Part 5: The Recording Industry. Chapter 15 Start Thinking... What does it take to get music recorded...
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Transcript of Part 5: The Recording Industry. Chapter 15 Start Thinking... What does it take to get music recorded...
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Part 5: The Recording Industry
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Chapter 15
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Start Thinking. . . What does it take to get music recorded and
distributed?Who are the different people involved in this
complex industry?Are major labels receding in importance?
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Chapter GoalsAcquire an understanding of the history of
the record industry and how it came to its present condition.
Gain a true picture of the record business by analyzing it in terms of major versus independent labels.
Learn how record companies function through their various structures.
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Development of Recorded MusicLate 1800s early inventions
1900 – 1920s record sales begin, “commercial” jazz
1930s Great Depression , jukeboxes
1940s singles, jukeboxes, one-stops, LPs
1950s TV, rock and roll, rack jobbing, stereo sound
1960s social turmoil, retailing, Beatles, major labels
1970s indie labels, singer-songwriters, crossover recordings
1980s technological change, CDs, video
1990s home recordings, DAT, electronic delivery of music
2000s piracy and P2P file sharing, legal downloads, 360 deals
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Perspective3,000+ labels in the U.S.Major label
owned and/or distributed by major distribution company
Independent labelindies lack affiliation with a major
Majorsdominate salesare well funded
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Major LabelsTremendous investment in recordings requiredArtists attracted to majors
prestige + marketing fundsstability of established companymore elaborate recordings
Advantages in economies of scaleMaintain inventories for longer periodsClear advantage in costly marketing of recordsPush weak recordings to sales success
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Independent LabelsFirst to find the “next big thing”Successful indies may be bought out by
majorsTechnology blunted majors’ advantage
majors focus on most popular + most lucrativeleaves modest-selling artists + genres to indies
Develop brand name awareness + consumer loyalty
Connections at local and regional level
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Specialty LabelsSome of the most successful independents
classical musicSome release records “privately”Some may limit activities to certain
demographic marketsGospel music
effective promotional methodsSpecialty labels successful
don’t compete with mainstream musicdon’t rely on traditional or expensive
promotion
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Do-It-Yourself LabelsCDs + home-recording equipment +
broadband = DIYSome DIY labels progress into indie
companiesrun by small staffgain mastery of production, CD pressing,
downloads, guerrilla promotion, and marketingMixed track record
Radiohead
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Record Company StructureStructure and size may vary, but all
companies handle same basic tasks
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Record Company Structure
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Record Company StructureExecutive Officers CEO, COO, CFO, general managerOften strong entrepreneur who started labelTwo backgrounds for CEOs:
lawyerproducer
Must know “art of the deal”Must have good “ears”
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Record Company StructureArtist & Repertoire (A&R)Concerned with finding + signing new talentMust keep informedRemain involved after signing
assist artistsadminister production or budget details of
albumact as liaison between artist and label
Large labels may have separate A&R departments
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Record Company StructureDistribution/SalesConvince retailers to order and display CDsGet prominent “shelf space” at online storesScience in ordering specific quantities of CDs
don’t want excessive returnsdon’t want empty shelves
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Record Company StructureMarketingProduct managementRadio promotion
heart of marketingget airplay and chartingarrange promotional appearances, interviews,
giveawaysVideo promotion
airplay on TVvideo streaming on the Web
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Record Company StructureMarketingPublicity
media exposureless expensive than promotion
Advertisingco-op advertisingtrade publication ads
Creative servicesdesign all marketing campaign materials
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Record Company StructureSpecial Products (Catalog)Two core responsibilities:
1. handle requests to license masters of older product
2. find new ways to redesign or repackage music “best of” packages themed multi-artist compilations boxed sets
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Record Company StructureInternational DepartmentOversee foreign salesEnsure effective communication between
domestic and foreign affiliatesForeign sales may exceed domestic salesForeign territories will maintain their own
A&R operations
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Record Company StructureBusiness and Legal AffairsIndustry revolves around contracts and
copyrightsLegal department
negotiates and drafts agreementsminimizes litigation
Larger companies may break these into smaller departments
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Record Company StructureAccountingHandles a host of financial functions
recording budgetsinventorymanufacturingroyalties
(may be handled by separate department in larger company)
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Record Company StructureMerchandiseHistorically supported concert toursNow handles artist-related merchandise360 deals give labels a direct stake in
merchandise revenue
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Record Company StructurePublishing AffiliatesLabels generally own two publishing
companiesASCAP affiliateBMI affiliate
Seek to get publishing rights from artistsPublishing company
must show profit from own operationsmay sign artists not on record company’s
roster
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Trade AssociationsRecording Industry Association of AmericaRepresents both major and minor labelsCertifies best-selling recordsLobbies government for label-friendly
regulationsRepresents industry to consumersCollects industry statistics Battles online piracy and CD counterfeitingMost prominent force in the big music labels’
drive to curb piracy
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Trade AssociationsNational Academy of Recording Arts & SciencesHosts Grammy AwardsRegular membership
persons professionally active in industryAssociate membership
indirectly involved in record productionSponsors charitable endeavorsOffers grants and assistance programs
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For Further Thought. . . What advantages do major labels have over
independent labels?What unique offerings do independent labels
bring to the recording industry?Will Do-It-Yourself recording and distribution
make labels irrelevant in the future? Why or why not?