Musicians understandably don’t like dealing with the business side, for the most part. Some of them are really good at it, but most do not enjoy it. And that’s really why I wrote the book: There are a few key concepts that, if you understand them, can really help you understand how your money comes in and where it’s supposed to come from. And then you can more intelligently participate in the decisions in your life. Heritage artists are mostly making their money off touring. It’s very difficult if not impossible for them to get on the radio, because their audience is older and not that interested in new music. They will have some success with it, but not at the level they enjoyed in their heyday. They also make money off their catalogs, which still sell quite well and make some money for them as well. The music business is one of the most competitive industries out there. For decades, the best a good band could hope for was to tour extensively, praying that a talent scout was at one of their shows or somehow got their demo (and actually listened to it) and then signed them to a label deal. But to say times have changed is an understatement, as big as the business itself. For more than twenty-five years, All You Need to Know About the Music Business has been universally regarded as the definitive guide to the music industry. Now in its tenth edition, Donald Passman leads novices and experts alike through what has been the most profound change in the music business since the days of wax cylinders and piano rolls. For the first time in history, music is no longer monetized by selling something—it’s monetized by how many times listeners stream a song. And that completely changes the ecosystem of the business, as Passman explains in detail. Considered the industry bible by the Los Angeles Times, All You Need to Know About the Music Business: Ninth Edition is a gem of a book by the music lawyer Donald Passman. It is basically the de facto guide for the music industry and is highly recommended for anyone who wants to get into it.

All You Need to Know About the Music Business: 9th Edition

The only downside to the book is nothing you can't imagine: with industries like music, things are changing quite a bit. Streaming is now how most music is consumed, and that has disrupted the business model quite a bit. There's, for example the advent of Fan Powered Royalties by SoundCloud, which was an ideal at the time he wrote the book (2019), but became a reality in early 2021. But this doesn't take away from the usefulness of the book. But it still depends. On the other hand, if you want to be a world-renowned artist on the radio, promoted in every territory, that’s something no artist has been able to do yet without the help of a major label that has money, expertise and clout.

It’s an unprecedented era for artists right now. Home-recording is easier and more accessible than ever, as is interacting with fans from a phone, and building a following from your bedroom studio. If you’re making music and hoping to make it big, definitely add these to your reading list. 1. How To Make It in the New Music Business And that passion element is really interesting. I work in marketing, so I talk to people all the time about what really makes them unique. “Dude Releases Record” isn’t really press worthy. Of your most successful clients, would you say that most of them had interests and passions outside of music that they also pursued? Yes. That’s a familiar story, a lot like mine. And of course, you’ve written a really great book about the music industry that has had many new editions over the years. Which sections have you found you needed to update the most with each re-write? Donald Passman’s iconic music guidebook was first published in 1991. Nine editions later, this book is still a go-to bible of the business, providing advice for musicians, managers, promoters, and publishers alike.

All You Need to Know About the Music Business [PDF] [EPUB] All You Need to Know About the Music Business

Finally, All You Need to Know About the Music Businessisn’t told by a musician at all, but rather a lawyer who’s worked in the business. The book has been consistently updated for over 20 years, and offers both current and timeless advice for anyone looking to make it in this fiercely competitive field. Mr. Passman has been in the industry for a LONG time, and he breaks things down here for those of us that need a crash course. Certainly in the beginning, whether you’re going to do it entirely on your own or attach to a label, you have to build a fan base, a presence and an audience. I definitely want to get more into aspects of the digital world, but having been involved with music and entertainment law for so many years, which areas in the music business do you think are the most commonly misunderstood by artists and others? When I was trying to make it as a musician, it was publishing that always baffled me.The book contains a lot of interesting chapters including protecting your name and music, sampling legally, avoiding legal issues, and how to collaborate with other musicians. You should look into this one. Conclusion And how are you seeing the heritage artists stay alive now that the master bundle of rights are not as valuable as they once were? Where are their businesses headed?

Three Music Business Books That Could Help You Get Booked Three Music Business Books That Could Help You Get Booked

Herstand walks you through everything here from the ground up, citing his own personal experience, quitting his barista job and diving in fully to be an independent musician. The book explains the importance of things like establishing a constant presence on social media, getting songs placed in film and TV shows, and building a grassroots fanbase. And of course, earning money to keep your career going for the long haul. Some of them do and some of them don’t. A lot of them are just completely dedicated to their music career, even to the detriment of their family and personal life. But you get that in any business. If you read the Steve Jobs book, you’ll see that his family wasn’t his top priority. I don’t think that’s unique to the music business. Some people have a lot of interests, others are more focused on one thing. An understanding of the music business world isn’t the only thing you should be familiar with. You should also take some time to study the legal aspect if you want to run a business smoothly. You have a number of name brand artists as clients. Could you point to anything that those people do differently from the average musician that is not as successful as they have been?Exactly. And they also don’t care how many times they are told “No,” or how many obstacles are put in front of them; they just keep moving. Ari Herstand’s book argues that now is the best time ever to be a D.I.Y. musician, and he explains how to take advantage of all that this industry renaissance has to offer.

All You Need to Know About the Music Business: Eighth Edition

The Realist’s Guide to a Successful Music Careerpairs a successful indie musician, Umphrey McGee’s Joel Cummins, with author Matt DeCoursey. The book pulls no punches when it comes to practical steps to becoming a professional, with testimonials from celebs like Robbie Williams and Huey Lewis.PDF / EPUB File Name: All_You_Need_to_Know_About_the_Music_Busin_-_Donald_S_Passman.pdf, All_You_Need_to_Know_About_the_Music_Busin_-_Donald_S_Passman.epub There you have it. My top 10 essential readings when it comes to the music business. Of course, there are many more to read, including various articles and online courses. But these, I feel should empower you a lot and come to your aid when you step into the music world.