7 Essential Clauses In An Artist Management Deal

By Bandzoogle

This post by Canadian entertainment lawyer Byron Pascoe originally appeared on the Bandzoogle Blog

One of the most important relationships in music is between the artist and his or her manager.

The manager’s specific role will depend on the manager and band, but generally the manager advises and directs the artist in connection with all matters relating to the artist’s professional career in the entertainment industry.

That’s pretty broad. As such, it’s important that the artist and manager are on the same page about the manager’s role, and also about their collective goals, and expectations of each other.

[Musicians: You Don’t Find A Manager, A Manager Finds You]

There may be a verbal or written agreement between the artist and manager. The two may have decided verbally that the manager will help the artist and in return get 10%.

The challenges with this arrangement include that “helping the artist” isn’t clear, and likely means something different to each. The 10% is 10% of what – money from opportunities the manager obtains directly, or 10% of music sales and tours? What about royalties?

Point being, having a verbal agreement to help an artist in return for 10% can lead to arguments, an expedited end to the relationship, and/or fear that the other person will take legal action at some point if there’s a lot of money involved.

A written agreement between the artist and manager should outline the details of the relationship to ensure that the artist and manager are on the same page, which helps to avoid conflict in future.

A management agreement doesn’t guarantee there won’t be conflict, but it does make the parties talk about the tough questions early on. It’s easier to have a conversation about how to divide up money before there’s money to divide.

There are some clauses (sections) of the management agreement that can either be drafted (written) to be advantageous for the artist, or advantageous for the manager. Ideally, both the artist and manager fully understand how each element of the agreement could be structured, in order that the agreement is reasonable.

One of the purposes of this article is to go through some of the essential clauses that would generally appear in a music management agreement.

1. Exclusivity

The manager is more likely than not, the artist’s only manager, but the artist may not be the manager’s only artist. If the artist isn’t the manager’s only client, it may be helpful for the artist to get a minimum commitment of time that the manager commits to provide.

2. Time

The amount of time that the agreement covers is referred to as the term. The term may be for a specific number of years. Also, it may have extensions which could happen automatically unless one of the parties informs the other by a certain time that the term shouldn’t extend, or perhaps based on certain thresholds. A threshold may be obtaining a certain level of income. For example, a term might be one year, and extend to a second year if the artist has obtained a certain level of income in the first year.

3. Manager’s Management Services

It’s important to be on the same page about what the manager is required to do, and what authority the manager has regarding the artist’s career.

4. Decision-Making

A key element of this is decision making. Does the artist need to pre-approve anything or everything that the manager does? Can the manager sign on behalf of the artist (power of attorney), either with or with the artist’s approval each time?

5. Commission

Regarding compensation, one way for the artist to pay the manager is to the provide the manager a commission equal to a certain percentage of funds earned from certain revenue sources. The percentage may be a set number regardless, or might increase based on the funds the artist earns. As alluded to above, it’s very important to define from the outset what is commissionable and what is not. There may be specific revenue generators that the parties may agree are not commissionable, for example the artist’s job outside of the music industry (until the artist can ideally focus 100% on the music career) to money generated from grants for music videos.

6. Expenses

Who’s responsible for paying for expenses? One scenario is that manager can pay for expenses and get reimbursed from the artist, either whenever the managers asks to be repaid, or only once enough money is generated by the artist.

If the manager is given the right to make purchases which will eventually be covered by the artist’s revenues, are there any limitations on what decisions the manager makes regarding expenses? Perhaps the manager has the right, but not the obligation, to pay for expenses up to a certain monetary threshold, but otherwise needs the artist’s permission.

7. Cash Flow

Other related questions include whether artist-generated funds are paid directly to the artist or manager, what the manager is entitled to, if anything, after the agreement ends, and the details surrounding the manager’s obligations to report the numbers (revenues and expenses) to the artist and to pay the artist.

