|Your Team of Advisors|
|How to Pick a Team|
|Getting Your Team Together|
|Hiring a Team|
|Changing a Team Member|
|Cocktail Party Talk|
|Negotiating the Manager's Deal|
|Picking the Right Manager|
|How to Pick a Business Manager|
|Business Manager Checklist|
|Your Half of the Job|
|Picking a Lawyer|
|Conflicts of Interest|
|Picking an Agent|
|Broad-Strokes Overview of the Record Business|
|What's a Record?|
|Ye Olde Royalty Calculations|
|Advances and Recoupment|
|Advances: The Basic Concept|
|Look How Much You Already Know|
|Other Major Deal Points|
|Amount of Product|
|Producer and Mixer Deals|
|What's a Producer?|
|Who Hires the Producer?|
|A Major Point -- Pay Attention|
|Advanced Record Deal Points|
|Advanced Demo Deal Negotiation|
|Union Per-Record Charges|
|Album Cover Artwork|
|Creative, Marketing, and Other Controls|
|Special Packaging Costs|
|Advanced Royalty Computations|
|Royalties for United States Sales|
|R.O.W.New Technologies, Electronic Transmissions, and Things That Go Bump in the Night|
|Coupling and Compilations|
|"Greatest Hits" Albums|
|DVDs and Other Home Video Devices|
|New and Developing Artist Prices|
|Cutouts, Deletes, Scraps, and Other Food for Bottom Feeders|
|DART, Digital Performance, and Webcasting Monies|
|Foreign Public Performance of Masters|
|Loan-out, Independent Production, Label, and Distribution Deals|
|Independent Production Agreements|
|Pressing and Distribution (P&D) Deals|
|Songwriting and Music Publishing|
|Basic Copyright Concepts|
|What Are All These Rights You Get?|
|Exceptions to the Copyright Monopoly|
|Compulsory Mechanical Licenses|
|Publishing Companies and Major|
|Sources of Income|
|Controlled Composition Clauses|
|Maximum Rate Per Song|
|Maximum Rate Per Album|
|Secondary Publishing Income|
|Synchronization and Transcription Licenses|
|Electronic Transmissions, Including Digital Downloads, Ring Tones, Webcasting, Subscription Services, and Podcasting|
|DART Monies (Audio Home Recording Act of ) Bonus Section!|
|How to Set Up a Publishing Company|
|Printed Music Royalties|
|DART and Webcasting Monies|
|Term Songwriter Agreements|
|Collaboration (Two or More Songwriters)|
|Reversion of Copyrig|
|Table of Contents provided by Publisher. All Rights Reserved.|
Introduction to the Sixth Edition
Welcome, welcome. The industry has been through a few changes since we last met. You know, sort of like those pesky wet spells around New Orleans and Thailand.
Piracy is running rampant, CD sales are slipping. Record companies are panicking. Just the things you need for a fun picnic.
But there's some good news glimmering on the horizon. Digital sales are on the rise. Demand for music is at an all-time high (even if the pirates are supplying a lot of it). And we're seeing some new ways to make money, such as streaming videos on the Internet, ring tones, digital merchandising, podcasts, and the like.
There's also been a massive change in the way that record companies compute royalties. They've actually gotten . . . simpler. I never thought I'd use that s-word in connection with royalties, but Hallelujah.
This sixth edition is by far the most extensive revision I've ever done, as we're stumbling around in the new technologies, trying to figure out what everyone should get paid. So you'll get the latest scoop on all the newfangled gizmos. And at no extra charge (if you act RIGHT NOW), there's an update of what's happening with record deals, songwriting, merchandising, touring, and so forth.
So come on in and take a peek. The water's a little cold at first, but you'll get used to it.
P.S. Congrats if you read this. It means you're a real Go-Getter, since most folks skip the introduction.
Copyright © 1991, 1994, 1997, 2000, 2003, 2006 by Donald S. Passman
Excerpted from All You Need to Know about the Music Business by Donald S. Passman
All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
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