Artist Survival Manual
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Retail Price $28.95
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© 2004-2005 All rights reserved
“This book was written by the most awarded independent producer in history.
If you’re a new artist then this book is all the advice you’ll ever need!”
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“This manual will save you literally thousands of dollars and hundreds of man
hours.
The answers you’re looking for are right here and it’s worth twice
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© CAPITOL MANAGEMENT & TALENT GROUP
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SURVIVAL MANUAL
I. Introduction
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Page 3
SURVIVAL MANUAL
VI. Publicity Makes You Bigger Than Life
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Introduction
So, you’ve decided to come to Nashville and record. That’s the first step in a truly exciting future for the recording artist. There’s nothing quite like recording in Music City USA. Here you will find the greatest players in the entire world, the finest studios in a class all by themselves, and the gateway to becoming the singer/songwriter and superstar that you’ve always wanted to be.
Anyone who makes you “promises of stardom” in the music business
is not being honest with you!
The eight main goals that the new artist, is striving to achieve, in the first twelve months
of his career is:
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M - Making his master presentation tape so excellent that it stands out as an individual single record success story in and of itself.
If the new, developing artist can accomplish these goals in the first twelve months of development, then he has come farther than the other thousands of people who gave up for some reason and stopped along the way. An artist in the harbor is safe from criticism, but artists and singers weren’t made for the indoor arena of life. They were made like a ship to sail into the vast oceans of opportunity that are ahead of the singer/songwriter in the next decade.
End Of Introduction
© 2004-2005 All Rights Reserved by Robert Metzgar
Reproduction of the © Artist Survival Manual or copying of this book for any reason whatsoever is strictly prohibited by United States copyright law. For more copies of the book, call toll-free 800-767-4984 or send $28.95 plus $8.00 shipping & handling to; © Artist Survival Manual 1214 16th Avenue South Nashville, TN 37212-2902. Make all checks payable to “ARTIST SURVIVAL MANUAL.” For overnight Federal Express delivery of this book add $26.00 shipping & handling and call 615-321-0600 (wk) or fax your street address to 615-321-0182 (fax) You may charge this book to your VISA, MASTER CARD, and AMERICAN EXPRESS card by calling 800-767-4984.
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II. STARTING OUT RIGHT
A. DEVELOPMENT BEGINS
What I am going to share with you, in this essential manual is what you should pay for....and what you shouldn’t. I’m also going to try to give you the same advice that I would give my own child if he/she were entering into this field of music and trying to “make it.” You have to start somewhere.
B. ARTIST COMMITMENT
Choose the goals that you want to accomplish wisely in the first year. Work with producers and development companies that have a proven track record in taking new talent and presenting that talent to the music community nationally. Get yourself ready for a wonderful time of learning new music, working with your label in promoting that music to radio nationally, and most of all, remember that, "you are nationally what you become locally."
III. CHOOSING A PLAN THAT’S RIGHT
Development labels in Nashville are totally different from custom labels. Custom operators will record anyone who has the money to record. They are not really serious about developing talent and never risk any of their own money. Development labels are like minor league ball teams. They are willing to risk label money if the artist is willing to provide them with a master recording session.
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Development labels will pay for all of the following things:
The average amount of money spent by a development label like the following:
|| AUDIUM || BNA || CURB || DREAMCATCHER || DREAMWORKS || LITTLE DOG || LYRIC STREET || PLATINUM PLUS || ROUNDER || VANGUARD ||
will be $75,000 in a twelve month period on one single release alone. For their involvement, and for their help, the artist should allow that development company or label a legitimate interest in their career. Mind you, this comes from the major labels at the time of signing, and does not affect the artist’s share of the present contract or future contracts. This is called "points," on your career.
DEMO RELEASES AREN’T ALLOWED!
