FREELANCE/FULL TIME, difference? Pros? Cons?

COPYRIGHT/PUBLISHING, display understanding. Functions? Definition? Laws?

CASE STUDY? RECORDING+PROMOTION PROPOSAL












































DEMOGRAPHICS how is music marketed, how will you market a music product?

Known as the starting point or at least the second pit stop in marketing any product, musical or
otherwise, demographics are key for anyone who wants to target or corner a selling group. What are
demographics? A recent lecture given by our tutor Andy Pettitt incited that, when pertaining to a
musical product, demographics are a way of breaking down the general public in order to
compartmentalise or this case, classify WHO youre selling to and HOW youre going to sell it to
them.

In this presentation I will discuss my understanding of demographics and how they are applied to
successfully marketing a musical product. In addition I will be relating this to my Final Major Project
and how I might use what Ive learnt to profit from my end product.
Returning to the compartmentalisation and classification of the general public, one way this often
happens, particularly in the UK is through the class system.
THE NRS CLASS GRADING SYSTEM







There are a few reasons why this system doesnt work when determining demographics for
marketing music. Why? There isnt a sure-fire way to ensure that ANY of the above criteria will be
interested in a specific form or genre of music. You couldnt say for instance that GRADE A WILL
LISTEN TO CLASSICAL or GRADE C WILL BE INTERESTED IN ROCKABILLY. Cant do that.

The main way demographics can be used in marketing the sale and distribution of music is by using
generalisations that are based on statistics. That being said, marketing methods such as advertising
can manipulate what demographic results are produced. Just as easily as the demographics change
the way music is advertised.














LIVE MUSIC INDUSTRY

As an introduction to my Music Industry Portfolio I have been asked to complete a proposal for a live
music event and compare it to a more major, large scale event that has since passed. This
assignment seems to be mainly finance-centric, so there will be a focus on budgeting and an
attention to the many areas of service that go into an event like the following. The comparison
between my event and the case study will be conducive, to understanding what the rudimentary
requirements are for a live music event and which internal/external staff should be considered for a
successful endorsement.

In the instance of the case study, it begins with a large promoter (SJM) spotting a profitable
opportunity in a free date at Shepherds Bush Empire and then them planning to organise a We Are
Scientists concert there. So my opportunity is that Alex Winston is planning on making a visit to the
UK this summer so I contact my venue of choice and I now have a prospective date.

ALEX WINSTON w/MOULETTES @ PROUD GALLERIES, CAMDEN

PROUD GALLERIES CAPACITY = 800

REASONABLE TICKET PRICE = 19

800 x 19 = 15200 MAX. REVENUE

This would be my simple proposal. Now the instant differences from the We Are Scientists case
study, aside from the profile of the artist, is that not only am I planning on booking a separate
support act for the same event but I am also charging less money for a smaller capacity. This
presents a slight difference in budgeting because I have to allow enough money for two separate
booking agent/management fees. Luckily both artists have representation that both manage them
AND are their booking agents. This gives me a simplified rate to negotiate however, the average or
going deal between the promoter and the agency is 50:50 but this has to go 3 ways. So assuming I
sell out Proud Galleries, Im expecting roughly 5065 in profit.
In the W.A.S. case study the booking agent/management insisted a contract standard that expects
around 20% of the promoters cut was spent on advertising

MAX REVENUE:
15200
ESTIMATED COSTS:
BOOKING AGENT/MANAGEMENT FOR ALEX WINSTON FEE FROM EMMA BANKS of CAA = 5060
BOOKING AGENT/MANAGEMENT FOR MOULETTES FEE FROM FRUSION = 5060
VENUE HIRE = 300
PROSPECTIVE PROMO COSTS RADIO/PRESS = 1015
CONTRIBUTION TO VENUE STAFF AND SECURITY = 750
SUBTOTAL COSTS = 12185

TOTAL ESTIMATED PROFIT = 3015
BANDS MANAGEMENT DEDUCT 10% BEFORE PASSING THE OFFER ON
TO THEIR REPRESENTATION (IT NOW STANDS AT 4500)
THE REPRESENTATION TAKE THEIR 20% COMISSION AND PASS THE OFFER ON WHICH IS NOW 3600

FROM THIS, THE TOUR MANAGER(S) WORK OUT THEIR BUDGET

ONE WAY THE MOULETTES CAN MAKE MORE MONEY THAN ALEXWINSTON ON THE SHOW IS THAT
THEY REPRESENT THEMSELVES, SO THE MONEY ISNT FILTERED THROUGH THE RANKS. NATURALLY
THEIR YOUR MANAGER HAS MORE MONEY TO PLAY WITH.

THE TOUR MANAGER(S) FOR EITHER BAND WILL BUDGET SOMETHING LIKE THIS

TOUR MANAGER 2 DAYS @ 150/day = 300
SOUND ENGINEER 1 DAY @ 120/day = 120
MONITOR ENGINEER 1 DAY @ 95/day = 95
LIGHTING ENGINEER 1 DAY @ 90/day = 90
STAGE MANAGER 1 DAY@ 200/day = 200
INSTRUMENT TECHS X 3 1 DAY @ 50 each/day = 150
TRANSPORT, FOOD + LODGING = 1000
EQUIPMENT HIRE = 400
PER DIEMS = 500
INSURANCE = 140

TOTAL COSTS = 3005

This is a worst case scenario however, the small capacity in addition to the affordable ticket price
have left the artist Alex Winston and her band with only 16% of their original offer. They will be
paid 595 (and she has a big band) Whereas The Moulettes will be left with 36% of theirs as they
have no representation beyond their booking agent from the company Frusion paying them 1495,
after costs.

DOES ANY OF THAT EFFECT ME AS A PROMOTER? NO
COULD DAMAGE MY REPUTATION? YES
WHAT COULD I DO? DECREASE MY CUT AND PAY THE BANDS DIRECTLY, AFTER COSTS.
EMMA BANKS CCA GETS 560
ALEX WINSTONS MANAGEMENT GET 900
ALEX WINSTON GET 595
FRUSION GET 560
MOULETTES GET 1495

I GET 3015 seems fair.