Read these Cold Hard
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
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
ExP/Artist/Songwriter! That's a lot of money,
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
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
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
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
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,
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
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
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,
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
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
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
THE FINANCIAL FACTS ARE: once you have a PROVEN
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,
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
THE FIGURES ARE EXAMPLES ONLY, and the actual
numbers will be far more
precise. Even so, even these numbers ask the
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.
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
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
$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
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
And WHERE can you get your product into the
You have several choices. First, there are Independent
on the internet), and they'll have the best prices.
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
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
Well, THAT and ONLY THAT is what
VMG in conjunction with
reaches for every time.
Let EarthQuake Records guide you
threw your Project.
419 668-9110 or 419