Development labels cannot work with demo sessions. Songwriters who have no desire to be presented as a “recording artist” individually should work with publishers at the major publishing houses and get their songs presented with demo quality recordings for presentation to the publishing houses for songwriter contracts. What I am talking about in this manual is a totally different type presentation. This is for the serious artist who wants to become the next superstar in his/her field of music. This manual is not for the faint-hearted. This manual is for the serious recording artist who wants a chance at the big time.
1. Their master recording usually called a "presentation tape." Development labels will not pick up a demo session and mail it out nationally to radio. They must have a master session to work with that's recorded in Nashville.
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2. Master sessions should be the only major expense that the artist is responsible for during the first 12 months with the development label. These master sessions should take place in a reputable studio in Nashville, using the finest union musicians and everything should be done by the book so the single release can be mailed out.
THREE AFFORDABLE PLANS OF DEVELOPMENT:
Each artist has to decide for themselves which plan is right for their own course of career development. If you are going to work with an affordable plan of development, and still run your contract through the (AFM) American Federation Of Musician’s union, Local #257, then you’ll want to make sure that all of your players are paid "limited pressing scale" on the session. Remember a "scab session" off the card will eventually show up in the process and you’ll just have to do your presentation tape over again, so do it right the first time!
Development Plan Number One
This plan is the least expensive plan for the artist who writes his own material and wants to cut his own songs in the studio for release to radio. Remember a national single release pays approximately $240K to the songwriter and publisher if it goes to number one in the Billboard charts. This plan allows the artist to take advantage of the "limited pressing" agreement in Nashville and get his project done by the professionals for an affordable price. On the next page is a line-item budget for plan number one.
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Plan No. 1
Credits: Artist Security Deposit Guarantees the Following
Contract drawn for the developing artist
Production Costs
Arranger
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Studio Costs
Studio Time
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Review Of Costs
Pre-production costs ($ 400.00 -)
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Development Plan Number Two
This plan is more expensive at first but gets faster results. It is for the artist who is more established financially, has the desire to cut some of their own material but also wants to record some of the hit songs written by the big hit writers in Nashville who write especially for artists who are going to do an immediate label presentation project. The advantages to spending this much money are as follows:
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Plan No. 2
Credits: Artist Security Deposit Guarantees the Following
Contract drawn for the developing artist
Production Costs
Arranger
Next Page Page 14
Studio Costs
Studio Time
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Review Of Costs
Pre-production costs ($ 400.00 -)
Development Plan Number Three
This is a special plan for artists who do not write their own material and want the opportunity to have plenty of preparation time with a master sound track of their choosing that’s original material written for recording and release to national radio by Nashville’s great group of hit songwriters.
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Plan No. 3
Credits: Artist Security Deposit Guarantees the Following
Contract drawn for the developing artist
Production Costs
Studio Day One
Studio Day Two
Studio Day Three
Production
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Review Of Costs
Final Totals
TABLE OF CONTENTS
Volume 1
II. Starting Out Right
A. Development Begins
B. Artist Commitment
III. Choosing A Plan That’s Right
A. Plan One: Cut Four/Finish Two
B. Plan Two: Cut Four/Finish Four
C. Plan Three: Ten Song Album Using Sound Tracks
IV. Sure Fire Ways To Get Your Seed Money
Volume 2
A. Fan Club Charter Memberships
B. Advance Product Sales
C. Selling Points On Your Master Recording
D. Sponsorships
E. Sharing Your Publishing Income
V. The Recording Process Begins
A. The Recording Contract
B. The Recording Experience
C. The Mastering & Mixing Process
D. The Post Mastering Process
E. Release Of The Single Record
TABLE OF CONTENTS
Phase Two: After The Recording
Volume 3b
A. Photographs
B. News
Releases
Volume 4a
Volume 4b
C. Biographies
D. Personal Appearance Information
E. Television
F. Radio
VII. Promotion Makes You A Superstar
A. Independent Radio Promotion
B. Publicity & Promotion Guide
C. Artist Monthly Planner Kit
D. AIRA Membership Information
VIII. Artist Exhibits & Final Documents
A. Sample Artist Contract
B. Exhibits
C. Index
Volume 8
Discography
To The Manual
What this manual is going to attempt to do is to offer some answers, to many of the questions, posed by developing artists, to industry professionals. And, after doing so, present a step by step plan of development for the artist who wants to get started in order to get his project heard by people who can further his career.
