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                              So YOU want to be a Recording Artist.
Read these Cold Hard Facts

Where the MONEY really is in Recorded Music ....

FIRST, GET RID OF THE DELUSION: the vast majority of money made in Recorded
Music is earned from record sales.

IT IS NOT! - REPEAT - IT IS NOT!

THE FACT IS, RECORDS ARE NOTHING MORE THAN AUDIO BUSINESS CARDS! We just
happen to be in the only business where we can SELL our business cards, and
sometimes at a profit.

Second, GET INTO THE IDEA: the vast majority of the money is made in the
Live Concert Venues!

One more time: THE VAST MAJORITY OF THE MONEY MADE IN RECORDED MUSIC IS
EARNED IN LIVE CONCERT VENUES! In short, the bookings.

Crunch the numbers yourself: $.076 per song X (times) 10 songs (= $.76) per
album sold; X times the active parties: ExP = $.76 + (plus) Artist = $.76 =
$1.52 per album sold; and Songwriter(s) = $.38 (50% of Publisher's
Royalties) for a whopping $1.90 per 10 song album to the
ExP/Artist/Songwriter! That's a lot of money, right?

Now factor in the point: THE INDUSTRY AVERAGE IS SEVEN (7) OUT OF EIGHT (8)
ALBUMS RELEASED NEVER SELL A SINGLE COMMERCIAL COPY! Not a one.

Then factor in the COST of production and promotion of those SEVEN duds
before you get that Industry Average winner, IF you ever do. And factor in
the Industry Average that WHEN an album DOES sell, IT SELLS AN AVERAGE OF
50,000 COMMERCIAL COPIES.

However, 50,000 X $1.90 = $95,000.00 - and while that's a lot of money, ONE
properly prepared and managed Concert can gross $280,000.00 - and net about
50% or $140,000.00 - for what amounts to ONE DAY'S WORK! (And many days
preparation!) So we can see in an instant that ONE Industry Average Concert
can pay $45,000.00 more hard cash PROFIT in one day than an Industry
Average album (that happens to be that elusive ONE out of EIGHT) does in an
Industry Average TIME FRAME of about one year. That's a lot of money and a
very different TIME FRAME. For the record, TIME is also MONEY, and
especially in this Industry.

Let's take an INDUSTRY AVERAGE figure of $16,800,000.00 per year per act!
That's right, a new - beginning - Act that is doing this Best Of All
Industries THE REAL WAY this Best Of All Industries is REALLY DONE -
grosses an AVERAGE of $16,800,000.00 per year in LIVE CONCERT PERFORMANCES!

And that figure DOES NOT include any record (mechanical) royalties paid by
the Label/General Licenser.

Nor does it include public performance (airplay) royalties (if you can
blackmail your PRO out of them).

And it does NOT include any MERCHANDISING (T-Shirts, Dolls, Toys, Posters,
Plaques, Photos, etcetera) income either.

DID YOU GET THAT? . . . $16,800,000.00 for 60 DAYS WORK on the Stage!

Again, crunch some more numbers: A good working band plays an average of
TEN DAYS PER MONTH - EVERY OTHER MONTH! That means SIXTY (60) DAYS PER
YEAR. The average show paying the above $280,000.00 before expenses.

We'll cover the HOW TO GET THAT $16,800,000.00 - LOGISTICS AND ALL - as we go.

YES, this page is going to tell you how to get it!

First, you need to put your BUSINESS HOUSE in order! Being in ANY business
is being IN business. Businesses exist for one purpose, TO MAKE MONEY! The
product/service doesn't matter. And being IN the BUSINESS of being a
Recording Artist/Entertainer is no different. You need EXACTLY the same
administrative organization, INVESTMENT and MANAGEMENT as any other
BUSINESS operation, from the corner barber shop/beauty parlor, auto
service, etcetera, to the huge employer manufacturers, shopping malls, fast
food chains, and every other SUCCESSFUL venture.