Other elements of a management agreement include the artist confirming she has the authority to enter into the agreement, the rights of each party if the other party breaches (breaks) the agreement, the extent to which the manager can assign (give) any of the manager’s rights under the agreement to someone else, and the details surrounding how the agreement can terminate (end) earlier than planned.

At the end of the day, the most important words on the agreement are the names of the people who are signing. As an artist, you want a manager that you can trust, and who’s a good fit with your work habits, style, communication and ambitions. The same goes for the manager. There needs to be a good fit. Having an open conversation about the topics raised in this article, among others, can help the artist and manager to figure out if the other person is the right partner.

A formal written agreement can’t make an artist and manager a better fit with each other. However, the process of discussing a music management agreement can help an artist and manager think about certain issues that they may not have just yet. Also, the agreement will help reduce the likelihood of future conflict, which in turn is one of the endless number of ingredients in the recipe for success in the music industry.

Also check out:

10 Record Deal Red Flags

Creating a Band Agreement: What You Need to Know

Negotiating a Music Producer Agreement: 7 Key Issues

Byron Pascoe is a Canadian entertainment lawyer with Edwards PC, Creative Law and can be reached at byron.pascoe@edwardslaw.ca

Edwards PC, Creative Law provides legal services to Music, Digital Media, Game, TV, Film, and Animation industry clients. Byron works with musicians and music companies to assist with record label agreements, publishing contracts, distribution deals, producer agreements, band agreements, etc. This blog is for general informational purposes only and is not to be considered as legal advice. Please contact a lawyer, if you wish to apply these concepts to your specific circumstances.

Read more from the source: http://www.musicthinktank.com/blog/7-essential-clauses-in-an-artist-management-deal.html

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MusicThinkTank Weekly Recap: Can The Music Business Support Musician’s Mental Health?

By Music Think Tank

Read more from the source: http://www.musicthinktank.com/blog/musicthinktank-weekly-recap-can-the-music-business-support-m.html

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Can The Music Business Support Musicians In Taking Care Of Their Mental Health?

By Hilde Spille

Many musicians have mental health issues. Most common are depression, anxiety disorder and addiction. The singer of the first European tour I booked, got hooked to drugs again during the tour. While on drugs, he accused me of stealing his money and lots of other stuff. After the tour, sober again, he apologized and wanted me to work for him again. Thanks, but no.

Who is responsible for the mental health of musicians?

The fans?
I could start with the fans. In the case above, it was a fan who brought the drugs, assuming that he would do the musician a favor with it. Sometimes a fan can have a negative influence, like here. Fans can also have a positive influence, by the energy and money they spent on the musician. Musicians need fans, if they want to make money with their music. Fans want to have a close relationship with their idol. Still, the contact between musician and fan is not personal enough to hold fans responsible for the mental health of musicians.

Agents and promoters?
When looking at people in the music business, I want to start on the live side, with promoters and agents. They put on shows for the musician. Shows can be a major source of anxiety for the musician. Agents and promoters also control the conditions of the show, the time schedule, the backstage rooms, the catering. Those conditions can amplify the mood of a musician for good of for worse, but they are not the course of mental health issues. From my personal experiences as agent and as promoter I can tell, that I don’t know the musicians well enough to know what they would need to increase their mental health. In the case above, I wasn’t aware that the artist had a drugs problem, and couldn’t do anything during the tour in preventing him to take more drugs.

Labels?
On the recording side you have A&R managers of the label. They take care of the musician by reserving part of the budget for the engagement of an independent lawyer for the musician to advise on the contract. A colleague musicians-coach recently mentioned, that labels should include a budget for a personal coach or for a mental coach for the musician as well. I like the idea. But for a label it would only make sense, if the contract is for several albums. And even though, labels want the artist to deliver a product they can sell. Once the product is ready, after recordings, mastering etc., they can make money without the artist. Often I find A&R managers mentioning the suffering-artist myth. Why should labels invest in the mental health of a musician, if a mental crisis might result in an even better selling album?

