Music the business ann harrison pdf - Ebook download as PDF File .pdf), Text File .txt) or read book online. This essential and highly acclaimed guide, now updated and revised in its sixth edition, explains the business of the British music industry. Whether you're a recording artist, songwriter, music business manager, industry Ann Harrison runs her own successful legal consultancy.

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    Music The Business Ann Harrison Pdf

    Results 1 - 30 of Music: The Business 7 ed by Harrison, Ann and a great selection of related books , art and collectibles available now at Music: The Business - 6th Edition by Ann Harrison, , available at Book Depository with free delivery worldwide. London: Virgin Books. Harrison, Ann. (). Music - the business: the essential guide to the law and the deals. (Fully rev. and updated 5th ed). London: Virgin.

    These funded, produced, and marketed the resulting recorded music and subsequently sold these works to consumers through a fragmented retail sector. We argue that digitalisation has led to a new structure in which the retail segment has also become concentrated. Such a structure, with successive oligopolistic segments, can lead to higher consumer prices through double marginalisation. If so, this would shift market power from the record label and publisher segment to the retail segment and new intermediaries such as ISPs , rather than increasing the number of segments with market power. Izquierdo-Sanchez hud. These funded, produced, and marketed the resulting recorded music and subsequently sold this to consumers through a fragmented retail sector. In other creative industries, most notably book publishing, digitalisation has led to a increased concentration at the retail level, b a possible reduction in concentration through disintermediation in other intermediate levels, and c a potential shift in the centre of gravity of contracts towards creators trading directly through the on-line retailers. However, in contrast with the book industry, music labels and producers appear to have maintained their share of the market.

    New in The Business - 6th Edition: Fully revised and updated, including the latest changes to Copyright law. Notify me. Description This essential and highly acclaimed guide, now updated and revised in its sixth edition, explains the business of the British music industry. Drawing on her extensive experience as a media lawyer, Ann Harrison offers a unique, expert opinion on the deals, the contracts and the business as a whole.

    She examines in detail the changing face of the music industry and provides absorbing and up-to-date case studies.

    Whether you're a recording artist, songwriter, music business manager, industry executive, publisher, journalist, media student, accountant or lawyer, this practical and comprehensive guide is indispensable reading. Fully revised and updated. The current types of record and publishing deals, and what you can expect to see in the contracts A guide to making a record, manufacture, distribution, branding, marketing, merchandising, sponsorship, band arrangements and touring The most up-to-date information on copyright law and related rights An in-depth look at digital downloads, streaming, online marketing and piracy Case studies illustrating key developments and legal jargon explained.

    The venue will either be a club or a rehearsal studio. They probably got a better offer on the day. This is called a showcase. If you are already playing the club circuit they may just turn up to a gig.

    Music: The Business (7th edition)

    These showcases may be open to the public but more often they will be by invitation only. Confidence indeed. He said that he knew how far he was prepared to go on the deal and so was not worried that it would be hyped up. This was a particular problem at the height of the dance music boom when behind the scenes producers were making the music and using front people to perform them on stage — often not live but mimed to backing tapes.

    His answer was quite revealing. You could hire a venue yourself and send invitations out to all the record companies. In these days of independent labels or production companies working with artists it is likely that they will set up the showcases and either invite a broad selection of bigger labels along or only those with whom they have a special relationship.

    So most record companies will insist on seeing you play live. In fact the artist did sign to his company and remained on the label for a number of albums. Think about your image and style. A scout read one. I know of one Nottingham band that did this very successfully. They made a fan of the arts reporter on the local newspaper and kept him up to date on what they were up to and when they were playing. If your band has got one make sure you use him or her to their best advantage. This made sure they got good reviews.

    You should also find out what nights the venue features your kind of music. Try and get your local press behind you. Read the music press. Make life easier for us — tell us clearly who you are. Think about your relationship with the audience.

    Make sure the songs you play your set are a good cross-section of what you do. Be professional. Before you get to that stage you may need to start out in the clubs outside the main circuit and work your way in. If you play radio-friendly. Always tell your audience who you are at the beginning and end of your set.

    Pester that venue to give you a spot. Glastonbury now has an Emerging Performers Competition for bands to play on its main stage.