Second, you need PROVEN product. Something, anything, that will log viable
COMMERCIAL radio airplay. You don't need to manufacture - and in fact
should not manufacture - in order to PROVE a product in today's technology.
(If you've already made the mistake of manufacturing, it can be undone, but
that is another story.) It's as simple as getting your music into any of
the promolibraries! Indie 'compilations' WILL NOT WORK! Even the LEGITIMATE
indie comps do not have sufficient coverage to satisfy the demands of
COMMERCIAL radio airplay, and especially when it comes to have sufficient
PROVEN product to influence INVESTORS. The MAJOR company composites do, the
indies don't.

Third, that PROVEN PRODUCT needs to be PROVEN through any of the legitimate
DISTRIBUTED Labels licensed with any of the Super EIGHT General Licensers,
or one of the limited (national/international) Licensers, such as Koch in
Canada. Jackass Records from over in the swamp absolutely WILL NOT qualify
for the INVESTORS! Period. Nitwilly Record Productions, Sewers Cleaned,
Cement Contractor & Shine Parlor regardless of where-the-hell they're
'located', can only manage to throw your record just about as far as you
can, AND NOTHING ELSE!

Your own 'label' or some equally 'renown' parallel is EQUALLY WORTHLESS at
achieving COMMERCIAL radio airplay and EQUALLY WORTHLESS for getting the
investment MONEY to take advantage of any given release.

Fifth, YOU NEED MONEY! You need a lot of it to exploit your PROVEN PRODUCT
success! And once you have PROVEN PRODUCT AND YOUR BUSINESS HOUSE IN ORDER,
we can and will put you on the desk of those INVESTORS who supply such
funding/financial support. They're not interested in your glory trip, THEY
ARE INTERESTED IN MAKING MONEY ON THEIR MONEY and anything even remotely
jackass DOES NOT QUALIFY and will get your proposal TRASH CANNED then and
there!

Fourth, (NO! These numbers are NOT out of order) to be able to GET THE
MONEY in point five, above, you need a QUALIFIED BUSINESS PLAN that will
influence the INVESTORS and that you can LIVE WITH once it's funded! Not
some jackass 'explanation' of your 'talented glory trip' DELUSIONS, but a
clear and concise presentation in accordance with SOUND BUSINESS PRINCIPALS!

To Wit: HOW much money is needed? WHERE it will be invested? WHO is going
to do WHAT? HOW MUCH profit is expected? HOW LONG are all these processes
going to take? And that's just for starters.

But here's how that process, and its logistics, actually works:

IN SPITE OF THE FACT only one record out of eight will sell any COMMERCIAL
copies at all, with the PROPER PROMOTION the best air-playing song can draw
thousands of people to the Artist's Concerts! That's Right! Each and every
time a broadcaster plays your record, it's the same thing as a BROADCAST
COMMERCIAL for your music, your record, and your LIVE CONCERTS! 

While the general public assumes (and all the fools think) the record is
selling like a house afire (even though THEY aren't buying it) they'll pay
top dollar to see the Artist in LIVE CONCERT! The age of everyday LIVE
MUSIC clubs for the Week End Star is NOTHING compared to a few years ago,
and now is not even a viable consideration.

Now BEFORE you blast-off incoherently on an "I've-already-got-that!"
scenario, which you really don't with all the right devils in the right
details, let's count up some money, starting from the END of the venture
and working backwards. 

The current (2000) RAGE in Concert Venues are those AmpiTheatres built with
TAX DOLLARS for the benefit of a VERY SELECT FEW private individuals. They
seat an average of 8,500 people with a Park Area capable of another
3,000/5,000 people, not counting the parking lot. Check the nearest
TicketMaster or Internet Concert Ticket Sales outlet and you'll find the
AVERAGE PRICE IS $35.00 (USC) PER. True some of the lessers don't get that,
and the REAL Stars get a whole lot more. But make no mistake, THESE FIGURES
ARE A VERY CONSERVATIVE AVERAGE!

A NON-sell-out of the seats alone, at 8,000 times $35.00 per is a very
generous $280,000.00 gross per concert - again being VERY CONSERVATIVE. And
these are the figures mentioned above.

8,000 TICKETS - (X) TIMES $35.00 EACH = $280,000.00

You should be booking TEN (10) days a month for no less than SIX (6) months
a year = 60 Concerts. 60 X $280,000.00 equals a BLAZING $16,800,000.00
GROSS INCOME for those 60 days on the road scattered over that year!