The most asked question that is posed to industry professionals in Nashville is this one: Is it going to cost me any money to become a professional recording artist? Let me quickly answer that for you, "Yes, it’s going to cost you money." The music business is like planning to build a Cadillac dealership across the street from your home. You wouldn’t go across the street and stand there and sing, expecting a Cadillac dealership to mysteriously appear in front of your house. You don’t go to the grocery store and stand in line and sing…till someone picks out your groceries for you. You pay for your own groceries and you "plan and pay for" a Cadillac dealership.
Of course those of you who talk to some uninformed music source in Nashville will believe the myth that you want to hear. These so called sources, will tell you that “if a label wants to record you, they will pay for everything and it won’t cost the artist anything.” Nothing could be further from the truth. You either pay on the front end or get charged back for it on the back end. One way or the other, you will pay for everything you do in the music business, even at a major label!
The giant major labels charge back everything! Any artist that has a major label contract will tell you quite quickly that everything that was spent on them at the label was also charged back to their account and if they don’t sell enough product to keep that account in the black, then they are dropped from the roster of that label so fast, that their guitar won’t even have the time to hit the ground before the door slams in their face at the cashier’s desk in business affairs. Get serious for a moment, nothing in this world comes free. And especially in the music business, there are no free rides.
This is a high risk business. There are no guarantees of superstardom to anyone. Anyone who makes you “promises” in the music business about stardom should be considered temporarily disconnected from reality. One of my dear friends talked with a producer who promised them that her son would be bigger than Elvis Presley if he recorded with his company. She called me to ask my opinion. I told her, “Lady, your son had better eat an awful lot, because that’s the only way in this world that he’ll ever be bigger than Elvis Presley."
Stay away from these type people always!
A - A hit record is simply recording a great song better than anyone else will ever record it! That’s the way it works here. People who are in this business for the music will make money as long as they stay in this business strictly for the music and not for the money.
K - Keep that song playing on the radio as many weeks or months as you possibly can. Get your music and songs noticed by radio & television every chance you get.
I - Instill your unique image, your unique style, and your unique music on everyone around you. Superstars have super-patient and super-nice personalities.
N - Never give up your dream. If you know in your heart of hearts that you are going to make it, then that’s all the confidence you need. Forget those words of defeat and realize that you have a "mission of music" to fulfill.
G - Give it all you’ve got when you sing. There are artist’s who sing and there are artist’s who entertain. The ones that entertain will have the public paying to hear them sing.
I - Initiate your individual track record of success in the music business by setting aside a portion of each day to further your music career. Work your music like a daily paper route. Keep throwin’ those songs and tapes out there everyday and one of them will get picked up.
T - Total up your results at the end of the first year and ask yourself if you’re a lot further ahead in this business than you were last year. Look at all the wonderful things that you’ve accomplished in just such a short time by setting simple goals for yourself. How much further do you think you’re going to be ahead in the next year?
A label that signs an artist doesn’t just show up on his doorstep one morning with a cup of coffee in one hand and a multi-million dollar recording contract in the other. A proven track record of success like a minor league baseball player or college athlete that has been noticed by a major league scout is necessary for a new artist to get signed.
So ask yourself, do I have a track record for a label to look at yet? If not, then I better set about getting one, otherwise I’ll never get a chance to have a hit record. Getting started is 99% of the battle. You have to start with some company in Music City and get something released to radio and find out where your talent stacks up against the big superstars of the industry.
