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Musicians Information Center
Eight Different Kinds of Publishing Deals - A Thumbnail Sketch:
by Bart Day- Entertainment Attorney,
Legal Ease
People often speak of “publishing deals” in a generic way, which implies that there is only one kind of publishing deal. In fact, there are a number of different kinds of publishing deals, as described below.
In the very early days of music publishing, songwriters simply sold their songs to music publishers for a flat amount. Later, as songwriters became more business savvy and gained a little more negotiating leverage, a new kind of contract evolved, consisting of three basic elements: (1) The songwriter would assign all copyright ownership of the songwriter’s songs to the publisher; (2) The publisher would then commercially exploit the songs (e.g., by the sale of sheet music); and (3) The publisher would pay royalties to the songwriter.
Although that type of deal (which I refer to below as the “traditional publishing deal”) still widely exists today, various newer kinds of “publishing deals” have evolved over the years.
Incidentally, when I use the term “publishing deal” here, I’m using the term rather broadly, to refer to any kind of deal whereby some individual or company (other than the songwriter) obtains the right to receive a share of the songwriter’s music publishing income (for example, mechanical royalties from the use of songs on records, public performance income from BMI and ASCAP for radio airplay, and synchronization income from the use of songs in films, television shows, computer games, etc.).
In short, the eight kinds of publishing deals today are as follows:
(1) The “traditional” Publishing Agreement;
(2) Single Song Agreements;
(3) Co-Publishing Agreements;
(4) “Step Deals”;
(5) Administration Agreements;
(6) Income Participation Agreements;
(7) Catalog Representation Agreements; and
(8) Self-Publishing Agreements.
These eight kinds of deals vary from one to the other in many respects, most importantly the following: (1) What percentage of copyright ownership, if any, is given to the publisher; (2) What share of future publishing income the publisher will get; (3) What functions the publisher will perform; and (4) How long the agreement will remain in effect for.
For example, the first four kinds of deals mentioned above involve the transfer of at least part of the copyright ownership of the songs. Not so, usually, with the last four kinds of deals mentioned above.
Of the eight kinds of deals mentioned above, there will almost always be one particular kind of deal that will be the most appropriate type of agreement for a particular situation. By the same token, that same contract will likely be totally inappropriate for many other types of situations. For example, an Administrative Publishing deal might be the perfect kind of deal for one situation, and totally inappropriate for a different situation. Therefore, I will outline below, for each type of deal, the kind of situations that each kind of deal is particularly appropriate for.
And now, for a thumbnail sketch of each of the eight kinds of deals mentioned above.
The Traditional Publishing Deal
First, of all, the term “Traditional Publishing Deal” is not a term customarily used in the music industry. I am only using that term here for purposes of distinguishing this type of deal from the other types of publishing deals mentioned below.
1. Typical Scenario.As mentioned above, this kind of deal dates back to the days of Tin Pan Alley. Today it’s used when a songwriter and a publisher want to have a long-term relationship for all of the material that the songwriter will be writing during the duration of the contract. This type of deal is usually not used when the songwriter is signed to a record deal. (See “Co-Publishing Deals” below.)
2. Material Covered by the Deal.This kind of deal will cover material written during the term of the contract, and sometimes may include certain specified songs written before the contract was entered into. Usually the contract will require the songwriter to deliver a certain number of new original songs to the publisher during each year of the contract.
3. Copyright Transferred.Normally, the writer is assigning (to the publisher) 100% ownership of the copyright of the songs covered by the contract.
4. Income Sharing.The publisher receives all income from third parties, then pays the writer one-half of that income. The publisher here is getting a larger share of the publishing income than in most of the other types of deals mentioned below. That is because, in the case of this “traditional” kind of publishing deal, the publisher’s responsibility is to proactively promote the songs involved and, theoretically at least, it is the publisher’s efforts that will cause any future success of the songs. On the other hand, in the case of many of the other types of deals involved, the publisher’s role is less promotional and proactive in nature, hence the publisher gets a small piece of the pie.
5. Term.Normally, the agreement will be for an initial one-year period (with the writer obligated to deliver a certain number of songs to the publisher in that one year), then the publisher will have several (in the range of three to six) consecutive one-year options following that initial one year.