Managers?
The person that stands most closely to the musician is the manager. The mental health of you as a musician should be in his/her best interest. A good manager will try to create the best possible circumstances for every specific musician he/she is working for. For that, the manager needs to know the musicians very well. How long will this musician need to record a new album? Does the other musician need silence in order to write new songs, or does he/she need new impressions to get inspired? How long can you make a tour for a specific musician before exhaustion will kick in? The tour of Adele was obviously too long for her vocal chords, even though the management planned quite a lot of days rest in between the shows. Even a manager can’t control everything. He/she can’t put the musician in a cage to prevent any harm.

Musicians themselves?
Than there is the musician him/herself, of course. As a musician, you are responsible for your own behavior, just like every other person. The choices you make, will reflect on your health, physically and mentally. If you choose to eat junk food, you know that you are ruining your waste line. With taking care of your mental health it’s a bit more complicated, you have to know a bit about yourself. My sister needs people around herself to feel comfortable, it gives her energy. I need time for myself, rest, a walk in the woods. You need to know what works best for you, to relax, to get ready for a show, to get inspired. Still, as musician you often can’t avoid the anxiety of live shows, the ‘down’ after the adrenaline kick of a show, or the temptations of alcohol and drugs.

Set-up of music industry
The set-up of the music industry makes it pretty difficult for anyone to take care of the mental health of a musician. As a musician, you are working for entertainment of others. Good contacts with friends and family play an important role in maintaining your mental health. But the irregular working hours for musicians make it difficult to maintain good relationships with people from outside the music industry. Every psychologist would recommend a regular life with good routines to support your mental health. As a musician you know how difficult it is to incorporate it in your irregular life. Many musicians don’t even realize, that they are more vulnerable for mental health problems than other people. Fortunately, in the last year this subject has been discussed in public more often.

Who is responsible?
In the end, I think that it’s down to you as the musician again, to take care of your mental health. The music industry has a role to play in this as well. Even tough the industry is not responsible, it can play a role in supporting you in taking care of your mental health. The music industry can create the right conditions for musicians to take care of their mental health. It could start as simple as promoters offering a cheerful dressing room with a window for daylight, or labels realizing that healthy musicians make even better albums, or managers empowering musicians in taking care of themselves and of their mental health.

Do you think the music industry can support musicians in taking care of their mental health?
Please share ideas and good practice here.


Read more from the source: http://www.musicthinktank.com/blog/can-the-music-business-support-musicians-in-taking-care-of-t.html

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Do We Need A System To Rate Music?

By Nissim Elias

In an era of mass music media that begs for better music selection – music rating services are now providing ‘healthier’ choices of music, benefiting the audience, and supporting the music business.

Time and awareness that would take to educate music consumers to these new music rating services, would eventually pay off and bring more music – relevant music – to listeners, and keep everyone happy.

This is for you, for the serious music lover, who has a large music collection, and listens to tons of music – constantly.

Music influencers who follow evolving new services should take special notice to the introduction of this new service in the music landscape.

Music rating services have inherent power to boost up music discovery.

Why, and how?

There is a void today, where the lack of a standard for quantifying and measuring the quality of music is preventing the proper management of music.

Listeners are fed with music by recommendations that do not always match, and do not fit everyone.

Unlike, and opposed to these recommendations, music rating services make a natural perfect fit for helping music consumers organize, categorize, manage music content, and tag music by quality.

So, how can music rating boost music discovery?

Music ratings can boost music discovery by screening out irrelevant content, arranging music by quality, and by presenting this content in an organized structure.

When you have the capability to measure a process or an event, you can then manage it efficiently.

The music audience was never before given the opportunity to be familiar with these capabilities because of the lack of appropriate means;

There was simply not a system available, a working system that could “truly” rate music efficiently on a high resolution of quality.
But that’s all about to change, soon.

Fact 1:

You, actually we all, are saturated with massive music content – old and new music.

