SXSW Music 2007 - March 14-18, Austin, Texas

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It's a blog, it's a SXSW Music panel. How to survive, thrive, and be happy working with the universally loved art form called music. Please feel free to comment to add to this discussion. Off-topic commentary will be moderated accordingly.

The SXSW 2007 Music panel Idiots Unite! takes place Thursday, March 15th at 2:45 PM in the Austin Convention Center.

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    March 6, 2007

    Consider this

    Posted in Latest News by celia at 1:07 pm

    Thanks for showing us your solution to the US to UK band release issues. It’s brave and I for one appreciate it.

    For any label, indie or major, having the product long enough to recoup and potentially be lucky enough to earn money is the key. Indies understand that their financial input is limited, so term of the contract is limited as well.

    But I can’t imagine how, unless the UK got lucky quick, they would recoup their investments and earn a check for $70K to offset the fact that they were only handling the license for 3 years. Can you explain the economics of that? Did the band tour to sell records there (often very important). Was the band already established? How much were they selling the CD for?

    I’m looking at record deals right now where the artist/manager fund much of the initial marketing (which we jointly agree), and we take a limited financial role on the first record, but pick up full share on the second. That allows us all build a future together with our collective investments.

    Though I understand your disgust at tying release commitments in the Uk to the US label, I don’t agree that the UK distributor’s only risk is printing CDs and putting sales sheet in their solicitation book. Most labels fund their own printing, and a distributors revenue is to earn income based on sales. They are motivated by what drivers the label creates to sell records into retail aren’t they?

    Record labels are in many ways banking on the future of a band. But in your scenario, they only get a 3 year window. Shouldn’t they be able to reap some time in that investment?

    And though some labels finance a lot of the recordings, plenty of bands bring finished masters to the table these days, so the label can put that money into marketing.

    How can we build reasonable contracts that meet the needs of the band and their labels?

    Maybe a longer term in the UK - ie: double digit years. Or a percentage on album 2 for the British indie, if it goes to a major?

    I was particularly interested in the international distribution idea you brought forth. Is that real? Highly controversial but very understandable.


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