This course provides an engaging and methodical insight into the past and present cultural and commercial music industry developments, directions, and trends. It will equip the students with the knowledge and skills necessary to appreciate, understand and more productively participate in today’s music industry field.
Methods and Practices: Concert Promotion (Part 2)
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来自 West Virginia University 的课程
新世界：当代音乐产业导航
55 个评分
从本节课中
Live Music Industry
与讲师见面
Darko VelichkovskiMusic Industry Program Director
Music Industry
room on
them
the every concert promotion organization
begins with the engagement all the act for the concert as we have seen earlier
it is a booking agent who is usually the first stop for a concert promoter
planning to obtain the services all the musical artist for a live performance
the to find out which agent represents which
are this a casa promoter can turn to a number of sources of information the
most often you sources are
the pole star in billboard publications the are this record labels
the arm by this website's and Casa promotions related conferences such as
those organized by
the association of performing arts presenters
when the appropriate agencies
are identified and the contact information obtained
a casa promoter would contact the agent and make the initial enquiries
as to the acts availability and fees this initial communication
should also include disclosing of the promoters general
organizational and budgetary plans to the agent if the general plan is
are within the boundaries all the tax standards and agent knows s
arm been the agent would
contact the axe manager to make an offer
if the act is interested the agent for then contact the promoter back
confirming the
acts asking guaranteed Fiji and the available dates and
requires the full preliminary budget and plan
for the performers in question all the estimated expenses are to be included
from the venue rental are this can t
and insurance to administering personnel we're cruisin stage light sound
production at this point
the promoter would output
the hold on the venue it was the performance is to take place
and begin the negotiation with the agent regarding the details
all the acts engagement it is not unusual to have the preliminary
documents go back and forth between the agent
manager and the promoter several times before the final agreement is reached
now although the negotiations can
natural result in all kinds of scenarios the sump expected
standard industry norms regarding the financial arrangement between
the act and the promoter the usually adhere to buy these two parties
one of these norms is that are less
the performances for long for-profit entity the Act would receive
a guaranteed fee plus a percentage of the profits
this percentage level and what this consumer profits
is another part of the norms in the concert promotion business
the calculation of it includes an additional standard see
the promoters initial pay usually
itemized in the preliminary budget as 15 percent
all the total estimate is this press so he would have
something like estimated expenses being to take ten thousand dollars
are promoters initial pay would be fifteen percent to that which is fifteen
hundred dollars
I was important to remember that the estimated expenses include
all the expenses related to the Casa including the
acts against the tree cell here the estimate is missus will be
at: eight thousand dollars for venue sure in slavery production
plus two thousand dollars for actually at the giving us
ten thousand dollars in estimate expresses not to arrive
at the profits portion and copulate the final split
yet and now the norm is used the split point
which is the sum all the Xmas passes
and the promoters 15 percent so
Priya estimated expenses at ten thousand dollars
promoters initial pay at fifteen hundred dollars the split point will be ten
thousand dollars plus 1500 gives us
eleven thousand five hundred dollars any revenues that
performance makes be on display point is called the bed
and and would be split between the act
and the promoter most often according to the a the 8515 norm
eighty-five percent for the Act 15 percent for the promoter
so now we have estimated expenses
ten thousand dollars promoters initial pay fifty hundred dollars
split point being eleven thousand five hundred dollars
if we have ticket sales with a fifteen thousand dollars
that will make the back and 15,000 minus
11,500 or thirty five hundred dollars
now acts back and cut he is
eighty-five percent to that right so eighty five percent to thirty five
hundred dollars gives as
2975 promoters back and cut
is 15 percent the 3500 which is 525
acts total is thus two thousand dollars guaranteed free
plus 2950 back and cut use them
49 50 promoter startle is fifteen hundred dollars initial pay
plus 525 back and cut is that the love 2025 dollars
now another important aspect of the promoters consideration years the acts
contractor writer
while the face page all the acts contract
includes their fundamental items such as date place duration:
acts fee back and consider the
rider includes all the technical transportation
and hospitality details required by the Act
naturally says the Express is required for the fulfillment of such requirements
can be considerable
a promoter wouldn't normally not be able to
accompli the preliminary budget and be willing to sign the contract
