I am now a longer time with the music business and have learned many facets. I would like in this article devoted to the problems I mentioned in the last 16 months for myself have recognized.

Everything I write in this article is subject to copyright my personal and I do not permit this elsewhere without my written permission to publish. Similarly, I do not guarantee what the content of the article is concerned. You must read this for themselves and decide what you "take away" and what not.

I write only my own experiences down and you would like to participate can. Since there is a fairly detailed issue, I'll get it into several articles split.

Read on ....

1st Do I need a label?

The answer is clearly yes. ... Or is it? The answer is very clear: no. ... Precisely here is the problem.

I need a label that

• Brings a lot of knowledge
• Has many contacts
• Artists from my busy genre
• Solvent (not with "empire" confused)
• Reliable
• To keep its promises
• A management has made which I feel good
• A good press department has
• Has a functioning distribution
• At least a rudimentary good credit (<3.0) has
• Speaks my language
• My side
• Advises me

These are the minimum requirements, which are to provide a label should be. And believe me, they are not as aloof as much as you think!

I need no label that:

• Only serves me as an artist
• Only artists, who from a completely different environment come (eg hip-hop (he) and then a pop singer)
• The no personal contact for me or the ever-changing
• Do not have good credit
• The long-not even rudimentary successful had more pub -
• The number of employees in a short time to lose
• The artists give a very one-sided contracts

You must already beginning to make sure that it is a give and take by both sides and also can be!

There are many reasons and a few other hand, at a label to tie. It should be a pro and cons list and also to orient itself. This should include issues such as:

• I own songs
• I have a separate studio or access to a good studio
• I have musicians with me on my music work
• How big is my own financial framework
• I know people from the industry contacts allow me
• I have contacts with radio and television
• I have a label code, or someone I know, to me the available
• I have a distribution of my music in the trade can bring
• I have the graphic help me with my artwork
• I have developers who me to help my website
• I have friends who help me to gain notoriety
• I have people who write songs for me
• Can I use one or several instruments (even) play
• I'm mobile
• I trust me, people want to sell something
• I can "jack" preen
• I'm grown setbacks
• I can direct criticism of my person, my sales or my music tolerated
• I know right about modest musikbiz in
• I know how to read contracts
• I can even negotiate contracts
• I know myself with records from
• Can you REALLY music
• You can REALLY sing (so your voice because you want to market)

There are certainly many other issues. But this is firstly a beginning. It should in any case be honest with itself, because it has fewer musikbiz with your musical skills with so many other points just to do and it is also your success or fail to grow!

Do you have answered all the questions, the decision actually finds They are capable of it into their own hands or they need help - that is a label. Should the latter be the case as there are several points to note which I heartily recommend you REALLY wants to lay!

2nd You should have a manager.

The times are not so expensive and bring you some important advantages. A music manager brings a certain knowledge and protect you from mistakes, you really could quickly regret. In musikbiz a small error can possibly your career quickly quit or really much decide (even so, I will have something to say later). If you have a record contract to sign, you'll quickly be a manager to want. This alone can I find the sheer mockery! A manager must relate solely to the concerns of an artist - ie YOU! - Worry about you but he is from the label side has been, he is probably just as these concerns perceive, as long as they do not collide with the interests of the labels. He also will not give you a great help when it comes to a genuine dispute or serious disputes with the label comes. He is forced to act after the motto must be: "Beisse not in the hand that feeds you." He will also after you have other artists within the label support and without you there continues to earn his money.

Your manager will take many hours and days to spend with you, he is on tour with you and you go into many things discussed. They are forced to a kind of "end friendship" build. This is also a good thing, because the only way you can really trust. BUT! And here lies the problem! This may well lead to confrontation, so be sure to be anxious to conclude a treaty, even if a (already) Your friend should be manager. Insert the framework at an early stage (best right from the outset) notes.

• The involvement of the manager is between 15% to 30% of your revenue
• The manager should be a 2-year contract to get you alone can extend, not your manager! (two years already make sense, since he You and your career must first build)
• Give the manager a few liberties which are contractual matters, but let the things PREVIOUSLY but show.
• Involve your managers in business talks, otherwise you weaken him and make him with your future partners rather a "joke figure" and he will not be taken seriously
• Obtain the manager in your ideas / thoughts On. The deeper in the issue it is, the more likely it is you in your thinking and acting understand.

There are many people who are managers, but also probably applies here, unfortunately, the 80/20 rule Keep your eyes peeled when searching!

One must, of course, now the question: "And how do I now have a manager? Standing in the phone book? ". How difficult is actually not at all. There are so few possibilities:

• You can go to festivals with the bands and talk directly (as they not already "unapproachable" are)
• Man can speak with an organizer and then ask
• Man can deal with booking agents in touch and demand
• Man can be in big music stores (Session Walldorf ...) umhören
• Man kan on the websites of individual artists and go on their website looking for this information
• Or are you as "Artist Name" and as a manager search to Google. For Nena would be the "Nena manager," but without the ".

3rd They should play as much as possible we only

It is essential that you games - games - games! Only when you know you will show interest in you and get. It is not for you at the door and ring the bell after a CD ask!

• They play at OpenAir
• They play in clubs
• They offer themselves as "act" to
• They play at town festival
• They play at corporate events
• They play in village festivals

It is important that you make your Gage worry. From 100 euros - 1 million is everything, you have a substantial share out as your market evolves. The more you play, the more people take note of you. The greater the interest in you, the more likely it will be that you booked. The more often you booked, the more interesting you are. Interesting ever you are, the more cachet, you can take.

Are you more to cover band stuff, the Gage (with good visibility) as at 2000 euros per appearance. You want to get started as a solo artist and have already started to have success, the Gage 500 to 3000 Euros. Do you have a band that one or the other well-known artists includes, you can also require a good Gage.

You can use one thing your value but also a positive influence. Take on an album! Do you have enough songs together, make an album, or urge your label to do this. So you can direct sales field (where the emotion is still warm ) And you can get lucky with OnAir played.

In brief it continues ... ....