60 CONCERTS - (X) TIMES $280,000.00 = $16,800,000.00

BUT YOU CAN'T GET THOSE HIGH DOLLAR VENUES WITHOUT A SOLID COMMERCIAL
PRODUCT! Period. You flatly are not going to get the INVESTMENT to book the
Astrodome with a Jackass Productions record from over next to the freight
yard. ANYONE WHO THINKS THEY CAN IS A DAMNED FOOL, AND ANYONE WHO SAYS THEY
CAN IS A DAMNED LIAR!

So, you need a COMMERCIALLY ACCEPTABLE record - on a COMMERCIALLY
ACCEPTABLE label - licensed and distributed by a COMMERCIALLY ACCEPTABLE
licenser. Get it? Anything less is pure and unvarnished POPPYCOCK!

Now THAT isn't as hard to get as you would think unless you're living under
the DELIBERATELY PERPETUATED Beer Joint Baritone DELUSION that 'someone' is
going to finance your pipe dream because you 'have talent'. If you're still
THAT STUPID you're wasting your time reading this, or any other, legitimate
information.

THE FINANCIAL FACTS ARE: once you have a PROVEN (Commercially Acceptable)
PRODUCT and YOUR BUSINESS HOUSE in order, INVESTORS are willing to look at
and perhaps INVEST the amount of MONEY it takes to PROMOTE such high paying
Venues. But not until.

But let's break that whopping $16,800,000.00 estimate down a bit, and into
the REALITIES of Business.

First, that is the ESTIMATED GROSS! There are all the EXPENSES to come out
of it. So let's use a close estimate that each of those $280,000.00
Concerts actually COST you 50% ($140,000.00) to produce: rent, advertising,
security, insurance, sound, lights, travel, communications, clean-up,
etcetera. Suddenly your NET begins to take on the aura of reality.

It's now down to $8,400,000.00 per that 60 SHOW YEAR - and that's still a
lot of cold, hard, pleasure buying loot!

But we're not done yet. There's the little matter of the INITIAL INVESTMENT
to repay. And let's venture that INITIAL INVESTMENT was $5,000,000.00 upon
acceptance of your BUSINESS PLAN and funding thereof by the INVESTORS.
There's going to be ACCRUED INTEREST. Everybody is in business to make
money, and the ROI (Return On Investment) for the FINANCIERS is no
exception. So you minus the $5,000,000.00 plus an interest of $1,000,000.00
leaving you with a tidy $2,400,000.00 before taxes.

THE FIGURES ARE EXAMPLES ONLY, and the actual numbers will be far more
precise. Even so, even these numbers ask the question:

Are YOU ready to begin the process to earn that $2,400,000.00 the first
year in Recorded Music?

Right here, most people, and all Beer Joint Baritones who are scared to
death of a Million Dollars find every excuse under the Sun to escape. They
neither want, nor can they handle, such responsibility. Nobody will blame
them for walking. But then and there such actions clearly show to any and
all the real value of their 'talent'.

But YOU are ready to take the plunge! First Step: PROVE THE MUSIC. - How?

It's a simple matter of MARKET TESTING your product to determine if it will
LOG VIABLE COMMERCIAL RADIO AIRPLAY. If it logs VIABLE COMMERCIAL airplay,
you've got the one-and-only indicator to invest more money into the
product. If not, cut your losses on THAT production and try something else.
Now having said that one more time, let's cut to the PROVEN PRODUCT chase -
once you get it.

The current best-bang-for-the-buck are promolibraries. Promolibraries don't
solve all the problems, but they're the quickest and lowest-cost quality
test available in today's market.

Second, is to get the BEST song out of the promolibrary results into one of
the MAJOR LABEL composites. Most Majors won't even consider anything they
don't own lock, stock and tadpoles, but VMG does! More about that later.

Or (and this is YOUR choice) once you get satisfactory results from the
promolibraries to indicate your product will LOG SUFFICIENT COMMERCIAL
RADIO AIRPLAY, you might want to consider going directly for an album. If
promolibrary results are deemed sufficient to justify the expense/investment.