Incidentally – and this is very important -- the “term” means the period of time during which the songwriter is writing songs for the publisher, and not how long the publisher will have rights in those songs. Normally even though the term of the agreement may be only a few years, the publisher will be the owner of those songs for a much, much longer period of time, i.e., until they go into public domain many years later. (There is one exception here: If there is a reversion clause in the contract, then copyright ownership may revert to the songwriter at some future specified time.)
6. Advances.Established publishers usually pay a recoupable advance to the songwriter for the first year (payable in installments), often in the range of $25,000 to $50,000), then an additional advance each following year the publisher exercises its option to continue the contract for another year. Normally the contract will contain somewhat complicated provisions for how the amounts of the advances for the follow-up years will be calculated.
The Single Song Agreement
1. Typical Scenario.This type of agreement basically is based on the same concept and structure as the “traditional” type of deal mentioned above, but involves only one (or several) of the songwriter’s songs (i.e., songs already written). Sometimes, a relationship between a songwriter and publisher will start out this way, and later they will enter into the “traditional” type of deal mentioned above.
2. Material Covered by the Deal.Even though the title of this kind of deal would imply that it is only for one song, this kind of agreement is sometimes used for several songs at the same time.
3. Copyright Transferred. Same as with the Traditional Deal mentioned above.
4. Income Sharing.Same as with the Traditional Deal mentioned above.
5. Term. Same as the Traditional Deal mentioned above, but in the case of the Single Song Agreement, it is much more likely that there will be a reversion clause. Typically the contract will (or, at least, should) provide that the copyright ownership will revert to the songwriter if the publisher is not able to get the song recorded by a signed third party artist or used in a film, television program, etc. within twelve or eighteen months.
6. Advances. Typically there is only a very small advance paid, in the range of $200 - $500 per song, and sometimes no advance is paid.
Co-Publishing Deals (aka "Co-Pub Deals")
1. Typical Scenario.This type of agreement is typically used for writers who are in groups already signed to a record deal. This type of agreement covers the original material on the group’s records. Normally all of the members of the group who are songwriters will be signed to this type of agreement with the same publisher.
Just to be clear here, I’m talking about a publishing deal with a publishing company not affiliated with the record company. Today, it is much less likely than it used to be that a record company will demand a publishing deal as part of a record deal.
2. Material Covered by the Deal.All of the original songs on the group’s first record, then the publisher will have the right to options on the original songs on anywhere from two to four of the follow-up albums, hence for a total of 3 to 5 albums, with the exact number depending on what the parties negotiate.
3.Copyright Transferred.The songwriter normally transfers one-half of the copyright ownership to the publisher and retains the other one-half ownership. In other words, the song is co-published (and the copyright is co-owned 50-50) by the third party publisher and the writer’s own publishing company.
4. Income Sharing.Normally, the third party publisher will collect all income and then pay to the songwriter and the songwriter’s publishing company 75% of all publishing income.
5. Term. As already mentioned, co-publishing agreements are usually for a certain specified number of albums.
6. Advances. Advances are almost always paid to the songwriter in the case of co-publishing deals. For groups newly signed to major label record deals, the initial advance from a major music publisher is typically in the $150,000 - $500,000 range and sometimes higher, with additional advances being paid if and when the publisher exercises its options for the follow-up albums.
"Step Deals"
This type of deal is for situations where the songwriter is not yet signed to a record deal, but may later enter into a record deal. The contract here will provide, in effect, that the deal will be the “Traditional” deal mentioned above, but will automatically transform into a Co-Publishing deal if and when the songwriter is signed to a record deal.
Administration Deals (aka "Admin Deals")
1.Typical Scenario. This type of deal is used when the songwriter just wants a publisher to collect royalties and handle the various paperwork (for example, the BMI/ASCAP song title registrations, copyright applications, the issuance of licenses, etc.), and where the songwriter does not want or need a publisher to proactively promote his or her catalog of song. A good example of a company that does a lot of Administration Deals is Bug Music in Los Angeles.
2. Material Covered by the Deal. Most often this kind of deal covers all material written by the songwriter, or at least any material that the songwriter has not already committed to other publishers.
3. Copyright Transferred.No transfer of copyright.
4. Income Sharing. Typically, the publisher will take 10% to 20% of the income, and the pay the rest to the songwriter and the songwriter’s publishing company.
5. Term.Administration deals are normally in the range of three to five years.
6. Advances. For catalogs generating a modest amount of income, usually no advance is paid. For more profitable catalogs, usually an advance will be paid, with the amount to be determined on the basis of the income that has been generated in recent years by the catalog.
