Company description::
Reported by Scott G (The G-Man)
If you're in the music business, you need the data in Moses Avalon's "Confessions of a Record Producer" book or workshop. Lots of people agree: there were recording artists, songwriters, publishers, managers, an agent, a producer, a session musician, entertainment attorneys, and record label executives in the sessions I attended.
Oh yes, and one mother whose young daughter is being offered contracts she thinks are "unreadable or misleading or both."
Go Figure.
With printed and projected examples, always using language taken from actual contracts from the five major labels, Avalon clearly exposed how artists are paid for 80% of 90% of albums sold, while being subject to such legal but dubious deductions as a 25% charge for "packaging" (referring to the plastic jewel case that cannot cost more than a few cents).
Sell a million albums? Fine. You'll be paid as if you sold 720,000 albums. Minus the 25% packaging fee. Minus numerous deductions that cut into your percentage. Minus charges for recoupable expenses like tour support, publicity, promotion, "breakage," etc.
Using standard major record label contractual practices, a 4-person band that sells 1,000,000 albums might expect to receive $76,000 each after two years of recording and touring. It might be a gas to be on tour playing your music, but you would have made more money selling insurance. And this doesn't even consider the fact that a regular day gig may provide healthcare benefits and a 401(k), and a recording contract doesn't.
Earn Millions, Take Home Thousands.
Not that there's anything wrong with earning millions for the record company while working on your music. The world really doesn't work the way it appears on "MTV Cribs." You may make a name for yourself and create music that endures (and earns money for you the rest of your life). Just be certain you're not signing with a major label in order to be living large.
Does that mean the workshop is all doom and gloom? No, because there is empowerment from getting the facts. And besides, the workshop sessions are quite entertaining, as Avalon is a good presenter who enjoys mixing it up with attendees. "I love it when attorneys argue with me," he states. "They almost always lose the argument, and even when they don't, it's good fun for me, for them, and for everyone listening."
Face the Facts.
Avalon's goal is not to discourage anyone from a music career. "You think I'm pessimistic about all this?" Avalon asks. "I'm not. I'm just letting you see how the business works. You should know what you're getting into, that's all."
"Whether you come to me, attend my workshop, read my books, or rely on other sources, the fact is that you really must obtain this data from somewhere," he states. "Frank Zappa pointed out that there's more business than music in the music business, and he was absolutely correct."
Follow the Money.
One of the most fascinating portions of the event were charts that showed the way money flows from consumer to record company to artist via distributor, publisher, producer, etc., with side trips involving licensing in an increasing number of media (ring tones being the most recent).
Lawyer-speak.
In addition to helping you wade through lawyer-speak, the workshop covered such topics as advances, royalties, deal memos, the value of copyright, sources of income for artists/songwriters, option periods, and the difference between major labels, pseudo-indie labels, and true independent labels.
However you obtain the information in Avalon's books and workshops, you MUST have it. Otherwise, while you're in music, you're not in the music business. Getting this data will empower you. And that should lead to more music being created and enjoyed all over the world.
The G-Man creates songs and commercials from his Los Angeles studio. Hear his music on iTunes or at: www.gmanmusic.com.
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