    In an innovative marketing spin of the kind I was advocating earlier. Then of course there are online band competitions — such as those promoted by the web-based slicethepie.

    West London and clubs in Soho such. For more on these social networking sites and different use of technology see Chapter 7. One band of under 18 year olds called The Flaming Monkeys won the Kerrang! Indeed the under 18s market is a booming one with venues turning over their clubs to promoters of special gigs aimed at the younger audience and obviously without the booze.

    A record deal followed. The local reporter was the first one they told — after their mum. Are there any short cuts? Tony Moore also opened an additional live acoustic venue. Tony Wilson. The Regal Room in December Its regular home is Manchester but it does move around. See Useful Addresses for contact details. This is your calling card. Attached to it is a series of showcases for unsigned acts at venues in the city where the conference is being held.

    In past years Suede. The death of one of its founders. If the producer is a proven talent they may be less concerned but you should try and build in flexibility.

    This is fair if you get a deal using recordings made at the studio. This is time when the studio is not being hired out commercially. They like to have some say on these things themselves. It should be recorded to the best standard you can afford. Most people think that it should contain no more than three or four different pieces.

    The studio may give you the time cheaply or even free. One album is plenty in most cases or if it goes beyond that then the royalty percentage should reduce to say 0. The studio owner may want some of the income the royalty you earn from the sale of your records. Some studios try to get royalties on your second and third album too.

    The demo should feature a good cross-section of your work. Or the studio owner may want to produce your first commercial album. It may be at really unsociable hours such as 2 a. You should be careful about agreeing to these sorts of conditions. This is true.

    How do you afford to make a recording? This is sometimes called an override royalty. A 1—1. The studio may also want a guarantee that you use their facilities when you make your album. This is usually a short document where you appoint them for a period of time to get you a record or publishing deal.

    This is why most. The period varies from six months up to eighteen months and may be non-exclusive. If you can include an email or webpage contact address so much the better. A studio owner. This is harder to do with an MP3 so it is important that the file name is distinctive and that the metatags on the recording itself identify the artist and the name of the track.

    They may also not wish to become involved in your career longer-term as a manager but might spot an opportunity to use their contacts to further your and their own prospects. At the moment they seem to have been overtaken by the production deal but they are still used where someone just wants to find a deal and not be further involved at any level. If you are sending a CD then the case and the CD itself should both contain details of who you are.

    On an exclusive deal you pass through any interest you get to the finder who is in overall charge. Make yourself as easy as possible to find. The deal will usually guarantee you a certain amount of time in a professional or in-house recording studio.

    The company will want to own the right to control what happens to the recording. It may be a percentage of what you get on signing the deal. If the finder gets a deal within the agreed time span then that usually ends the ongoing relationship between you and the finder. A record company will not usually expect to own rights in the song but a music publisher might.

    Many record and publishing companies have their own studio facilities. Try and take advice before you agree to give away rights in the song. Sometimes the finder argues for a percentage of monies beyond the initial contract period. The record or publishing company will expect to own the copyright in what you record see Chapter 3.

    This is less usual and I would want to see strong grounds to justify that and even then might well argue for the percentage to be reduced to say 2. The fee that the finder gets varies. In that case he may offer you a demo deal. They may be slightly more flexible and want the right of first negotiation or refusal. The company who paid for the demo will usually agree that you can play it to other companies if they decide not to offer you a deal within a reasonable period of time. So you need to get a balance between the needs of the two sides.

    If they tie you up for months you may miss your moment. The record or publishing company will normally want some exclusivity in return for the studio time they are giving you. The record company will not find it funny if a rival company releases the very track that they had planned as your first single. They have to listen to the recording. This is a difficult call. They may want you to agree not to make demos for anyone else or not to negotiate with another company for a period of time.

    You will no doubt be excited and perhaps desperate not to risk losing the deal but. All this takes time and they may not want to risk losing you to a rival company. Bear in mind. This means that they will want either to have the first chance to try to negotiate a deal with you or they will want to have the right to say yes or no first before you sign to another company.

    If they have first negotiating or rejection rights then they should tell you as soon as possible where you stand. When you finally sign your record deal you will be asked to confirm that no one else has the right to release recordings of your performances.