PROOF, is Proof, is proof, and you're still going to need a hard product
BEFORE you can even consider getting on the desk of the INVESTORS! So, now
that we have A PROVEN SOMETHING:

We take TEN (10) songs, no more, all RADIO FRIENDLY, and release an album.
NOT through Jackass Productions, Manure Hauling and Goat Currying, but via
the General Licenser you uploaded your promolibrary product through! And we
release it World Wide. Now, WIN, LOSE or DRAW, we have the PROVEN product
to go to step three.

Three, WITH YOUR PROVEN PRODUCT AND YOUR BUSINESS HOUSE IN ORDER, we can
put you on the desk of those INVESTORS who can shell out the $1 to
5+Million long-green you'll need to BUY the services and logistics to get
those HUGE Venues we spoke of just a few paragraphs above.

You'll have to meet a few logistical standards, beside your Business House
being in order, but the average investment loan is ONE (1) TO FIVE (5)
MILLION DOLLARS! And not one penny of it released to party! Every penny is
already dedicated. Every cent is allocated to the facilities, equipment,
salaries, insurance's and administrative logistics you're going to need to
deliver those performances. And to get it you also need a SOUND BUSINESS
PLAN. What you're going to do with the money, how long it's going to take
to do it, how much ROI (Return On Investment) the INVESTORS are going to be
repaid, etceteras, as mentioned above.

So, you've got a Business House in Order, sufficient PROVEN product, and
FIVE MILLION DOLLARS that will be spent properly and in exact accordance
with your Business Plan, and you are about this business in no un-certain
terms. 

$5-Million Bucks. Owed to the Investors/Lenders. BUT THAT IS PEANUTS!

IF - REPEAT - IF you are about the BUSINESS OF THE BUSINESS you're going to
book that 60 Concerts - make that $16.8+Million - PAY BACK THOSE INVESTORS
- and BE IN THIS BUSINESS right up-with and along-side everybody else who
is any body else, you need to know the START UP COSTS.

INITIAL START UP INVESTMENTS = promolibrary uploads are $450.00 per song at
VMG. Other companies charge their own prices, which includes those
independent promolibrary operations now coming alive on the net.

How many songs will it take before you have a solid air-logger? Nobody
knows. FOUR (4) out of FIVE (5) songs released never log one split second
of COMMERCIAL Radio Airplay!

And that's why you DO NOT - REPEAT - DO NOT blow your wad on an album at
the get-go! Only an INDUSTRY IGNORANT does that. They've documented their
own INDUSTRY IGNORANCE by releasing a product that doesn't have any Market
Test on it and therefore NO MARKET FOR IT! And it's done everyday by those
who buy-into the WHAT-NEVER-DID-WORK myths and delusions of the Beer Joint
Baritone community.

And WHERE can you get your product into the promoliobraries?

You have several choices. First, there are Independent promolibraries (some
on the internet), and they'll have the best prices. Some Independents
upload through one or more of the General Licensers, while others just
trade out (like they all do). The Major Labels offer the service (if
they'll take your product), and their prices are usually higher than
Independents, but IT PUTS THAT LABEL IN YOUR POCKET should you produce any
viable success. And last, are the Super Eight General Licensers direct,
only at a huge increase in cost over the Labels and way-above the
Independents, IF - REPEAT - IF you can get them to accept your product to
begin with.

The few Major Labels and Independents will upload anything and everything,
but NOT because of the money! Those Majors and Independents WILL NOT SIT IN
JUDGMENT as to whether your product will air or not - but the Major Labels
might not want product out of their dedicated line. Nobody really knows
whether your product will succeed or not, so the Independents upload it and
find out. In either instance, success is success is success and EVERYBODY
WANTS IN ON IT ONCE YOU HAVE IT!

Do you want THAT kind of a deal and opportunity?

Well, THAT and ONLY THAT is what VMG in conjunction with
 EarthQuake Records  reaches for every time.

Let EarthQuake Records guide you threw your Project.

E-mail

Call       419    668-9110    or    419    499-4014