Fact 2:

We do not have the appropriate means to make better selections of music.

And so, everybody is complaining.

  • Music consumers cannot handle so many choices of “mega music content.”

  • Creators are complaining about low royalties because:
    There is no real loyalty in a reality of “fast music consumption.”

Fact 3:

Music selection is almost random and coincident, and at the end of the day it is very hard to follow and track music.


And what can you do about it?

1. You could go on following recommendations with music discovery services, but that does not always work, and it does not suit everybody.

2. You could search music by yourself, read about music, research, follow favorite shows, ask, listen to radio and streamers, and find what’s right for you.
Results would then be excellent, but

… that’s really hard work.

3. And… You could make your own music selections, focused on what is relevant to you – by your own taste, with the assistance of music ratings.

Forget those next-after-next recommendations.

Your own music selections, your own taste – right on – without skipping.

I know; you have your doubts and questions about this, so let’s take this one step at the time.

And I know that you have to be encouraged to respond.
So, – for the love of music – please,

- take a minute and share your thoughts.

- tell us if you are in favor of rating music.

- or not…

- and why?

Your feedback will help by all means.

Negative feedback will make us improve, and positive feedback would charge us with more energy to boost up this free music rating web-service.

For the love of music!

Nissim Elias

- -

About the author:

Nissim Elias, is the creator of the first True Music Rating System called EARs© at allmusicrating.com

Allmusicrating (2017) is an application and a database that measures the quality of music over their Time Length, based on users ranking.

The system provides True music ratings© of individual tracks, complete albums, artists, and music of all genres.

~ Quantifying Music Quality to appreciate Music Value ~

More love from me – just for you to enjoy:

How to Rate Music – Beyond music ratings

Read more from the source: http://www.musicthinktank.com/blog/do-we-need-a-system-to-rate-music.html

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Simple And Fast Invoice Generator For Bands And Musicians

By Adam Mezzatesta

As a working musician, boring ol’ admin can most definitely be thought of as a job for tomorrow. However, having worked as a band leader for many years, I quickly found that creating professional quotes, contracts and invoices was a must if you want to appeal to high-end clients with increasingly higher expectations (and budgets).

After spending the best part of 10 years manually writing out invoices on Word, it was a relief when we finally built some simple software that could save a lot of the tedious work.

Invoice Generator App

At Bands For Hire we’ve been using invoicing software in the backend of our system for some time now, and so to make things easier for our artists we thought we’d create a simple to use version on our blog that everybody could use whenever they wanted. No login required, just fill in your details and click ‘Download PDF’ (and share if you want to!).

Save your details for next time

Once you’ve filled in the form you’ll probably want to save your details for next time. Simply click the blue button at the bottom and bookmark the URL that appears. You can save any details you want to.

Works in British Pounds, Dollars or Euros

The invoice generator works in British pounds, Dollars or Euros but the text is only in English. Please also note that it’s not suitable for musicians charging VAT.

Check it out…

Visit the blog and give it a go at http://www.bandsforhire.net/blog/simple-invoice-generator-for-musicians

Read more from the source: http://www.musicthinktank.com/blog/simple-and-fast-invoice-generator-for-bands-and-musicians.html

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Q2 Hit Songwriting Trends

By Yael Penn

Hit Songs Deconstructed (www.HitSongsDeconstructed.com) recently released its Top 10 Hit Songwriting Trend Report, which details the compositional trends of the songs that chart in the Billboard Hot 100 Top 10 during a specific quarter across 28+ categories, including song length, genres and influences, instruments, first chorus occurrence, tempo, key and more.

