Start Your Own Record Label

Record Label Business Plan

This downloadable business plan gives you the complete blueprint to create your own record label from scratch, no matter what you current level of business expertise is. This is the perfect system for someone who wants to be MORE than just a musician; this is for the person that wants to be able to make real money with their musical talent! When you get this business plan, you will also receive a free set of fill-in contracts; these are full prepared and legal contracts that you simply have to fill out and sign Then you will be able to write down everything that you need to keep in writing! The business plan will help you create a personalized cash-flow plan, analyze the industry, and market your music and products to help you make the money that you deserve from your music! Read more here...

Record Label Business Plan Overview

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Contents: Ebook
Author: Arnold Stolting
Official Website: www.recordlabel-businessplan.com
Price: $197.00

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Star Brands The Sometimes Elusive Franchise

Overbrook Entertainment is in some ways a typical example of the kind of company formed by Hollywood stars in recent decades, although most have been restricted to the arena of film (and, in some cases, television), rather than crossing over into the music business. Stars have gained a great deal more control over their destiny since the classical studio system - with its standard seven year contracts - began to deconstruct during the 1950s. Big stars, as we know, have enormous industrial clout, seen as one of the most reliable sources of box office security. Many stars have established their own companies. In some cases, this is largely a matter of avoiding taxes in others, however, it is an attempt to gain greater control over the kinds of projects with which the star is involved, whether as star or in the arena of producing or directing. The aspect of these companies on which I want to focus, through the example of Smith's Overbrook Entertainment, is the relationship established...

Stock And Royaltyfree Music

Stock and royalty-free music is music designed especially to be used in connection with audiovisual programs. Most stock music companies also license sound effects. Many companies offer a one-time fee purchase whereby a producer pays for a particular track one time and then can use it in perpetuity. Many companies have websites which allow you to demo certain tracks and buy them over the Internet. For background tracks, the variety and volume of available royalty-free music makes this a very attractive option for producers on a budget.

Major Deal Points Music Licensing Agreement

If you need to use a particular recording of a musical composition, you will need to negotiate with the record company for the following licenses master use and international performance licenses. The master use license, obtained from the record company, is the right to use a particular recording of the composition in relation to the Motion Picture, in all its forms. The CD label will probably list both the record company and the publishing company. 2. Once you've located the correct music publisher and the record company, review their websites and look for information on their licensing department.Very often your preliminary questions about who to contact, what kinds of rights they can grant, how long the licensing process takes, etc., are answered on the website.

Remaking as textual category

While Leitch's recognition of the significance of a literary property, and in particular the relationship of a film adaptation and its remake to that property, leads to what at first appears to be a more inflected taxonomy than that developed by Druxman, further consideration reveals a number of difficulties, not only among Leitch's four categories but in relation to his preliminary suppositions. First, while the ubiquity of the Hollywood remake might understandably lead Leitch to conclude that the remake is a particularly cinematic form, one might question to what extent it differs from the remaking of songs in the popular music industry. That is, how does the triadic relationship between (1) the Pet Shop Boys' long remake (of their earlier, shorter remake) of 'Always on My Mind', (2) the 1972 version of the same song by Elvis Presley, and (3) the original property (music and lyrics written by Thompson James Christopher and published by Screen Gems EMI) differ appreciably from the...

Appendix A Glossary of Film Production and Finance Terms

Co-production treaty an agreement between nations that may permit films made in or with resources from both nations to benefit from subsidies available from both. Collecting society an organization that acts on behalf of its members, who may for example be composers, music publishers, visual artists or record companies, to administer, collect and distribute sums to which the members are entitled from the commercial use of their works. Collection agent see Collection agreement. Collection agreement an agreement entered into by the producer and financiers of a film with a collection agent. The collection agent is appointed to collect the proceeds of the exploitation of the film and distribute them to the financiers, the producer and other beneficiaries, such as deferees and profit participants, in accordance with directions set out in the agreement. The collection agent would expect to receive a fee for this work, perhaps negotiated as a percentage of all sums collected by it. A...