    This is important. On a more positive note. This is a difficult balance to strike. I know several artists who got demo time from two or three record companies and ended up with an excellent set of demos that they took to another company who then signed them up.

    So where do you find one and what can they do for you? Finding a lawyer General You can ask the Law Society for their suggestions see the Useful Addresses section for details.

    They have entertainment firms on their referral lists but make no judgement on the quality of the advice. Some websites contain details of the last big deals the firm did and. Many law firms have their own websites. There are people that you can turn to for help.

    It will usually contain an email address. Both have a similar approach. Legal operates on a league principle.

    It also does some checking with individual clients. When it interviews lawyers it notes which names are mentioned most frequently by others in the business and grades the firms accordingly. Directories Not all law firms have websites. As with the more general guides an entry in the directory is not any guarantee that they are any good. You need to take out a subscription to get the directory and online access but you may find it in bigger reference libraries or a contact in the business might lend you a copy.

    Music Week is the leading trade journal for the music industry in the UK. In addition to these general legal guides the Music Week Directory also lists UK law firms and is a good first stop for an overview of lawyers who claim to have expertise in the music business.

    Most UK music lawyers are based in London. Liverpool and Glasgow. The PRS runs a legal referral scheme where firms of music lawyers agree to give preliminary advice free or at a reduced rate.

    See Useful Addresses. If a client is kind enough to give me a credit on their album artwork. Chambers writes short pieces on those it thinks are the leading players in a particular field and now also boasts a USA guide. The general guides can be found in most of the larger public libraries and are both available online.

    You may. We lawyers love personal recommendations as a source of new work. You should call them. As we saw. There is a conflict in the interests of the two of you that means you must be separately advised. Managers and Accountants If you already have a manager or an accountant they may be able to recommend a lawyer to you. Other bands Other bands or contacts in the business may be able to recommend someone to you. This may be their own lawyer or someone they have heard others say is good. Before you meet up with the lawyers have some questions ready for them.

    Will they be doing the work for you or will it be handed over to a more junior person? Can you call up the lawyer you are meeting at any time to discuss your case or are you expected to work with the junior person? You should also ask the lawyers the all-important question of what they.

    It means we must be doing something right. Ask them how their firm is structured. Where there is no conflict of interest there is usually nothing wrong in you and your manager having the same lawyer. Be wary of lawyers who promise the earth. You should check if your manager has the same lawyer. Most managers realise that for some things for example. How do you do that? Ideally you should have two or three names on your list.

    You must. How do you go about choosing and employing a lawyer? Occasionally lawyers are in the public eye because of a particularly high- profile piece of work they have done and everyone wants to have them as their lawyer. The lawyer you finally choose should send you a letter setting out the basis on which he is going to work for you. Since setting up my own business I often work in that way as it gives the client certainty but as with any job of work if it turns out to be far more complicated than it appeared at first I reserve the right to come back and revisit that fixed fee.

    As a last resort you can sue but this is all very negative. If he tells you what he charges by the hour you may need to sit down. Then the thoroughness with which he has done his job in protecting your interests really gets put to the test. A better way to do it is to ask them to give you a ballpark figure for what it usually costs for them to do a record or publishing deal.

    Can you pay by credit card? Beware of a lawyer who is reluctant to discuss his costs. Although you may want to give the lawyer the chance to explain his position before you leave.

    Your lawyer is a fundamental part of your team. It is important to know this. Some lawyers will agree to do a piece of work for a fixed price. If the record label. Will they accept payment in instalments and. This can help you to be more focused. You never know. If you want. We give you the benefit of our experience of similar situations. When things are going well this can work. What does your lawyer do for you? A trite answer may be to say whatever you instruct him to do provided it is legal.

    I then get the draft contract. I have come across one or two lawyers who do think they are and indeed there are some law firms that employ young lawyers as quasi scouts looking for up and coming artists who might be future clients. I go back to the record company with any counter- proposals. On the other hand. I contact the record company. It also means that the lawyer is making a judgement call. Managers seem a little uncomfortable about this.

    With this breed of lawyer you need to be very clear what they are expecting to charge you. I work differently with different types of clients. If you are already clued-up on the type of deal you want. Is it their normal rate or is there a premium for this service? Are they charging a percentage of the deal they get for you? If so does that mean that they only focus on getting the most money and to hell with the small print?

