workday ends. Spend most evenings attending client performances or checking out new bands and artist.
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With those kind of hours, you need to have a real passion for music to be a successful music agent.A Look At Music Agent ContractsSome of the best shows I’ve ever seen were at small dive bars with only a handful of people in attendance. For many of these, I don’t remember the band name or much else, other than the fact that they were good and it was a shame more people didn’t get to see the incredible show I saw. While there’s definitely something to be said for bands to develop there chops in small venues, there comes a time in every band’s life when they need to get their music out to a larger audience. Often, this is where a music agent becomes crucial.

Hot Android Tablet PC at CooliCool.comOne of the main jobs of a music agent is to secure quality bookings at reputable venues. In a nut shell: the booking agent get your band in front of more people, more quickly than you can by booking your own shows. Depending on the level of the band, the music agent’s role can be narrow or far-reaching, but as the liaison between the artist and the venue, it’s up to them to not only book the show, but make sure everything runs smoothly and everyone, in the end, gets paid. And as always when money’s involved, this is where the contract comes into play, and though the specific agreements will vary for each situation, the following are points that should always be discussed.After starting with the basic names and signing dates, the contract will then state the General Duties of the agent.

This will, of course, vary depending on the terms the artist and agent worked out before signing the contract, but will outline exactly what the agent is expected to do on behalf of the artist. If duties are restricted to just booking shows, this portion will explain this; if the agent is responsible for other promotion and business duties, this will be stated, as well.Next, the contract will provide the Rights of the Agent. These rights will explore how the artist must refer any booking and other touring inquiries to the agent, and, usually, that the agent will become the exclusive agent and representative of the musician.Of course, the contract will include the all-important Compensation of Agent agreement. Agents usually make a percentage of gross funds from a booking, and this percentage will be made official in this portion of the contract. This section will also include when the payment is due, and what penalties occur if payment is not made within that time frame.Length of time of the artist-agent relationship varies widely, but the Duration and Termination of Agreement section will provide the length of the agreement, as well as what factors would constitute a termination of the agreement. Sony Creative Software Inc.Since an agent is not (usually) employed directly by the artist, a clause in the agreement is needed stating that the agent is an Independent Contractor. This will state that the agent isn’t entitled to employee benefits and must pay all income tax obligations, among other provisions.The remainder of the contract will likely carry many other stipulations that are common in other music contracts, such as damages and severability clauses. These aren’t necessarily as unique to music agent contracts as the above points, but are extremely important in protecting the rights of both the artist and the agent.A music agent can be one of the most crucial elements in a band’s road to fame, but as with any music relationship with the possibility of large sums of money becoming involved, the music agent contract can prevent many fights and lawsuits in the future.CHECK OUT MUSIC BUSINESS 101, By James KazualKazh Owens

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NAMES AND TRADEMARKS

TM Trademark   Simply put, a trade name is the official name under which a company does business. It is also known as a “doing business as” name, assumed name, or fictitious name. Up to 60% off for bargain price, enjoy outlet store pricing on findings,gemstone beads, pearls, ect.A trade name does not afford any brand name protection or provide you with unlimited rights for the use of that name. However, registering a trade name is an important step for some – but not all – businesses. A trademark is used to protect your brand name and can also be associated with your trade name. A trademark can also protect symbols, logos and slogans. iRig MIC Cast - Ultra-Compact Microphone for iPhone, iPod touch & iPadYour name is one of your most valuable business assets, so it’s worth protecting.Registering a Trade Name Naming your business is an important branding exercise. If you choose to name your business as anything other than your own personal name (i.e. a “trade name”), then you’ll need to register it with the appropriate authority as a “doing business as” (DBA) name. Consider this scenario: John Smith sets up a painting business and chooses to name it “John Smith Painting.” Because “John Smith Paining” is considered a DBA name (or trade name), John will need to register it as a fictitious business name with a government agency. You need a DBA in the following scenarios: • Sole Proprietors or Partnerships – If you wish to start a business under any name other than your real one, you’ll need to register a DBA name so you can do business under the DBA name. • Existing Corporations or LLCs – If your business is already incorporated and you want to do business under a different name, you will need to register a DBA. Note that many sole proprietors maintain a DBA or trade name to give their business a professional image, yet still use their own name on tax forms and invoices. Depending on where your business is located, you’ll need to register your DBA name through either your county clerk’s office or your state government. Note: Not all states require fictitious business names or DBA registration. SBA’s Business Name Registration page has more information about the process, plus links to the registration authorities in each state. Registering Your Trademark Choosing to register a trademark is up to you, but your business name and identity is one of its most valuable assets, so it’s worth protecting. Registering a trademark guarantees exclusive use, establishes legally that your mark is not already being used, and provides government protection from any liability or infringement issues that may arise. Being cautious in the beginning can certainly save you trouble in the long run. You may choose to personally apply for trademark registration or hire an intellectual property lawyer to register for you. Trademarks can be registered on both federal and state levels. Federal trademarks can be registered through the United States Patent and Trademark Office. Applications can be submitted online, by using the Trademark Electronic Application System (TEAS), or by requesting a hard copy application and mailing in a paper form. Although both methods are acceptable, filing online is a faster and more cost-effective process (less than $300).   By James KazualKazh Owens

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Sony Creative Software Inc.HOW TO START YOUR OWN RECORD LABEL

In this Post we’ll begin by discussing how to start your own Record Company.