Income Participation Deals
1.Typical Scenario. This type of deal is a “publishing deal” only in the sense that it involves a share of future publishing income. Usually this type of deal is used to cut someone in on a share of the publishing income – for example, to serve in effect as a “finder’s fee” for having found a record deal for a songwriter. Very often the “income participant” is not even a publisher.
2. Material Covered by the Deal. Highly negotiable and varies widely. May only cover, for example, the material on the songwriter’s first album.
3. Copyright Transferred. No share of copyright is transferred. Instead the “income participant” is only entitled to receive a share of income.
4. Income Sharing. Varies widely, but often is in the range of 10% to 15%.
5. Term.Again, highly negotiable and varies widely.
6. Advances.No advance is involved.
Catalog Representation Deals
1. Typical Scenario.This type of deal is used when a songwriter or publisher is primarily interested in getting their material used in films, television programs, etc. and want to enter into a deal with a company that specializes in doing so and has all the necessary connections. Ocean Park Music and Media Creature Music are good examples of Catalog Representation companies.
Usually those types of companies also represent record labels that want to get their masters used in films, etc.
2. Material Covered by the Deal. Typically, as the title “Catalog Representation” would imply, the songwriter or publisher’s entire catalog. But sometimes the Catalog Representation company will “cherry-pick” only certain songs for representation.
3. Copyright Transferred.No copyright is transferred.
4. Income Sharing. Typically in the range of 25% - 50% of the income from any deals secured by the Catalog Representation company.
5.Term. Often in the range of two to three years, but sometimes longer, sometimes shorter.
6. Advances.Usually no advance is paid, but there are occasional exceptions.
Self-Publishing Deals
1. Typical Scenario. This type of deal is between a U.S. publisher (including songwriters who act as their own publisher), on the one hand, and a foreign publisher, on the other hand. For a cut of the income in the applicable foreign territories, the foreign publisher will collect the income in those territories.
U.S publishers enter into this kind of deal in order to receive their money faster from foreign territories and also to collect more of the income that has been earned in those foreign territories. (Often, for various reasons, only part of the income earned in foreign territories is actually collected. The money not collected is customarily referred to as “black box money.”)
2. Material Covered by the Deal. Usually the entire catalog.
3. Copyright Transferred.No copyright is transferred.
4. Income Sharing. The foreign sub-publisher will normally take in the range of 25% of the income off the top, then pay the balance to the U.S. publisher. The percentage taken by the sub-publisher will be significantly less for large, profitable catalogs.
5. Term.Usually in the range of three to five years.
6. Advances.Same situation as with Administration Deals.
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Bart Day is a Portland-based entertainment attorney in private practice and is also music counsel for Vivendi Universal Games, the computer game division of Universal Studios.
Bart is also the co-author of a chapter (entitled “Contracts and Relationships between Major Labels and Independent Labels”) in The Musician’s Business and Legal Guide, a book compiled by the Beverly Hills Bar Association and published by Prentice-Hall Publishing (New York).
Contact information for Bart Day:
1001 S.W. Fifth Avenue, Suite 1100
Portland, Oregon 97204
E-mail: bart@entertainmentlawwest.com
Telephone: 503/291-9300
NOTICE TO MUSICIANS CROSSROADS MEMBERS:The above information is offered for general informational purposes only, and not for the purpose of providing legal advice. You are cautioned to seek the advice of your own attorney concerning the applicability of the general principles discussed above to your own particular activities.
And the Winner Is.... Will Awards and Contests Lead to Bigger Things?
by Sheena Metal,
Imagine this: You’re a huge rockstar. You’re pool is filled with hotties and your bathtub with champagne. You have a coffee table made out of your signature guitar and your Cadillac Escalade has beer on tap and a flat screen high definition TV. Even with all of the expensive toys and extravagant showpieces in your crib, the thing that first draws the attention of press and partygoers alike: the wall lined with your awards.
Admittedly, human beings are fascinated with awards. We love to gawk at the shiny trophies, glossy plaques, and framed certificates of any and every kind of winner. And, as a species, we place a lot of stock in the importance, abilities and general “coolness’ of those who've come home “the winner.” So, it’s no surprise that musicians are constantly submitting to the many awards and entering the myriads of contests offered to unsigned artists every year. After all, with a couple of awards on the wall of your garage, can a hot tub full of babes really be that far behind?