    Our role can be as wide or as narrow as you want it to be. The manager will usually make sure I get a copy of the proposal and any counter-proposals. This may well change from deal to deal as you grow in experience. These are lawyers. It helps to cement the relationship between us. You should establish with your lawyer what kind of relationship you want to have.

    He may telephone from time to time to ask if I think company X can do better than what they are offering. With other clients there may be an experienced manager on board who knows exactly what his bargaining power is and what sort of deal he would ideally like to end up with.

    I also like to go and see my clients play live. In theory. My role at the beginning is more that of an adviser or sounding board. New breed of lawyers There is a new breed of lawyers in the UK. I keep the names of the clients confidential.

    And yes. In practice you will probably not notice any difference. I have to admit. When should you get a lawyer? There are a number of different views on this. Of course. I think you should get a lawyer earlier than this. Anyone can set up in business giving financial advice.

    Most of us are happy to give initial advice and guidance for free. It does mean that we are more restricted in that we cannot do contentious work involving representing you in court. But we are still open to being sued by you if we screw up and most of us carry professional indemnity insurance like solicitors as we are all human. How do you find one? Just be careful and check this before going ahead. Most however. Your lawyer can also help you to find a good accountant. I think that the whole process of getting a deal is so much of a lottery that anything you can do to reduce the odds must be worth doing.

    The Music Week Directory has a section on accountants. They will be happy to recommend accountants from within their own membership and. They have firms of accountants who are corporate members see Useful Addresses as well as individual accountants who provide business or quasi-management services.

    How to choose an accountant. Lawyers Your lawyer should have had dealings with a number of accountants and should be able to recommend two or three to you that they know have experience in the music business. If they are to have signing rights on cheques make sure there are sufficient controls in place.

    You should ask them the type of work they can do for you. As your accountant will have intimate knowledge of your finances and may have some control over your bank account. Some are strong on tour accounting or in auditing inspecting the books and records of companies. If you expect to do a lot of touring.

    Music: The Business - 6th Edition

    They need to know how to read and understand a royalty statement. The basic accountancy and tax rules do. Just as you need a lawyer with specialised music business knowledge. These things are often.

    Business Managers There is another breed of accountant that could provide the sort of services. The main thing is that they are familiar with the music business and how it works. They may also do general bookkeeping and tax advice. As I suggested when choosing your lawyer. Your local family accountant can. Your accountant must be up to date on these rules. You need to know what country A is and what the code for CD sales is. This sort of thing is more likely to happen in the bigger firms. Someone quite different and possibly much less experienced may be doing the work.

    This is a term that has come across from the US. If you are tempted by these schemes you should ask what exactly is covered by the discount rate. They provide day-to-day business advice and bookkeeping services.

    How do they charge? Accountants usually charge fees rather than commission. This means they can charge less than the bigger firms of accountants do.

    They can provide business plans and advice and some also do tour accounts. Often you find that the person who sees you and does the hard sell is the partner or even the marketing person. In the UK the term means something slightly different. When specialist tax or international advice is required. You can be reasonably sure that it will not be a partner that will be doing the cut-price work.

    You should ask them what their experience is and who will be doing the work. They may quote you a rate per annum for advising you. Your accountant can be your tax adviser and help plan with you things such as whether you could consider putting your income in an offshore tax haven or. Some accountants also send out selected demo tapes on behalf of artists and songwriters. He can prepare partnership or company accounts. Because this area is very closely regulated.

    They do the accounts books for you. Can your accountant help you get a record deal? Depending on your accountant. The accountant should be able to work as part of the team with you. If your accountant offers to get you a deal. Some accountants can also act as the auditor of your company books. They register you for VAT. He should just charge for any accountancy advice that he gives you on that deal.

    There are signs that the Government is tightening up on the tax benefits of being non-domiciled so this may not be an attractive option for much longer. You should ask if your accountant is. Your accountant can act as your financial adviser.

    Your accountant will advise you on whether you should be a sole trader. You can use accountants in the same way as lawyers. What does an accountant do? Accountants can do a number of things for you.