Highlights include:
  • Songs on average have been getting longer, featuring longer intros and getting to the first chorus later quarter over quarter for the past year.
  • Hip Hop in the Top 10 continued to surge for the third straight quarter, rising to its highest level in years and surpassing Pop to become the top primary genre of Q2.
  • Country and Latin, which have been rare in the Top 10, made a comeback with Body Like A Back Road and Despacito.
  • The use of acoustic guitar in the Top 10 nearly doubled in Q2 compared to Q1 thanks to hits such as Body Like A Back Road, Despacito and Shape Of You, among others.
  • Songs co-written by five or more writers are still by far the most prominent, accounting for over half of all songs in the Top 10.
  • Love/relationships remains the most popular lyrical theme.
  • Songs that feature a duet or group vocal, which accounted for over half of all songs in Q4 and Q1, are down to just 36% in Q2.
To download additional highlights from the Q2 Trend Report, please visit: https://www.HitSongsDeconstructed.com/MTT-Trend-Q2

Read more from the source: http://www.musicthinktank.com/blog/q2-hit-songwriting-trends.html

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[Case Study] How UnbelievableBeats.com Makes Money From Free Beats

By Bandzoogle

This post was written by Wes Walls and originally appeared on the Bandzoogle Blog.

When Shaun Friedman of UnbelievableBeats.com decided to do something with his library of unused beats, he built a Bandzoogle website to put them online. Instead of selling his beats, he gave them away for free to build his mailing list, and found other creative ways to make money from them.

He had over 100 free beats on his website when he launched it, and later added over 70 free loops.

We talked to Shaun about how he used his free beats to grow a huge mailing list, and how he uses it to help earn a living as a producer.

The Producer

Shaun started composing music seriously as a teenager. Since then he’s continued to build his production skill set – becoming an expert in FL Studio, ProTools and Reason – and to grow his income sources from music. When he launched UnbelieveableBeats.com in 2006 his beats and production skills hadn’t earned him any income. “My beats were in the closet doing nothing,” Shaun said.

The success of his free beats project sparked his entrepreneurial spirit, and since then he’s kept on launching new projects to expand his career.

The Summary

Project Goals

Get visitors to the website by giving away free beats, grow a mailing list of artists who want beats, and find ways of monetizing the audience and mailing list.

Challenges

Shaun was starting out as an unknown, with a brand new website and no audience, and with a lot of other producers competing to sell beats to artists.

How it Turned Out

Since launching UnbelievableBeats.com Shaun has grown his mailing list to 20,000 subscribers, and earns part of his living by monetizing his free beats. He has top search engine rankings for the keyword “free beats” which brings a lot of traffic to his website.

The Project

Shaun’s UnbelieveableBeats.com project had three main steps to it:

Step 1: grow traffic
Step 2: build a mailing list
Step 3: make money

Getting Traffic: SEO

Shaun launched his website with a couple of secret weapons in his pocket for SEO (search engine optimization). Organic search engine rankings became the biggest source of traffic to his site.

His first secret SEO weapon was Bandzoogle, which he chose because it offers the features and flexibility he needs to optimize his website for search engines, but also has a lot of automatic SEO features built in.

[13 Reasons Why Bandzoogle Has the Best SEO for Musicians]

His other secret weapon was that he simply had a ton of free beats – more than most (or maybe any) other websites at the time.

“Having many beats available helped the cause,” Shaun said. “Users can hear the varying styles and see a long list of tracks.”

There’s a specific page on his website that’s dedicated purely to free beats. His website has high rankings in Google for the keyword “free beats” and other similar keywords. He has never spent any money on Google ads.

“Bandzoogle is so friendly with search engines,” he said. “I mistakenly changed platforms at one point and blew up all my good mojo, but after switching back to Bandzoogle I was able to get the rankings back.”

[Complete SEO Checklist for Musicians]

Building a Mailing List: Gated Content

Shaun used a well-known marketing tactic called “gated content” to build his mailing list. Some of his beats are only available to download if the user gives their email address.

Using this tactic, which was made possible using built-in Bandzoogle tools, he was able to grow his mailing list to 20,000 people.