Matrix_E-Studio_largeThe job of a record label is to promote your music and to drive sales. It doesn’t matter if it’s driving sales of single track bits or of ten track platters sold as compilations, if it’s promoting music and selling it, and taking in proceeds, it’s doing its primary business function. Now, in setting up to be your own record label, you’re going to need to do some legwork. First and foremost, hire an attorney, and then go talk to the Small Business Administration about classes on setting up a business plan. These classes are free, and there are usually consultations you can get from retired professionals on how to set up and run a business without getting overwhelmed. Next, look at venues for you to distribute your music. By far and away, the five most important are MySpace, Facebook, Napster, Rhapsody and the Apple iTunes store. Fortunately, these are all easy to get listings in – and all of them are free. You want to build up word of mouth to drive sales of songs. One of the best tricks is to load up the middle 40 seconds of one of your tracks – something that shows your distinctive sound – but not enough to give the entire song away. The aim is to build a hook, and to build a brand. Find Tickets to the hottest shows in Las Vegas If you can get a couple of other artists together, you can meet the next requirement of a record label: A regular release schedule. It’s one of the truisms of business, but if you make a product people like, people will want more of it. Be prepared to give them more. My advice to be your own record label right now is to focus on the digital download markets, and then press CDs when they’re needed. Fortunately, the price of pressing CDs is coming down – indeed, for a fairly small investment, you can get a professional CD duplicator that will get you over the hump. You won’t be able to handle a million copy run, but for handling direct mail orders, you’ll be set. Start small and let the business grow naturally, and manage your capital carefully.

Step One: Duplicating & Distributing

Once you’ve got your masterpiece completed, it’s time to find a good deal on duplicating. Keep in mind that most major labels turn a huge profit by duplicating their own CDs in mass quantity, usually in an overseas facility, for a few cents per unit. Add in the cost of shipping and distribution, and you’re still seeing large profit from a few cents’ work. Unless you’re planning to buy a few thousand copies, you’ll be needing to plan how you profit from your CD very carefully. Protection for your iPad or Macbook - Now there's an app for that. Finding a high quality CD duplication (burning) service isn’t too hard; if you’re looking for a smaller run, companies like Disk Faktory offer decent deals (around $2 a unit). For larger runs, replication is the best deal. Getting distribution is something that’s not easy for the independent label. Getting your CD into physical stores is the hardest part. Fortunately for indie artists, digital distribution is now the most popular way to buy music. Devoting resources to getting your CD in stores may not be the best use of time and money; digital distribution is dirt cheap, and has a wider reach than in stores. IK Multimedia - iLoud However, if you’re still determined to sell the old fashioned way, pick up a copy of the Musician’s Atlas, an invaluable tool that’s published once yearly. You’ll find information on many regional distribution companies that you can consign your records with; they can help get your music into regional small record stores for a small fee. Generally, you’ll be losing about $1-$2 per unit as a distribution fee. Many distribution companies will also request a certain number of copies without compensating you for them; these copies are used internally for cataloging as well as to compensate for CDs that break in transit. Digital distribution is your best best; among the digital retailers, CDBaby is one of the best-known; they’ll set you up for a small fee, and sell your album with a healthy profit in your pocket. You can also contract with Amazon.com, Barnes & Noble and Borders to sell online as your own independent reseller; this requires more work on your part (and a fee to them). Distributing digitally has many advantages for you. First, it’s got very low overhead and very high profit — you don’t have manufacturing overhead, and you don’t have shipping overhead — and it’s a great way to be environmentally friendly, due to the fact there’s no packaging to worry about. Companies like CDBaby will offer to set up digital distribution for an added fee, as well as companies like TuneCore that specialize in all digital distribution. It’s up to you who to use, but generally, look for a company with low start-up cost, wide distribution, and a high percentage of profit going to you.

Step Two: Promotion

With the Internet being such a part of everyday life, promoting on it should be your first plan of attack! Never underestimate social networking as a promotional tool; you can reach out to millions of potential fans in a single click. However, watch out on being too annoying or blatantly spamming; you don’t want to turn people off before they’ve heard a note. Aside from MySpace and <a href=”http://Facebook“>Facebook, spamming on Craigslist and Backpage is generally considered poor form, unless it’s in the appropriate forum for music promotion. Another great idea is to submit copies of your album to as many promotional sites, fringe newspapers, music publications as possible. When you send in your CD, keep in mind you won’t always get reviewed favorably (if at all), but keeping the option out there is a great idea. Along with the CD itself, you’ll need to produce a “one-sheet”, which is essentially one page of basic information on your band, the background on the album, and any information that’ll help a reviewer. Submit all of this along with a note individualized for the reviewing outlet, and you’ll be good to go.