without it and that's why the promoter usually request
the acts rider in the early stages of the communication with the booking agent
the type and the quality all the stage light and sound equipment
the mode of transportation the class so the hotel's
the scope of the catering and so on are all crucial
to the promoters consideration of the Act
and Britain financial calculations it is important to note
that all the items in the right there I usually open to negotiations and the
the final decision usually depends on the willingness
of the two parties to compromise within the boundaries
all realistic and reasonable possibilities all of the above
considerations
and norms hold true to virtually Bob
old medium to large venue casa promotions and
season acts when it comes to small venues on the other hand
and the acts in the early stages of their careers a promoter
often works directly with the Act without the booking agent
intermediary additionally the financial arrangement so the booking are usually
much
simpler a promoter would normally offer the act
one of the following in exchange for their performance
one against the flat fee
to I free or a percentage of the door many
ticket sales whichever is larger 3
a percentage of the door only for
a percentage of the drink or bar receipts only if the tickets are not
sold
now if the promoter is a venue like a bar or club
all these booking options except for the first time of course
carry no financial risk for the promoter and the entire risk burden
is shifted to the act if
the funds received for the performance I'm not sufficient
to cover the access passes like travel lodging the Act would have to cover
those themselves
and us lose money on the deal if the promoter is not
a club or a bar by the individual or company that has to rent such
venue for the performance all the above options naturally carry a financial risk
for the promoter
as well as for the band if an act is performing on a percentage basis
that percentage is usually a percentage of the
grossed door or drink receipts not an amount adjusted
for the cost of the rent
those if not enough tickets or drinks were sold to cover the venue rental fee
from the promoters cut the such sales
the promoter still halls the rental fee and loses money on the performance of
rest since we'll have
are hey if act is offered up 50 percent to the door
no flat fee the toll croc club brent is that a five hundred dollars
and the total ticket sales are eight hundred dollars the
act Scott more take-home is therefore four hundred dollars
how awful 800 height what is left is the promoters cut
which is another four hundred dollars another 50 percent now
after five hundred dollar rental fees paid the promoter is
one hundred dollars in debt the budget thing a live performance means creating
a plan
the details expenses and revenues are
relevant to the performance creating a projection of how and where the money
will be spent in
organize a concert and how much money will be taken in
as a result a casa promotion budget
is a roadmap that has a dual purpose
it isn't instrument to gauging a possible financial potential of the
performance
as well as a guy informing organization and scheduling actions during the
concert preparations
it should be kept in mind that as a projection
as an estimation a budget is never
minute Lee precise and that certain deviations are expected
what this precise and backed by receipts
he is the concert promotions settlement document or the settlement sheet
it is a financial report document it is being compiled
as the organization of the Casa progresses
which includes the original estimated budget
as well as the actual expenses and revenues columns
meaning it is the budgeted and the actual financial situation presented
side by side this document is finalized the day
on the concert after the los ticket this old and is used in the financial
settlement procedure
between the promoter and the act
either just prior or just after the performance
depending on the axe contractual requirements regarding this issue
naturally in preparing the Budget
the estimated expresses are much more
under the promoters control in the estimated revenue side of the budget
the course the virtually all the necessary rental services and personnel
can usually be
estimated within the relatively small margin of error meticulous research
clear communication and timely engagement where the relevant parties
providing
media rental services and personnel is the key to minimizing
errors in estimating excesses however the revenues are another story
well there are certain things that promote this can do
to maximize their potential for ticket sales and profits
there are never any true guarantees in this area the most brilliant marketing
campaign the most sophisticated PR effort is the most relevant and current
choice of an
act in programming are not a guarantee of profits
which doesn't mean that those instruments or promotion should not be
used
they should and must be used but they're by no means a guarantee of the financial
success
all alive kasich see the estimated revenue side of the budget
is thus more or less the best educated yes
based on a number of parameters the sales history of the Act the
popularity of the act in the area the size of the
or the Asus for the axe John the demographics of the area
it is nevertheless a crucial part to the budget a determining factor
in the promoters commitment to the particular alive
performance plans
the
them