Crossing Over The Appeals And Complications Of Filmmusic Synergies

Equally significant, although less likely to gain the fanfare of recognition associated with the theatrical opening, was the simultaneous release by Sony Columbia of Big Willie Style and the video of Men in Black, on 25 November 1997. This offered a fresh burst of Will Smith-ed synergy in arenas of high and more enduring revenue potential. Single-arrist non-soundtrack albums have by far the largest long-term earnings scope in the music business, as demonstrated by the growth of sales of Big Willie Style in the years following its release. Video, likewise, has become the biggest single source of revenue for Hollywood films.3 The video earned more than 100 million in rentals and sales in the US in its first six days. Smith's music career was established long before he became a Hollywood star. In the late 1980s he achieved millionaire success as the Fresh Prince, half of a rap hip-hop act with DJ Jazzy'Jeff Townes, which produced five albums on Jive Records. The last of these, Cock Red...

Television The Pop Industry And The Hollywood Musical

Though the enormous box-office success of 20th Century-Fox's The Sound of Music (1965) may have suggested otherwise, by the early 1960s the era of the so-called classical integrated large budget musical was largely over. This is not to suggest, as many have, that the musical genre ceased to have significance. On the contrary, musicals that essentially replicated the revue formula characteristic of the genre's beginnings in the late 1920s formed an important, if low budget, staple item for both the British and US film industries throughout the 1960s and 1970s. Like early revue musicals, such as William Fox's Movietone Follies of 1929 and MGM's Hollywood Revue of 1929, these films were concerned to exploit the popularity of entertainers and artists whose success had been constructed through other media sites. In the 1920s, that success had been built largely on Broadway, the West End or in vaudeville and the music hall. In the late 1950s and 1960s, musical films, now largely made for a...

The Rise Of The Film Musical

In the United States the film musical, with its combination of song and dance numbers woven into a narrative context, evolved from the non-narrative entertainment forms of minstrelsy, vaudeville, Tin Pan Alley, British music hall, and musical theater. Many of the composers of musicals wrote popular tunes for sheet music published by the numerous music companies located on the block of 29th Street between Broadway and Fifth Avenue in New York City, commonly known as Tin Pan Alley. Minstrel shows, the most popular form of music and comedy in the nineteenth century, featured white actors performing in blackface. Minstrelsy, which lasted well into the twentieth century, was built on comic racial stereotypes, and its influence may be seen directly in early film musicals starring Al Jolson (1886-1950) and

Ownership Of The Major Studios

Universal Studios dates back to 1912 and has also been through several changes over the years. Universal was taken over by the Music Corporation of America (MCA) in 1962, although this was often perceived as a merger because of the use of the title MCA-Universal. However, MCA itself was bought up in 1990 by Sony's Japanese competitor, Matsushita, who hoped to match media production with media technology, which was their area of specialization with equipment such as TV sets, VCRs and CD tape players. Matsushita had been successful with the launch of its video home system (VHS) in 1977. Although their video system was regarded by many as technically inferior to those of its competitors (Sony's Betamax system and Philips' V2000 system), it ensured success with the rights to more films for video release. Matsushita was less than successful with its venture into film though, and in 1995 it sold MCA and its assets, including Universal, to Seagram, a Canadian drinks company. In 1998 Seagram...

The Triumph Of A Brand Of Independent Production And Of The Majors

The decline of American cinema, however, continued. Although the slide was not as dramatic as in the late 1940s and early 1950s, cinema-going simply stopped being a primary recreation activity for the majority of Americans. Already from as early as 1958, the seven majors' earnings from abroad were higher than their domestic revenues.57 In the same year, music record sales in the US represented a 350 million business, a figure that would increase exponentially in the coming decade.58 But if the film industry would eventually find a way to share the profits of the music business when the ex-studios started branching out to other media industries, it could certainly not lay a claim on the 1.3 billion of disposable income that Americans were spending on garden products in 1965 for their suburban homes.59 By 1960 the Hollywood majors were distributing about 200 films per year, while 3 years later the number of releases went down to 143 and movie attendance reached 21 million per week (less...

The Draughtsmans Contract

Executive producer Peter Sainsbury producer David Payne screenplay Peter Greenaway assistant director Andy Powell photography Curtis Clark rostrum camera Hugh Gordon assistant photographer Luke Cardiff editor John Wilson assistant editor John Taylor sound editor Doctor Lion sound recordists Godfrey Kirby, Martin Rex sound re-recordist Tony Anscombe art director Bob Ringwood assistant designers Jane Hamilton, Digby Howard costumes Sue Blane music Michael Nyman music producer David Cunningham.