[The Complete Guide to Email Marketing for Musicians]

As Shaun puts it: “Bandzoogle’s platform actually allows user to download a free beat using three potential options. The first way is simply free. The next way requires an email address. The final way is to require a member login. I use the ‘requires an email address’ option, and then the email is automatically captured and added to the mailing list.”

When a visitor to UnbelievableBeats.com clicks to download a beat, an email signup form appears.

Once the visitor subscribes to Shaun’s list, they get an email with a link to download the beat.

So the visitor gets their free beat, and Shaun grows his audience.

To avoid scaring off people who don’t want to give an email addresses, he gates only some of his beats.

“The first 15 or so tracks listed on the website are free, with the exception of one of them that requires an email address,” said Shaun. “Then further down the list I made the next block of 10 tracks needing an email, then the next block of 10 not needing an email. I switched this back and forth all the way down till the end of the tracks.”

Shaun also sprinkles newsletter signup forms throughout his website, and uses his other properties and YouTube to help drive more signups.

Making Money: YouTube AdRev

AdRev is a tool that Shaun uses that automatically detects when one of his tracks has been used in a YouTube video, and assigns him a portion of the ad revenue from that video. It’s is the keystone of his free beats strategy.

When people use his free beats, loops or remixes on YouTube, Shaun makes money without having to lift a finger.

For example there’s a YouTube creator who used one of Shaun’s free Christmas jingle remixes in a DIY craft video that has over 400,000 views.

Shaun also makes money from his free beats in other ways, and he says using Bandzoogle helps makes it possible. “Bandzoogle is a portal that allows me to do anything,” Shaun said. “Without Bandzoogle I wouldn’t know anything about online marketing at all”

For example he published a book called FL Studio Cookbook that sells on Amazon, and which he promotes to his free beats audience.

He also displays Amazon affiliate ads on the free beats website, which earns him extra revenue.

He sells music production lessons, which he promotes to his free beats audience. He also sells t-shirts on his free beats website using the built-in Bandzoogle store feature.

He has a library of premium beats that can be previewed on his website, and he uses the Bandzoogle store feature to sell the license for them.

He also has his music in publishing libraries like SoundReef, Mibe Music, and Pond 5.

These are some of the ways that Shaun has found to make money from his free beats audience.

The Result

Shaun’s UnbelievableBeats.com project has been helping him grow his music income for over ten years.

By giving away a large number of beats for free and optimizing his Bandzoogle website for search engines, Shaun was able to reach top rankings for keywords related to “free beats” in Google.

That organic search engine traffic helped him grow an audience of over 20,000 email subscribers over the past ten years.

His mailing list helps him tie his audience and his monetization strategies all together, and helps him earn a living as a music producer.

Wes Walls is the Head of Growth Marketing at musician website & marketing platform Bandzoogle

Read more from the source: http://www.musicthinktank.com/blog/case-study-how-unbelievablebeatscom-makes-money-from-free-be.html

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MusicThinkTank Weekly Recap: (De)Value Of Online Content

By Music Think Tank

Read more from the source: http://www.musicthinktank.com/blog/musicthinktank-weekly-recap-devalue-of-online-content.html

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(De)Value Of Online Content?

By Mac McIntosh

There has been a fundamental pivot in the way we create, consume, and share content. As the entertainment industry has shifted from analog to digital, the behavior on how the consumers spend money for online content has significantly changed. The question is whether this content should be free and accessible to everyone (if so, to what extent), or should artists, content creators, and influencers properly charge for the online content they create. If we believe that all online content should be free, will there ever be any motivation to buy this content, and if we believe that it should not be free, are we losing out on a larger fan base?

Some industries are adapting to new trends faster than others. The music industry in particular is finding it challenging to figure out ways to hook the audience on music streaming and encourage them to pay for online content. A large number of consumers still choose to think that music streaming should be free and are not willing to spend a little bit less than $10 per month to stream ad-free music, so they rather settle for a free, ad supported tier.