But what if you continue to enter and never win? What if time and time again you have to send out the newsletter announcing that you’re not the “Best Band Of The Year” or the “Best Songwriter in the Nation” or even the winner of the “Battle Of The Most Mediocre Bands In The Midwest.” Will you be branded as a loser? Will your fans abandon you, asked to be removed from your mailing list, line their birdcages with your CDs? It is really better to have entered and lost than never to have entered at all?
The following are a few tips that may help you to fill up your trophy room without becoming the laughing stock of the indie music community:
1) Enter Contests You Have A Chance Of Winning---
Sounds like a given, but you’d be surprised how many new bands enter Billboard’s contests for the first time and are then amazed when they don’t walk off with a room full of accolades. Building a resume of award nominations and wins is very similar to building up your reputation as a gigging band or filling up a folder full of press. Start small, submitting to smaller local and regional contests/ awards that you’re more likely to get a nod for then the national and worldwide events. Then you can submit to the bigger organizations with a list of awards and wins on your resume. Everybody loves a winner and seeing that you’ve already won various awards may inspire the powers that be to nominate you for their particular contest.
2) Pick The Contest That Will Best Publicize Your Band---
We all love to win. But more important than basking in the glory of becoming king or queen for a day, awards are fantastic publicity tools for your band. Nothing shines up a bio, website, email blast or blog like the words “nominated” and “won.” These vocabulary heavyweights are certain to perk up the eyes and ears of clubs, fans, press and the industry alike. When deciding which awards/contests to submit for, keep in mind that this organization’s event may well be the flagship of your promotion for months. Sayings like: “vote for us for…”, “we’re nominated for…” and “we’re the winners of…” will top every mailer you send out during the run of the competition, so make sure you get something great out of it for your band, even if it’s not the gold plated statue you’d hoped for.
3.) Promote A Nomination As A Win---
Even though it sounds like something your high school band instructor would tell you, just being nominated is really a win for you and your band. So, if you’re lucky enough to garner a nomination for your awards de jour, make sure your promo machine hails you as a winner. Start your announcement with, “We’ve been honored with a nomination for Best Pop Band” and not “We’re one of six bands that may win this award if we get enough votes.” The nomination itself is an accolade of its own accord and should be included to any list of band accomplishments. If, by chance, you happen to win the award or contest, then promote that as another bigger accomplishment. For example: “We’ve been honored with nominations for the Best Music in the Universe Awards in five categories including: Best Drummer, Best Bass, Best Songwriting, and Best Female Vocals, and were thrilled to take home the award for Best Alternative Band.” To fans and industry alike, this looks like five awards and not one.
4.) A Win For A Band Member Is A Win For The Band---
As creative people, we all have a need to be recognized for our individual talents, and as such, would all like to be nominated and hopefully win for each of our respective specialties. But awards and contests can be fickle and even though your fans rave about your guitarist or your songwriting, it may be your drummer who walks away with a nomination/award. Remember always that a band is a unit...all for one and one for all...and that without your killer vocals and great songs, your drummer may never have been noticed in the first place. Therefore, promote any nominations and awards for your band’s team as a win for the band. If your singer wins a writing award for his/her lyrics, your band has won. If your bassist gets a pick endorsement, your band has won. If your guitar tech gets nominated for Best Tuning, your band has won.
Awards and contests can be tricky when egos, pride, and the eager anticipation to win, mix in with the already delicate balance of the creative temperaments that make-up a band. Keep this in mind and be careful when entering contests. Sure, it’s fun to get awards and prizes but not if it means your band will break up two weeks later. Enter into contests/award shows as a way to publicize your music and further your career as a band but try not to get caught up in the manic frenzy of seeking award wins like a crack addict in rehab. So, head to the mall, get a plaque engraved that says, “Best Band In The World” and stick it up in your rehearsal room to remind yourself that you’re a winner everyday just for: having the courage to write songs, record them, get up in front of people and play them, deal with critics reviewing your music, weathering rejections from the industry and entering into a very personal creative relationship with three or four other artistic people without murder ensuing. Then, when the time comes that your wall fills up with trophies and accolades from the industry, get a keg of beer invite the groupies and party like the rockstar you are.
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Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 700 affiliates to more than 126 million listeners. Her musicians’ assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los AngelesArea, where she resides. For more info: http://www.sheena-metal.com.