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Step Three: Getting a Team

I can’t state this firmly enough: the best thing any independent label can do is retain a good entertainment lawyer. Ask for recommendations from other artists and producers; chances are, there’s someone in your town that’ll work out great. Also, you’ll need to find street-teamers and others who can promote your album for you by distrbuting promo copies and promotional items throughout your region. The reality now days for most recording artists that go this route, which get signed by a label and make a living by doing so…if, by a living, we mean that they don’t quite starve to death, and don’t drown entirely in debt. Web Hosting with cPanel - only $1 / month from GoDaddyBeing a musician with a record label means long hours, long tours, and royalty statements that translate into “not a lot of money for the hours put into it.” Don’t get me wrong…there are still some good major labels out there as well as independent labels, so this statement is for the one’s who are not. Let’s take a look at some more reasons to justify why you would want to be your own record label. The old school justification for this was that pressing CDs and printing the jackets and arranging airplay on radio stations was expensive. Record labels could justify these one-sided contracts because they put up most of the financial risk, and they acted as the gateway to people getting access to an audience. And to be fair to them, they also had the job of sorting out all the crap from the stuff that would actually sell – every act they signed is making a bet with their investor’s money…and they have no way of telling which acts are going to endure (remember Hanson, anyone? Case closed.) Even worse, for a record label, it’s very much a “What have you done for me lately?” sort of business. Yes, there are A list platinum acts – but the vast majority of the music catalogs are filled with groups that put out anywhere from two to four albums and then vanish without a trace. Look at how many artist are classified as being a “one hit wonder”. On top of this, a lot of acts are so desperate to sign the contract that they sign stupid contracts, giving away control of their rights and their masters. Only in the recording industry does this happen; in the world of freelance writing, the analogy would be that you signed a contract with a publisher, then spent most of the advance renting a specialty word processor, and gave the publisher the only reproducible copy of the work at the end of the job. However, since roughly 2000, the creative destruction of technological advance has done a serious number on the record labels – and dropped the barrier to be your own record label into something that nearly any band with computer savvy can get into. To be your own record label will entitle you to the legal rights to own and distribute your music. It offers you legal protections for retaining your rights and greatly helps when it comes to tax management. To be your own record label means you have to be a grown up and pay attention to the business side of being a music publisher. Taking an accounting class is worth the hassle – the payoff is much greater. The job of a record label is to promote your music and to drive sales. It doesn’t matter if it’s driving sales of single track bits or of ten track platters sold as compilations, if it’s promoting music and selling it, and taking in proceeds, it’s doing its primary business function. Now, in setting up to be your own record label, you’re going to need to do some legwork. First and foremost, hire an attorney, and then go talk to the Small Business Administration about classes on setting up a business plan. These classes are free, and there are usually consultations you can get from retired professionals on how to set up and run a business without getting overwhelmed. CHECK OUT MUSIC BUSINESS 101, By James KazualKazh Owens

Ear Candy Records a Division of Shadonj Inc. is currently searching for new talent who meet the criteria for company policy as marketable and capable of benefiting from the principles of the company and who posses, long term commercial career potential. This is the focus and direction of the record label. Developing artists into profitable sound business investments requires experience and an integrity level that Shadonj Inc. readily displays. Starting out as a vehicle for young bands to expose themselves to a regional market, Independent labels have now become a major avenue for gaining a fan base and national attention for these new artists. What began in the eighties as an underground concept has now blossomed into a true competitor in the industry, accounting for approximately 15% of music total sales. With the Ten Billion Dollar base, that figure ranges somewhere in the $150 millions. As the Independent labels are able to allow the artist greater freedom of expression Ear Candy will cater to this philosophy (using low ,overhead to their advantage) being better able to service their creative needs. This, in addition to having a direct business plan designed for introducing new acts to the market, gives Ear Candy Records a preference when approaching these acts. Independent labels have been rising in the midst of the long standing major labels with the increase of entrepreneurs taking charge of their assets in innovative forms of policies, belief In their ability to spot up and coming trends and experience of recognizing talented artists as well as knowing how to secure an income to continue projects and promote new ones. As a result, major labels are entering into deals with independent labels recognizing their abilities and success in bringing in new blood to the constantly evolving market of music in the United States and around the world.

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Ear Candy, currently has artists waiting to be promoted year round, instead of just during the summer. Our competitive edge will be that we will continuously market the artist and be more than a seasonal promoter. We operate with the utmost professionalism and offer quality service to all of our clients, not just the most famous ones.

The Icons below are the distributors of our Record Labels first release. The Hip Hop Music is unlike any music in 2009 the producer / engineer / mixer, dukman was producing an ole school R&B flava with Rap lyrics. Click one of the  icons below check out the music if you like purchase it and leave a comment about the music you purchased. The proceeds go to helping maintain this site. Thank You for your purchase and enjoy the music.

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