Your attitude has got to remain fresh each and every day. You cannot let the negative sources in this world infect you with their discouragement and their words of criticism. Yes, you can sing just as good as the superstars and yes, you have just as much talent. The only difference between you and Garth Brooks right now, is he had the patience and long-suffering to continue through so many hardships and when it was over he came out the hero. There were so many who started at the same time he did with more money and talent and gave up along the way. So, get in the studio and cut some hit songs and get them out there. The longer you wait, the less time you have to work on the very thing that motivates you the most, your music!
1. Release of your single record to radio on compact disc
2. Manufacturing of your single release in compilation with other artists that they are developing
3. Mailing, postage, handling of the compact disc units to all of the major Billboard reporter panel of radio stations
4. 800 service and re-service to other reporter stations
5. In-house promotion of the artist at artist’s discretion
6. CD prep and post-mastering
7. Labor and national distribution costs
The developing labels acquire a legitimate interest in the artist for their expertise in promotion of the artist and these contracts will normally last for 12-36 months. A sample development contract has been provided as an exhibit with this manual. The development label will want to oversee each step of the recording process. While the artist is going to furnish the money for his master session, (retain ownership of the masters and control of his future) and the development label is going to furnish the money for domestic & international distribution, each development label will have their own unique way of working with each artist to achieve the best possible exposure for the future. This process during the first twelve months is called a developmental joint-venture contract.
"You cannot release a demo legally to radio nationally through a major developmental label!"
The developing artist should pay for the following things:
3. A tracking firm may need to be hired if your single record starts showing signs of progress during the nine months that it will take your label to get distribution of the product accomplished. This expense is one that is only necessary in conjunction with outside label promotion and upon advice from a tracking specialist with a national promotion track record.
A really reputable producer will file a contract on the session with the union, pay all the players the proper union scale and each player will sign a yellow card verifying that the session was a legitimate one. There are “thousands” of "off the card" sessions in Nashville every year. None of those "scab sessions" will ever be recognized by a major label or a development label with a national record of chart success.
CUT FOUR SONGS / FINISH TWO SONGS
With Optional National Single Release
To All Billboard Radio Reporter Stations
© 2004-2005 UNION RATE CARD
CUT FOUR SONGS / FINISH TWO
MAJOR-LABEL PRESENTATION SESSION
With Optional National Single Release
To All Billboard Reporter Stations
During The Contract Period
Artist Security Deposit
Wire Transfer Sheet
Song search for the recording session
Optional single release to Billboard radio stations
Studio date is chosen & locked in $1,000.00 +
Charts For Musicians/Pre-production
..........................................................................................................................................................$0,400.00 -
Session Musicians
AFM/Local #257 Limited Pressing Scale
One session of music @ 3 hours per session using
All AFM union session musicians
Bass Guitar ($ 165.00 -)
Drums and additions ($ 165.00 -)
Lead Guitar ($ 165.00 -)
Rhythm Guitar ($ 165.00 -)
Keyboards (Double Scale) ($ 321.20 -)
Overdubs ($ 321.20 -)
Cartage ($ 120.00 -)
Health, Welfare, & Pension ($ 75.50 -)
SUBTOTAL
..........................................................................................................................................................$1,497.90 -
Background Vocalists
Multiple Tracking Payments
Vocalist for two songs ($ 420.00 -)
Health, Welfare & Pension ($ 70.24 -)
SUBTOTAL
..........................................................................................................................................................$0,490.24 -
One block day/32 track digital studio ($ 950.00 -)
One block day of engineer’s time ($ 300.00 -)
SUBTOTAL
..........................................................................................................................................................$1,250.00 -
Digital Archive Costs
Archive 32 Bits ($ 185.00 -)
R-DAT Master ($ 26.24 -)
CD copies ($ 25.00 -)
SUBTOTAL
..........................................................................................................................................................$0,236.24 -
Production Fees
Producer’s Fee ($ 400.00 -)
Co-producer's Fee ($ 400.00 -)
SUBTOTAL
..........................................................................................................................................................$0,800.00 -
Session Musicians ($1,497.90 -)
Studio Time, Engineers ($1,250.00 -)
Background Vocalists ($ 490.24 -)
Digital Data Costs ($ 236.24 -)
Production Fees ($1,100.00 -)
Total Costs
Plan One
..........................................................................................................................................................$4,974.38 -
Less Security Deposit
..........................................................................................................................................................$1,000.00 +
TOTAL DUE
..........................................................................................................................................................$3,974.38 -
.