Berry Gordy Jr

Diana Ross Berry Gordy

Berry Gordy Jr.'s fame as a record mogul and music producer was well established by the early 1970s. He had spearheaded a remarkable business accomplishment by taking unknown talents and honing them into a self-contained empire that dominated the R& B music charts. But with a wife and children to provide for, Gordy joined the ranks of many others in Detroit and obtained a job on an auto assembly line at Lincoln Mercury.5 As he put trim and chrome around windows, Gordy struggled for opportunity as a songwriter. Eventually, one of the first songs that he wrote, ''You Are You,'' made it into the repertoire of Doris Day,6 and with 800, he established the Tamla record label, which in 1959 became Motown Records.7 The first Motown hits included ''Shop Around'' by the Miracles and ''Please Mr. Postman'' by the Marvelettes 8 decades later, in 1983, after achieving 110 number one hits, Motown Productions was the largest black-owned company in America, with revenues of 104 million.9

The Canonical Story

Parture for a discussion of the changes within the film industry.6 Apart from also mentioning subject matter with youth appeal and a low budget, she points out that established actors became engaged in moviemaking that record companies and other American media industries began investing in films and that finally, new production companies, such as BBS, smaller and more flexible, were set up to produce these movies.

Bruce Babington

That Williams was speaking to Nation's Business sharply registers the paradox that a form of music deeply integrated into the commodification of entertainment simultaneously claims - to use Lionel Trilling's definition of 'sincerity' -a 'congruence between avowal and actual feeling' thought impossible within the popular music industry.7 Williams's statement, echoed endlessly by other performers, fans, and audiences, encapsulates the fundamental belief of Country music. More deconstructive approaches have analysed the music's 'fabrication of authenticity',8 but the use of the term 'authenticity' here both evokes memories of a less commodified communal art, and what Trilling defines as 'a more exigent conception of the self and what being true to it consists in than sincerity does'.9 It is unprovable that 'hardcore' Country performers have a different relation to 'sincerity' and 'authenticity' in their performances from urbane singers such as Frank Sinatra, but it is often felt that...

Musical

The big band era coincided with technological changes in the music industry which undoubtedly helped in disseminating their music and thus enhancing their popular appeal. The two key innovations were the gramophone and radio. Hitherto, the dissemination of music (both popular and classical) had been through the sale of sheet music. The technology for musical recording had already existed for a generation Thomas Edison had patented the phonograph, a machine for dictation, in 1877, the Berliner Gramophone Company had been established in Philadelphia shortly afterwards, and Columbia Records was formed in 1887. The first commercial on-disc musical recordings were available by the turn of the century, and they gradually increased in popularity so that by the early 1920s the first million-selling records appeared in the US (the first is usually reckoned to have been the dance tune 'Dardanella' recorded by Ben Silvin and His Orchestra). By the late 1920s over a hundred million records were...

Estella Tincknell

The use of the music score as a central element in a film's reception and marketing has its origins in the changing place of music in the history of popular culture as well as in specific cinema traditions. The retailing of song-sheets linked to mainstream feature films, for example, was part of Hollywood's marketing strategies from the 1930s onwards, and led to early versions of the soundtrack album as the major studios moved into the music business in the 1950s.3 Another significant factor was clearly the development of 'pop' music as a distinct genre separate from its older sibling, popular song. The arrival of rock 'n' roll in the 1950s rapidly led to its identification by Hollywood as an exploitable commodity in the production of films for the emergent teen audience, although Thomas Doherty notes that attempts to incorporate rock and pop music into the existing traditions of the musical, such as in those films that starred Elvis Presley, struggled to combine performance and...

After Tv

Began to acquire interests in the music industry, the new backbone of radio. For example, the Disney Corporation holds extensive interests in music recording, and through its merger with ABC in 1995 came to own radio stations that reach 24 percent of US households. Twentieth Century Fox was purchased by Rupert Murdoch's News Corporation in the 1980s and is now linked with satellite music channels worldwide. News Corp. also owns the Australian Mushroom and Festival record labels. And in this age of synergy, the tie between movies and music has become tighter than ever before, with movie soundtracks used to promote artists and recordings, and soundtrack releases often achieving billions in sales.

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