You want your musical skills to get better and better, right? Of course you do. If you are nowhere close to reaching your peak performance it's because you don't understand the process that helps you produce your best music all the time. Here's what you must do to constantly improve your talents:
- Compose something every day. The best way to make sure you get the most from your talents is to use them. This is simple advice, yet crucial. Write a piece of music every day. This doesn't need to be extravagant or even complete, rather just put your first thoughts down on paper, tape, disc, etc. Make composing part of your daily routine. Not everything you do will be "good", but the exercise will yield some bits and pieces that you can later turn into something special.
- Listen to music every day. Take that oh-so-important music bath every single day. If you're like me you have tons of music in your collection from Aztec Camera to ZZ Top. Don't just play it in the background, though. Take time from each day to really sit down and LISTEN to the music. Study carefully and then apply what you learn to your own work.
- Imitate other composers by writing in their style. The easiest way to grow is to get inside another composer's head. Many musicians learn through copying their favorites. While this is useful to improve your mechanical skills, imitation is critical to improving your composition skills. Pick artists you admire and compose in their style. To imitate without directly copying is harder than it sounds. Yet, this assignment tells you much about music, how other composers think, and what this means to you.
- Try other styles and forms of composition that you usually ignore. O. K. so you're a rocker. Nothing wrong with that. But have you considered composing for string quartet? No matter what your level of talent is, try this: Choose a simple tune like Row Row Row Your Boat and try to write multiple versions in various styles like rap, jazz, orchestral, new age, etc. Without having to worry about the melody, you are free to experiment with structure, chords, counter melodies, and so forth. Just because you don't like or aren't comfortable in a particular musical genre doesn't mean you shouldn't give it a whirl. Creativity means looking outside the boundaries. Leaving your comfort zone is the doorway to your best work. Do you really want to risk shutting out this world and stifling your musical talent? Then what are you waiting for?
- Play your pieces for friends and associates and ask for criticism. Find someone whose opinion you trust. While many friends don't want to upset you, ask them to be candid: "In giving advice seek to help, not to please, your friend." Ask for their help and constructive ideas. Don't apologize or interrupt. Just play your music all the way through and then ask open-ended, leading questions. Next, play the track again and analyze it in detail. Someone with musical knowledge means you can discuss the track on the same level. Wives, girlfriends, husbands, boyfriends, and your mother's opinion are worthless with this exercise. No offense, just the truth. Once you get opinions and advice, go back to the drawing board and put all you've learned to work and repeat the process again.
- Seek advice from a recognized expert. Find a mentor to review your work. Objective opinions, constructive criticism, and useful suggestions will really open your eyes and give you insight into your work. You might consider a professional critique. Some services review your work and make suggestions for a fee. It's a service I offer to my readers. You send me your demo tape and promotional material and I review them making suggestions on how you can make them better. Contact me when you want to take advantage of this special service.
- Produce your demo and send it into the market. Once you've been following the above steps diligently, you will be ready to put together your killer demo tape and start marketing your music talents and services. This is the real test of your skills. Don't fret rejection, use it to your advantage and make your work stronger.
- Evaluate your past work. Don't let your old music fade away. Dust it off and give it a critical listen. I once discovered an old song on a long-forgotten tape, reworked, recorded, and turned it into a jingle for a major advertiser. Once you've let music sit for some time, the warts really stick out. Use this distance from your work to improve your past, present, and future music.
You must follow this eight step process throughout your musical career. This crucial advice is essential to making sure you grow as an artist. That's what you want isn't it? This is how you do it.
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For more FREE music industry success material, stop by Jeffrey's Moneymaking Music Web site at http://www.jeffreypfisher.com and subscribe to his free Moneymaking Music Tip of the Week by sending an e-mail message to fishercg@mcs.com with "subscribe tip" in the subject or body.
1) Give your music away, hell...if you are a new act, you are unknown anyway, so by giving your music away in either analog or digital ways you can help create a ‘Buzz’ and stand out from the other 75,000 other releases that came out last year. (That is a FACT, by the way). Then, pay attention to how your popularity grows, and as it does, give-a-way less and begin to sell your music at affordable prices for your fanbase.
2) Every record is a new release...if people haven’t heard it.Remember to put ANY and ALL past recordings up at your website as mp3 downloads, and on sale at all your live shows....remember the Long Tail Theory, (www.thelongtail.com)
and LIVE IT!! As your fanbase grows your fans will want anything you ever did, and this will expand as you attract more fans over the months and years ahead.
