KNOWLEDGE ORGANISER-Learning Aim A UNIT 1: THE MUSIC INDUSTRY

Learning Aim A: Understand different types of organisations that make up the music industry.

VENUES AND LIVE PERFORMANCES

Advantages / Disadvantages / Suitable for / Constraints
Good place for new bands to start out
Intimate feel – the crowed are close to the performance
Affordable ticket prices for fans
Host wide range of Music
Small niche genres / Small team of staff
Smaller crowed
Equipment might not be great
You get paid less
The even might not be promoted well
Sound quality may be poor
Small stage / Local bands
Underground Music (not popular)
Unsigned bands/artists
Specialist Music genres (Rock pub, Jazz club, Hip hop club etc) / Noise complaints from people who live close
Might not be near good public transport
Advantages / Disadvantages / Suitable for / Constraints
Professional sound and lighting quality.
Larger technical teams.
Larger capacity (artist can make more money).
Bigger atmosphere.
Bigger stage.
Opportunities for local bands to get support slots. / More pressure to sell tickets
Would look empty unless it is full.
Crowed would be further away from the artist / Signed artists
Artists with some recognition.
Smaller touring shows / artists.
Local bands looking to support touring bands who are signed. / Bigger security team required
Advantages / Disadvantages / Suitable for / Constraints
Massive stage, sound and lighting rig. You can put on a massive production with pyrotechnics and videos etc.
Huge crowds
Multiple acts playing at once (festival)
Potential for massive show (tour)
Festival crowd atmosphere / You have to set up all the equipment as these places do not have stages etc set up
You will probably have to hire all of the staging and get it delivered
Potentially outside (weather)
Health and safety of thousands of people
Large team of people working on / Touring productions linked to TV programmes (X factor)
Huge Rock and Pop acts (Beyonce, One direction)
Stand-up Comedy
Circuses
Festivals (outdoor spaces). / Bigger security team required
You may have to write a health and safety policy for places like parks which do not have them
Other events may be happening at the same time – you may have to pack down quickly

HEALTH & SAFETY AT VENUES

Health and safety of audience, performers and employees in venues is very important

THINGS TO CONSIDER

Venue design
Capacity
Number of exits
Can survive the weather
Standing/seating / Fire safety
Fire extinguishers
Fire exits (enough) Sprinklers
Exits are clearly marked / Crowd Management
Barriers from stage
Enough exits
Enough security
Capacity not exceeded / Noise levels
Noise levels are safe
Employees who are exposed given ear plugs
Electrical / lighting
Cables are tied up
Sealed so not exposed to water / rain / Waste management
Toilet + food waste is removed in a safe way / Ticketing
Numbered and counted to stop duplicates and random entry. / Security
Sniffer dogs
Metal detectors
(knives etc)
Bouncers on door
Emergency
First aid on site
Links with ambulances / Performers
Told about pyrotechnics
Separate area to stay / Camping
Separate area for families
Drug control
Toilets etc. / Special Needs
Hard of hearing
Epilepsy (flashing lights)
Wheelchair access.

PRODUCTION & PROMOTION

Organisations involved with the creation, promotion and sales of an artist / band.

RECORD COMPANIES

MAJOR RECORD LABELS
(Universal Music Group, Sony Music Entertainment, Warner Music Group) / INDEPENDENT RECORD LABELS (indie)
ROYALTIES / They take 10-15% of Royalties off the sales of the music and charge for packaging and other things (very complicated). / Either 10-15% of Royalties taken.
Or a profit sharing deal (after expenses are taken out the profits are shared between the artist and label). 40-75% going to the artist.
PUBLISHING / Major labels are owned by Music Groups. Each Music group will have their own Music Publisher who will offer their own deals. / Many indie deals will include a clause giving the indie label publishing or copublishing rights.
ADVANCES / An “Advanced payment” is paid to the Artist to help fund the recordings and for them to live off (like a wage)
Ranging from approximately £750,000 - £150,000. Artists pay this all back before they receive any money from their CD sales. / Depending on the size and affiliation of the indie. Indies often will simply agree to pay a certain amount in recording costs, with no actual “advance” going to the artist. (Small £2,000 - £70,000).
Artists pay this all back before they receive any money from their CD sales
ADVANTAGES / Excessive Amounts Of Money Networking and Connections with radio, publishers, studios, producers, marketing etc.
Size and Reputation. / Artists Get The Rights To their Music
They Sign You Because They Love Your Music, Believe In Your Music and Your Brand Close Personal Relationship with band – working together.
Pro-Artist Contracts.
DISADVANTAGES / • Must fight for attention with other acts on the label • Artist Unfriendly Deals – the label wants the most money possible • Corporate America – if you don’t sell, you owe them money and your career will be over. / Lack of funds
Size – they have less influence and power than a Major label. • They don’t have as many contacts.