Balance is due & payable to the trust fund 72 hours
prior to the recording sessions
CUT FOUR SONGS / FINISH FOUR SONGS
With Two Optional National Single Releases
Immediate Presentation To Major Labels
(a) you have enough finished material for your development label to guarantee you two single releases over a period of 18 months.
(b) you have the advantage of recording some of your own material and in addition using some of the hit songwriters with a known track record who are pitching you the artist, material that they feel like will get signed by a major label or major publishing company.
(c) Under this plan, the artist and the recorded masters are presented immediately to the major labels for consideration. The artist doesn’t have to wait for a period of twelve months to get in front of the A & R directors at the majors who make the multi-million dollar record deals. The development label will continue to work in behalf of the artist during the 18 month period the artist is in a "roster holding" position at the majors, will single their product and continue to promote them during the time a major label is considering them for national video and single release.
(d) Even if the artist is signed immediately by the majors, there are usually no priority roster spots available. So, the development label becomes even more important to the artist in keeping their name before the public while the major label is finding a spot for them on their national roster of acts. Below is a line-item budget for a cut four/finish four songs for immediate label presentation.
© 2004-2005 UNION RATE CARD
CUT FOUR SONGS/FINISH FOUR SONGS
MAJOR-LABEL PRESENTATION SESSION
With Two Optional National Single Releases
To All Billboard Reporter Stations
During The Contract Period
Artist Security Deposit
Wire Transfer Sheet
Song search for the recording session
Two Optional single releases to Billboard radio stations
Studio date is chosen & locked in $2,000.00 +
Charts For Musicians/Pre-production
..........................................................................................................................................................$0,400.00 -
Session Musicians
AFM/Local #257 Limited Pressing Scale
One session of music @ 3 hours per session using
All AFM union session musicians
Bass Guitar ($ 165.00 -)
Drums and additions ($ 165.00 -)
Lead Guitar ($ 165.00 -)
Rhythm Guitar ($ 165.00 -)
Keyboards (Double Scale) ($ 321.20 -)
Overdubs ($ 321.20 -)
Cartage ($ 120.00 -)
Health, Welfare, & Pension ($ 75.50 -)
SUBTOTAL
..........................................................................................................................................................$1,497.90 -
Background Vocalists
Multiple Tracking Payments ($ 300.00 -)
Vocalist for four songs ($ 840.00 -)
SUBTOTAL
..........................................................................................................................................................$1,140.00 -
Two block days/32 track digital studio ($1,925.00 -)
Two block days of engineer’s time ($ 600.00 -)
SUBTOTAL
..........................................................................................................................................................$2,525.00 -
Digital Archive Costs
Archive 32 Bits ($ 185.00 -)
R-DAT Master ($ 26.24 -)
CD Copies ($ 25.00 -)
SUBTOTAL
..........................................................................................................................................................$0,236.24 -
Production Fees
Producer’s Fee ($1,300.00 -)
Co-producer's Fee ($ 800.00 -)
SUBTOTAL
..........................................................................................................................................................$2,100.00 -
Session Musicians ($1,497.90 -)
Studio Time, Engineers ($2,525.00 -)
Background Vocalists ($1,140.00 -)
Digital Data Costs ($ 236.24 -)
Production Fees ($2,100.00 -)
Total Costs
Plan Two
..........................................................................................................................................................$7,989.14 -
Less Security Deposit
..........................................................................................................................................................$2,000.00 +
TOTAL DUE
..........................................................................................................................................................$5,989.14 -
Balance is due & payable to the trust fund 72 hours
prior to the recording sessions
FULL ALBUM OF TEN SONGS
With Optional National Single Release
To All Billboard Radio Reporter Stations
The record company or management firm sends demos of these master tracks to the artist ahead of time. He carefully listens to each song and each track to see if the performance track is a song that he/she feels like is a hit recording for them. The demo singer on the front of the tape sings what is called a "guide vocal" and the artist comes to Nashville and sings the master vocal for release to radio.