Film, TV and gaming are handling it way better and have managed to successfully navigate through the changes in user consumption. The recent survey (1) shows that movie and TV users are willing to pay $12 per month to be able to stream movies and TV shows. Interestingly enough, the survey indicates that a certain percentage of users would not mind paying even more, even up to 50% percent of the current rate, if the services were to increase the monthly price. As per the gaming industry, the new Juniper Research report (2) states that streamed gaming content will drive $3.5 billion in revenues by 2021, up from $1.8 billion in 2017. The study also emphasizes value added content as they believe that the access to exclusive content such as sale of merchandise, time-limited content, and access passes will contribute to increased revenue.

Fighting vs Adapting. The issue on such disparity possibly lies in how those particular industries were able to adapt to changes in consumer behavior and cultivate their audience at the same time. While the music industry has been fighting a battle against streaming services for several years instead of adapting it as a new way of how people listen to music, the movie industry has gone hand in hand with alterations in the content consumption, being able to foster their users in a sense that they are willing to pay for the content.

Big solution for music in a smaller package. Recent studies show that there is a smaller group of people who value quality content and are willing to spend money on it. According to the Nielsen report (3) from 2013, 40 percent of U.S. consumers — those classified as fans — are representing nearly 75 percent of total music spending, and they spend between $20 billion and $26 billion on music each year. The report also points out that the fans could spend an additional $450 million to $2.6 billion annually if they had the opportunity to get access to the exclusive content.

Proof in the numbers. Statistically, there is a group of super fans who already spend a large amount of money for online content and are willing to spare a couple extra bucks out of their pocket, if they could connect with the artists on a deeper level and share their personal experience, which confirms that not all online content should necessarily be free. If creators and influencers offer content compelling enough, meaning that the content is value driven and individual, the fans will be willing to pay a fair price to get access to it. Additionally, if the content creators figure out what their fans really want and enable a two-way conversation between artists and themselves, the fans will perceive the real value of online content.

Mac McIntosh
VP of Acquisitions at FanCrater.com | Editor/Founder at GoodBAMMSho.com | Music Business Dude | Creative Entrepreneur

Read more from the source: http://www.musicthinktank.com/blog/devalue-of-online-content.html

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The World’s First Facebook Live Festival

By mark knight

Harnessing the power of Facebook Live, new music blog Right Chord Music has created a new type of music festival, inviting bands and artists from across the world to takeover their Facebook newsfeed.

The Takeover Festival takes place 18th, 19th and 20th August. Tune in to watch from the Right Chord Music Facebook Page.

While existing festivals have streamed live to Facebook before this is the first online only music festival exclusively using Facebook Live. RCM will grant publishing rights to performers allowing them to post directly to their page from anywhere in the world. No travel costs, mud, dodgy promoters or queues at the bar

This isn’t the first time RCM have challenged conventions. Back in 2013 frustrated with bad promoters and bad live music experiences, they created The RCM Hangout Festival. One of the first online only music festivals using Google+ Hangouts On Air.

On that occasion RCM streamed 27 different artists, from 4 different countries to viewers in over 20 different countries, giving independent artists access to a truly global audience. It was a huge success and even caught the attention of the BBC and Google.

“A fantastic way to discover your new favourite bands, The RCM Hangout Festival creates an innovative and engaging way to immerse yourself in a festival without leaving home. It successfully supports new music at the same time as taking the digital coverage of events into new realms.” Rory Connolly, Digital Editor, BBC Music Events and Introducing.

This summer we want to revisit the concept, this time using Facebook Live. Mark Knight the Founder of Right Chord Music explains. “Right Chord Music was set up in 2011 to champion the underdog, we shine a light on incredible new, unsigned, undiscovered and under appreciated music from around the world. We wanted to give these artists a stage and the largest possible audience and Facebook provides the tech to make that happen.”

@RightChordMusic

Read more from the source: http://www.musicthinktank.com/blog/the-worlds-first-facebook-live-festival.html

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