MUSIC PUBLISHING

SERVICE COMPANIES AND AGENCIES

Service companies and agencies offer services and products in order to support the music industry. Even the smallest show needs the services of others to exist. As shows get more and more technical the services can become more and more specialised.

ROYALTY COLLECTION AGENCIES

Royalties are payments made by shops, broadcasting companies every time Music is sold or played. The collection agencies collect them off the appropriate people.

PRS (Performance Rights Society) / Entitle you to receive payment whenever a song you have written is played or performed in Public (TV, Radio, Played in a Club, Played online, Performed live). Music Publishers will also receive payment.
PPL (Phonographic Performance Limited) / Entitle you to receive payment whenever a song you have performed on the recording is played or performed in public.
MCPS (Mechanical Copyright Protection Society) / Entitle you to receive payment when ever your music is reproduced, sold, downloaded etc (CD, MP3 Downloads). Record companies will also receive payment.

Artists’ representation:

MUSIC MANAGEMENT

Giving advice on everything to with Music. They will look for Record / Publishing deals. If the artist is producing/releasing the CD on their own they will seek funding/sponsorship etc. They take a “cut” off what they artist makes (usually 20%).

Public relations (PR) / Promote Musicians via editorial coverage. Written on websites, newspapers, magazines and TV programs (NO ADVERTS or MEDIA COVERAGE).
Booking/Music Agents / Responsible for booking shows for bands. They approach promoters about shows, negotiate contracts for live performances. They work with the promoter to make sure that everything needed is at venue e.g. equipment, soundcheck etc. They work on behalf of the artist to get the best deal possible including payment, transport and accommodation.

HIRE COMPANIES

Hire companies offer the rental of equipment/services involve with putting on a music show

LIGHTING
STAGING
AUDIO EQUIPMENT – mixing desks, speakers, amplifier, cables
FESTIVAL EQUIPMENT – fencing, gates
Hire companies also rent spaces such as REHEARSAL ROOMSSTUDIO SPACE.

TRANSPORT COMPANIES

Companies that transport equipment, people and materials for touring

UNIONS

Musicians’ Union (MU) / Equity / Broadcast Entertainment Cinematograph Theatre Union (BECTU)
WHO FOR? / Musicians, composers, instrumental teachers / Actors, dancers and other performers / People working in production and/or technical roles
WHAT DO THESE UNIONS DO? / • monitor employment conditions and contracts between employees and employers
• give advice to freelancers on tax and National Insurance (NI)
• provide support in relation to negotiation of minimum rates of pay and working conditions
• handle disputes
• other services – provide networking opportunities, information about insurance and pensions
• keep members informed about information and updates about changes to relevant legislation.

HOW SOME ORGANISATIONS WORK TOGETHER

Promoters match acts to venue, e.g. location and type of venue, size and scale of performance area, facilities, technical equipment/support available, audience capacity, type and intention of performance, timing and availability, financial considerations.
The effective communication between those working in the industry is important for this all to work.
Promoters and musicians evaluate the advantages and disadvantages of hiring and buying equipment. The costs vs the convenience.
Promoters and musicians find and select suppliers and installers of equipment
Trade bodies such as the Music Producers Guild (MPG), the Association of Professional Recording Services (APRS), PRS for Music and PLASA support their members and their industries.
Promoters and musicians find and select transport companies for touring.
Promoters secure funding for and market events.