All of the same things in development happen for the artist who doesn’t write their own material as for the other artists. It’s certainly nothing to be ashamed of considering most of the greatest artists we have in the recording profession today, started by recording other writer’s material first. Then later on as they became more profuse in the expression of their music, many of them became inspired and began writing their own songs which they recorded later in their career.
On the following page is a line-item budget that carefully describes the process of recording an entire album using master sound tracks that the management firm or recording company provides to the singer.
© 2004-2005 UNION RATE CARD
TEN SONG ALBUM USING SOUND TRACKS
MAJOR-LABEL PRESENTATION SESSION
With Optional National Single Release
To All Billboard Reporter Stations
During The Contract Period
Artist Security Deposit
Wire Transfer Sheet
Song search for the recording session
Optional single release to Billboard radio stations
Studio date is chosen & locked in $1,000.00 +
Artist Vocals Recorded
Studio Block Day ($ 975.00 -)
Engineer & Assistants ($ 350.00 -)
SUBTOTAL
..........................................................................................................................................................$1,325.00 -
Artist Vocals Continued
Mixing Master Tracks & Vocals ($ 975.00 -)
Engineer & Assistants ($ 350.00 -)
Master leasing track fees ($ 250.00 -)
SUBTOTAL
..........................................................................................................................................................$1,575.00 -
Transfers Of Masters ($ 130.00 -)
Transfer Of Tracks ($ 150.00 -)
Digital Data Costs ($ 185.00 -)
R-DAT Masters ($ 52.00 -)
CD Copies ($ 30.00 -)
SUBTOTAL
..........................................................................................................................................................$0,547.00 -
Production Fees
Co-Producer Fees ($ 500.00 -)
SUBTOTAL
..........................................................................................................................................................$0,500.00 -
Studio Time ($1,325.00 -)
Mixing Time ($1,575.00 -)
Mastering Charges ($ 547.00 -)
Production Fees ($ 500.00 -)
Total Cost Of Contract
..........................................................................................................................................................$3,947.00 -
Less Deposit
..........................................................................................................................................................$1,000.00 +
Balance Due
.....................................................................................................................$2,947.00 -
Balance is due & payable to the trust fund 72 hours prior to the recording sessions
ALBUM BUDGET
"Limited Pressing Scale"
Plan Number Four
There are many artists who call me and ask what the cost of doing a complete album project is in Nashville at limited pressing scale which involves cutting 12 songs and finishing out 10. If you are one of those artists who wants to do an entire album of songs from scratch using the finest musicians and studios in Nashville, then simply go to Plan Four for an album budget. This would get you a 10 song mastered album using seven musicians and a solid week of studio time to get the album completed. If you are interested in our company handling the production of your album then send an email to the following Contact Robert Metzgar for a recording schedule and consultation.
If you are looking to price the cost of manufacturing that product, then simply go to our manufacturer's website right in Nashville on Music Row and ask for David at CD Manufacturing and tell him that you were referred from this web page for a discount on your product manufacturing costs. This is the finest manufacturing plant in Nashville and also has the shortest turn-a-round time for complete CD and cassette products. If any of our staff can be of help and assistance to you in working out a written budget for your music career, we also handle radio promotion, marketing, and "live" showcase and television appearances by artists that have their own product already developed for sale. The cost of appearing on a label showcase should be discussed with one of our staff at Contact Management to get schedules and dates for the showcases held in Nashville for the labels.
Volume 2
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© 2004-2005 Capitol Management
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