3) If you lent out ‘promo’ copies to various gatekeepers in retail, radio, the print media, and at live venues, and one day you see them for sale in used record stores, don’t get angry about it...BUY THEM back, no matter if you initially gave them away for free....then on your website have a special USED CD sale.
4) Another tip from Chris Anderson’s book ‘The Long Tail’... reduce the price of your music, and then cut 50 percent off all your recordings.(Do this for analog AND digital product)
5) Don’t laugh!...come up with some kind of coupon sale. Think up a marketing idea where your fans have to enter a coupon or promotional code at your website to get a discounton one or more of your recordings.(You can do this for digital downloads or for CDs.) and/or for ticket discounts for upcoming shows.
6) Offer to “include” the sales tax in your CDs sales,maybe even "for a limited time only” or for loyal repeat customers...or offer free shipping and handling.
7) Remember this golden thought.“If you are not out there promoting your music, someone else is out there promoting their music”.There is a tremendous amount of competition out there. THINK....what can you do that no one else has done, or better yet...steal a creative idea from someone else...hell, every advertiser in the world does this, why not you?!
8) Offer a free CD for every 3 CDs bought. You can do this at your live sales booth when you do concerts, or on your website...or BOTH! This way your fans can help you get the word out in an inexpensive way, and all fans LOVE to help their favorite band or artist.
9) Arrange to record a special ‘LIVE’ CD and invite only the fans who signed your email list to attend.You could do this in multiple markets, close to your home base. Charge them $25 for the live recording experience, (feed them spaghetti and salad as part of the deal), THEN tell them if they buy a copy of the LIVE CD that night, in advance, you will autograph the CD and remind them that they can hear themselves applaud and whistle on the recording....everybody wants to FEEL SPECIAL.
10) Never forget WHO your fan is. Study your fansat live shows...what kind of clothing do they wear? where did they buy it? where do eat before or after your gig?
Learn their lifestyle habits...and then use YOUR IMAGINATION to think up a clever co-promotion with an appropriate local merchant, restaurant, or coffee shop.
11) Get a local record store to help you with a sale promotion...If a customer buys one, they get another one free. (This is different than the buy one-get 2 free idea listed earlier. You have to be understanding of the records store’s needs...they don’t want to be giving a lot of your product away, in fact they would only do this if they felt that your promotion idea would help THEM sell more of the other CDs they carrry.)
12) When your catalog of recordings grow to multiple CDs etc. offer your fans price/packages, i.e. 1 CD at a given price, 2 for a slightly discounted price, and 3 for a more generous discount price, and ALL your back catalog for a super discounted price. You can do this for live concert sales, as well as offering the deal online at your website.
13) Invest in a CD duplicator, and at your gigs, offer fans a CD of ‘tonight’s concert’ for $15,and tell them it will be ready for them either within a few days of the concert by mail, or if you can afford a more elaborate duplicator, make it available to them RIGHT AWAY after the show. (And of course, YOU will be there to autograph that recording of the show you just performed.)
14) NEVER forget to have your email sign up list handy wherever you perform. AND have a place for them to write down not just their email address, but their birthday as well. The point is .... never forget that your fans appreciate being remembered, anyone does who has been a loyal customer, so email them a special song you wrote where you can drop in their name somewhere in the lyric, and send them a link to the song on their birthday....they will remember your kind gesture forever!
15) THIS IS AN EXERCISE! DO IT! Go back over this list and wherever you see the word ‘fan’ or ‘customer’ substitute the phrase “tribal member”....that’s right...I have been using traditional words used in traditional marketing, but really...in the music world today, the niche, or part of the greater music community you have as your fans....they are really like tribal members. In fact think of it this way. Your fanbase belongs to a unique group of individuals who not only like YOUR MUSIC, but music similar to your music. And if you DO STUDY your fans you will see they truly act like TRIBES, where the clothes they wear, the haircuts and body-wear they choose reflect a way of living....So, tap into that phrase “tribal member’. It is much more intimate, and will reveal many secrets to making your fans, LOYAL fans. DO IT!!
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Christopher Knabis an independent music business consultant based in Seattle, Washington. He is available for private consultations on promoting and marketing independent music, and can be reached by email at: Chris@Knab.com
Upcomming articles by Christopher Knab:
How Record Labels and Radio Stations Work Together -
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