Confessions of a Record Producer: How to Survive the Scams and Shams of the Music Business

Front Cover
Hal Leonard Corporation, 2006 - Music - 335 pages
2 Reviews
This fully updated and expanded book is not about how the music business should work, but how it does work. Industry insider Moses Avalon tells it like it is - how producers dip into budgets, artists steal songs, lawyers write contracts in code - and shows you how to survive these and other career-stifling situations. Deconstructing actual major and indie-label record deals, this book dissects each party's involvement and offers perspective on their actual roles, how much they get paid, and what their agendas really are. Engineers, managers, producers, artists, labels and lawyers each take their turn in the hot seat. It also outlines realistic alternatives for newcomers, such as "baby" production deals and vanity labels. This third edition includes: an entire chapter comparing ASCAP and BMI - a publishing first * new insights for indie artists, including the lowdown on digital-distribution scams and independent AandR * information on new legislation and its impact on sampling and other legal matters * new music-industry "family trees" that reflect recent consolidation and reorganization * 80 pages of new material * and much more.
  

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Review: Confessions of a Record Producer: How to Survive the Scams and Shams of the Music Business

User Review  - Jaden - Goodreads

This is just a ''must have'' if you wish to know what the music industry is all about. Read full review

Review: Confessions of a Record Producer: How to Survive the Scams and Shams of the Music Business

User Review  - G. Tramaine Peoples - Goodreads

Must read for any aspiring artists.. Read full review

Contents

The Players
The Pros
Lawyers
1
Conflicts of Interest
3
AR
4
Managers
6
Publicists Booking Agents Tour Managers and Image Consultants
9
The Creators
12
Producers Compensation Package
12
The Producer as a Virtual Partner
13
Wheres My Contract?
14
What You Dont Know Will Hurt You
15
Screwing the Producer or the ReRecord
16
Letters of Direction LODs
19
Artists LOD
21
WrapUp Who Earned What?
22

The Survivor
12
The Jobber
12
Songwriters
12
Engineers
12
Artists
9
Producers
9
Control Freaks
14
Counteracting the Effects of the Control Freak
16
Companies Companies Companies
17
Record Companies
18
Publishing Companies
1
Copyright Administration Companies
2
The Unions
5
The AFM
6
AFTRA
8
Publicity Companies
9
Distribution Companies
10
Etailers
11
Rights Clearinghouses
12
The Harry Fox Agency the HFA
12
The RIAA
12
The Deal
12
Understanding Distribution or Why Are There So Many Logos on the Record?
12
What Is a Real Independent Label?
12
OneDeep TwoDeep Labels
12
The Major Label Deal from the Artists Point of View
7
Recoupable Financing The Moving Goal Post
7
The Big Four Deal with RealDeal Numbers
7
So How Long Till I See Some Money?
7
Packaging Deductions and Giveaways
7
The 34 Royalty
13
Deep in the Hole
15
Returns Reserves and Cutouts
17
CrossCollateralization or Robbing Peter to Pay Paul
19
A Major Label Deal Is Like Having a Credit Card at 66 Interest
20
DropKicked from the Roster
21
How Long Till the Record Comes Out?
22
Be Careful What You Wish For
23
Publishing Deals The 200 Pie or 100 of Something is Better than 200 of Nothing
1
ThreeQuarter Rate
2
Publishing Advances and Their Deductions
3
Sample Rights
4
The Workaround for Recoupment Hell
5
Collecting Money in the New Economy
7
The Major Label Deal from the Producers Point of View
8
The ArtistProducer Conflict
8
The Allin Deal
8
NonAllln Deals
8
The Spec Deal
6
Kickbacks
9
Kickbacks to AR
10
The Major Label Deal from the Record Companys Point of View
14
Deductions
15
Aggregation Fees
16
To the Artist
17
Image Molding
18
A Bit of History
21
Sponsors
25
The Single
28
Who Picks the Single
29
Billboard or Bullboard?
30
SoundScan
7
Airplay Webcasting
11
NetHype
13
The Independent Record Deal The Birth of the New Indie
17
The Independent Record Deal from the Point of View of the Record Company
4
The Hot Sheets
4
The Independent Record Deal from the Point of View of the Artist
3
Publishing and Royalties
3
Indie in Disguise
3
Speed Trends
5
CrossCollateralization
7
The Baby Record Deal
10
The ArtistProducer Production Deal
11
The Joint Venture
12
Cutting Out the Producer
12
Contraceptive Contracts
12
The Vanity Label
12
The Virtual Budget and the Virtual Producers Fee
12
Artist
23
Producer
26
Scams and Shams
1
Watching Your Back
1
The Myth of Copyright Protection or Hey They Stole My Song
1
Suing Stars
1
When Band Members Sue Each Other
2
Collecting Your Money
2
Blockage
2
Name Blockage
2
SoundAlikes
2
SampleAlikes
2
Master Fraud
2
Clears
2
Cleans
2
9to1 Publishing or Why Is There Only One Good Song on the Record?
2
CD Replicator Scams or Getting Duped by the Duper
3
Guaranteed Distribution
3
Cheapie Barcodes
3
The 1x vs 4x Debate
4
Fingerprinting and Bootlegging
4
Digital Deceptions iTunes Scams
4
Exclusivity
5
Termination and Opting Out or See You Later Aggregator
6
Independent AR Services
9
Sneaky Lawyer Stuff
14
Virtual Terms
15
Internet Labels and Their Nonexclusive Contracts
16
The Little Squeeze
18
Letters of Misdirection
20
Voted OutThe Band as a Corporate Entity
21
Legalease?
24
Warner Bros Record Contract
4
Conclusion
6
Miscellaneous Myths and Untruths
9
A R Dogma
11
Gigging a Lot Is Good Exposure to the Industry
12
Second Sendings
13
Labels Sign Bad Acts for Tax WriteOffs
14
The Mercy Signing
15
SoundScan Tells All
16
Illegal FileSharing Is Killing the Music Business
17
Are Sales Really Down?
18
So Are There Real Losses?
19
ASCAP vs BMI PRO Pontification
21
The Players and Their Game
22
Should You Bother to Join Either of Them?
22
Who Pays More
22
Were a Nonprofit So You Can Trust Us
22
Okay So Were Not Really a Nonprofit Big Whoop We Still Act Like One Right?
24
So Who Owns These Guys?
31
Who Controls ASCAP
32
The Bully Factor
33
So Which PRO Is Right for You?
39
Production Boners
41
You Must Record on a Digital Medium with at Least 100 Tracks
42
Why the Cassettes Sound Muddy
43
Marketing Mishigas
45
We Get to Say What Our Album Cover Will Look Like
46
Getting Credit Where Credit Is Due
49
Major Label Philosophy on Giving Credit to Sidemen and Engineers
52
How to Get Even
54
The Coproduction Credit
56
Industry Census
57
People in the Business Jews?
58
Are Women Discriminated Against in the Music Business?
1
The Big Picture or the Record Industry from the Point of View of the Rest of the World
3
Do Record Companies Really Make Any Money?
4
Loss Leader
5
A Map of the Financial Universe
2004
Major Label Family Trees The Big Four as of 2005
RecordPause
Final Word
Family Trees of Big Six Distributors as of January 1998
ACKNOWLEDGMENTS
WHO IS MOSES AVALON AND WHAT IS THE MOSES AVALON COMPANY?
INDEX
Copyright

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About the author (2006)

Avalon has produced and engineered records for Warner Brothers, Atlantic Records, and many independent labels.

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