    This is looking at the negative side and most relationships proceed smoothly. There are. Consider short cuts like industry-organised showcases. If the complaint is about fees you can ask for a breakdown of the bill. An accountant can have conflicts of interest just as your lawyer can. If your accountants act for one of the major record or publishing companies. The professional body that your accountant belongs to is the first port of call for complaints about your accountant.

    All accountants should give you a letter of engagement. You have two members of your team. Investigate your venues and rehearse thoroughly.

    Tailor your material to your audience and tell your audience who you are. Your accountant and lawyer are vital members of your team — take your time to choose the right ones.

    If you do a deal with a studio for studio time. When you appoint a lawyer or accountant. If you do a demo deal. Put your name and contact number on the CD as well as the packaging or make sure they have your email on any MP3 submission. Find out their expertise and. V2 Music and others Chancery Division When picking a lawyer or accountant. Make sure your demo is the best quality that you can afford and that it has a good cross-section of your work. It gives me a real buzz to team up the right manager with the right artist.

    The Music Managers Forum also issues a directory of its managers and who they manage. The section on what to expect from a manager should also be useful to managers. That leap of faith and the skill with which they then exploited the new market place was a direct cause of their subsequent success. Much more common is an artist who once they are successful begins to resent the monies being paid to the manager and forgets their origins and the crucial role played by the manager at the beginning.

    It lists managers and the acts they manage. What was slightly unusual was that the writers acknowledged this openly. Membership of the MMF is not a recommendation that a manager is any good but. Bad reports can be as useful to you as good ones.

    It does. What you need are personal recommendations references. The information you get from them needs to be backed up from other sources. It can be lonely out there so. The MMF also runs training courses for wannabe managers. Where do you get these? You can ask around among other bands to see if they have any good or bad experiences of particular managers. They are also good sources of information and can put you in contact with managers that you may not have discovered on your own.

    The Academy. They can put you in contact with managers. They may know that a particular manager is looking for more acts to manage or. In particular. These are meetings where music business professionals such as lawyers. In fact. They are sociable events. You just have to be clear who is looking after your interests. You should always ask for a trial period to make sure that the relationship is working.

    The manager should agree to that. All that a. Sometimes managers ask you to sign a short agreement to cover their expenses and any deals they may get for you during the short trial period. You still have to do your homework and make as sure as you can that this is the right manager for you. Many of these principles have been developed and applied to management contracts through a series of cases involving some of the leading players of the time.

    It takes time to build up the necessary trust between you. As with any legal agreement. This loss of trust has led to many disputes between managers and artists over the years.

    Music: The Business - 6th Edition : Ann Harrison :

    One time I was in court and found myself sitting next to a journalist from one of the tabloid newspapers. He was young and unknown at the time and had no business experience this theme comes up time and time again in music disputes. He was obviously bored with the lack of juicy scandal and kept popping in and out of court. Through MAM Mills also had interests in a number of other music companies.

    British journalism at its finest. How to do better creative work. Steve Harrison. Crowdfund it! Anna Maguire. Marketing Lessons from the Grateful Dead. David Meerman Scott. Brilliant Freelancer. Mr Leif Kendall. Upside Down Management.

    John Timpson. Ian Oldfield. The Music Management Bible. Nicola Riches. Starting up on your own. Mike Johnson. The Music Business and Recording Industry. Geoffrey P Hull. Development Today: Jeffrey Lant. Cindy Tonkin. Music Law. Richard Stim. Will Beattie. Business Basics for Musicians. Bobby Borg. Brilliant Start-Up. Caspian Woods. Brilliant Checklists for Entrepreneurs. Robert Ashton. All Employees Are Marketers. Richard Parkes Cordock. Music Publishing.

    Ron Sobel. Confessions of a Record Producer. Moses Avalon. How They Started in Tough Times. David Lester. Matt Thomas. Anita Elberse. Rock Your College. Marcy Rauer Wagman. The Content Trap. Bharat Anand. The Speed of Sound. Thomas Dolby. Start an Independent Record Label: Music Business Made Simple. Margrave Of The Marshes. John Peel. Season Finale. Susanne Daniels. Music Business Handbook and Career Guide.

    David Baskerville. The Thought Leadership Manual: Tim Prizeman. Your Band Is A Virus: Expanded Edition. James Moore. Allan Dann. The New Rockstar Philosophy. Matt Voyno.