So what does a music manager do, exactly?
Being a music manager requires drive, determination and a passion for music.
To be a good music manager you need to be organized, excellent with people and have a good understanding of the industry as it stands today.
Your basic role is to bring together the people and projects which meet the goals of the artist and their record company. That goal could be anything from generating a top 10 hit or getting a gig at Glastonbury. Either way, you have to co-ordinate all aspects of the project, work with individuals and organisations such as event promoters, publicity agents and talent-booking agencies – as well as the artists and record labels you represent.
It’s down to you to ensure all projects run smoothly, deadlines are met and campaigns come together. Each party will be obsessing about their individual task, so it’s critical for a manager to remain focused on the bigger picture and end goal.
Your tasks also depend on what point your client is at in their career. If an artist is signed to a record label, you’ll need to keep in mind what they want to achieve for the musician. If you’re managing unsigned artists, your priority will be to generate as much work as possible to get them noticed and paid.
Whether you’re managing unknown musicians or major record labels, it’s important to understand the field of music in which your clients operate. Each different type of music has its own scene, fan base and unique way of working.
It’s important to research the music business you’re in – or want to enter – and identify the key influencers, from the big promoters and broadcasters, to record companies. Get to know the structure of the companies you’re dealing with too – be clear about how business is conducted, who is responsible for what and who the decision-makers are. Then go out and grab their attention and command their respect. Having an influential network helps, so always be professional but friendly and approachable to maintain and create new contacts.
You will also need to be able to cope well under pressure. Dealing with a range of different characters and organizations, all with their own pressures, can be challenging. When someone loses their cool you have to make sure you don’t – it’s your job to keep calm, see the strategic picture and put out the fires that other people start.
If you’re looking for a way into management then having a presence at the right places is a great way to get noticed. Many managers get appointed in all types of situations, such as gigs or clubs as nearly all the key people will be there.
Most managers start as promoters, assistants, engineers or even artists. Putting time in at different levels of the industry will arm you well in the future. The best way to start is to get experience in different departments and work your way up.
Starting you own operation is a great way to break into management and will gain you some real experience. It may feel like you’re at the bottom of a mountain, but it won’t be long until you find yourself half way to the top.
The music business is a great industry to work in, but to be a manager requires drive and determination which is driven by a passion for music. It’s fiercely competitive but, once you’ve made it, it can be one of the most fulfilling and often financially rewarding careers.
Terry Terell Brisco(born January 12,1985), better known by his stage name Mississippi Sipp is an Ceo American rapper and southern song writer. True Playas,Pimps,Hustlas and Fans of Down South Hardcore Reality Rap know Rapper & Ceo Mississippi Sipp Of Kandy Paint Records talent and street fame like they know their own. As a young successful 29yr old Player from the South and CEO of Kandy Paint Records Mississippi Sipp blazed the scene following local popular Southern rap acts such as Dj Bigg V (Fema Mixtape Vol 1.) Lower 9,BDP(BLACK DOGG POSSE),754 Boyz,Needle in a Haystack,Filthy South Coalition,Wrong Doing Records,Black Gold and countless of others to follow. As a Ceo,Artist,Song Writer,Producer and a Trill Hustler the LELAND MISSISSIPPI native is on the come up and is literally helping mold the sound of Southern rap music.Certain influences like Dj Screw, Master P,Juvenile,Project Pat,Baby,Lil-Keke,UGK,Mr.Pookie,SUC,LIL FLIP,CED T,3-6 Mafia,Playa Fly,Big Pokey and many other Houston Texas Rappers Help Gave Mississippi Sipp “DA NEW DOWN SOUTH SOUND”. Born Terry Terell Brisco twenty-nine years ago in the small town of Leland Mississippi born & raised in the rough and tumble neighborhood of Black Dog on Caraway & Jackson Street where he experienced the various ups and down associated with being a young Black male growing up in the South. Like many southern areas in the late 80s Leland,Mississippi was hit with a crack epidemic that turned the once peaceful town upside down. Drugs and violence became a common place and Mississippi Sipp struggled to avoid the traps that the Streets and Court System set up for young black men. One of the things that helped him through his struggle was listening to music.
A multitrack recording master tape, disk or computer files on which productions are developed (or captured, in a live session) for later mixing, is known as the multi-track master, while the tape, disk or computer files holding a mix (mono, stereo or Surround) is called a mixed master.
It is standard practice to make a copy of a master recording, known as a safety copy, in case the master is lost, damaged or stolen.
The phrase “original master recording” began in the period of acoustical audio recording – one “cuts” a recording because the sound is literally cut into the record. The resulting record was then used as the “master”, or original prototype, from which multiple identical copies could be produced.
There is only one original master recording, and that is the recording made at the time of the original recorded performance, but the term “master” is commonly used to describe almost anything used as a source.
There are several methods by which master recordings are created. The first (and oldest of those in current technological use) is “direct to tape.” This is where one (mono), two (stereo), or more microphone signals are equalized, mixed, and recorded directly to a mono or stereo (2 track) tape. This tape is the master.
The other method is called “multi-track recording” and most recently in digital terms, “session files”. By these methods, each microphone signal or line input is recorded to its own track on a multi-track recorder. At a later time, the signals that were recorded on this multi-track format will be reproduced, equalized, and mixed down to a stereo or mono tape, which is also called the master tape.
A multi-track tape may be remixed many times, in different ways, by different engineers, giving the possibility of several masters (AM radio version, mono version, LP stereo version, single version, guitarist’s personal version with lead solos emphasized, etc.). Any of these would have the designation “first generation”, but not necessarily “master”, which means there could be many alternate mixes. With multi-track recording one has the option of changing the emphasis on any given instrument, replacing it or omitting it entirely.
Ownership of the master
Song masters and album masters are considered intellectual property. As with physical property, ownership is acquired by purchasing it, creating it or inheriting it. In this sense, the intellectual property concept applies similarly in the purchase of a house, a car or any other property. The ownership to the master will however not necessarily correspond with the title to the copyright in the audio work. Thus, the sale of a master tape will in most jurisdictions not necessarily imply the transfer of copyright to the songs recorded.
Before a song or album master is released, the value of the master is determined by the cost to produce it. After release, the value of the master is determined by its potential to sell CDs. The master and all rights associated with it may be sold for several times the production cost or “recoupable cost”.
Masters with respect to independent music and major label recording contracts
In a typical independent artist/production deal, the artist will pay the studio up front to produce songs or an album of songs. In this deal, the artist, having financed the project, owns the master. If the studio, production company or record company finances the master, sometimes called a “spec” deal, then that studio or company owns the master.
Major record companies and their major indie satellite labels will not offer the artist the option to finance the production of their own master. This is because major labels have an interest in building and maintaining their catalog of albums, and as a result, will likely own the masters indefinitely.
An independent artist may also do a distribution deal where the independently produced master is temporarily licensed to a major label, and then returned to the original owner; the artist, manager, producer or investor as the case may be.
Sale of the master vs. sale of albums
A recording may generate revenue for the artist and studio/record company simultaneously, regardless of who owns the master. The revenue from CD sales is broken down to “mechanical royalties” and “artist royalties”.Sale of the master refers to a buyout of the intellectual property, usually by a major label. If an independent record becomes very popular, a label could consider buying the master. In this instance, the buyout price will usually be several times the raw cost (recoupable cost) of producing the recording. It is rare that an artist will purchase the master recording after its release. This may be possible under the terms of an independent release, but major labels do not normally sell their masters.
Check Out Some Of My Masters Here ——> Mississippi Sipp Google Play Store