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We wish you the best with your music and management search

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I rather not tell what is going on, but Im trying to tell online, this individual Ive been talking to for months is legit, but they say, they can't take calls with me because manager won't let them.

@@MackBell723 Yes, an artist can speak to anyone they wish. This situation sounds very unusual

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Thanks for your wonderful comment! Welcome to the channel. I like your idea for the video. We already have a few other videos in the pipeline, but we will cover this topic in the future. All the best

@ thanks man! Cheers

Not directly. Streaming income is divided (although not equally) between the songwriter and whoever controls the Master recording. The streaming money for the songwriter can be collected through PRS and MCPS in the UK. The streaming income for the Master recording is collected through your distributor. PPL collect a specific type of royalty which is the public performance (playing) of the Master recording such as when the recording is played on radio, TV or retail stores in the UK. The performers on recordings would be entitled to a share of any PPL royalties. Hope that helps

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Not really, but maybe. If they truly just provide percussion, then yes they are a percussionist or “beat maker”. But in reality “beats” is just vernacular now for a musical composition. Usually this includes performances of synths, keyboards/piano, strings, maybe guitar and bass, as well as sampling vocals. At that point it’s just another word for a composer, as the end result is a complete instrumental composition. I’ve never seen any “beat maker” who only provides percussion. Generally when people say “producer” in the modern sense they mean “composer” and generally when they say “beat” it refers to an instrumental composition. The distinction between the original use of the term “producer” is that at one point before digital it meant the person who recorded the song. Now with digital collaboration, the producer is more so the remote composer, and the sound engineer/producer is just a local work for hire person who physically records the vocals.

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Thank you so much for your comment and kind words. We really appreciate it. Hope the video was helpful for you.

It's difficult to know if you are ready for a manager. There are many variables that would determine the answer. However, a manager should only be charging you commission, which is a percentage of the money you make from your music. This means you shouldn't be paying a manager anything if you are not making money from your music. Therefore, if you have found somebody who wants to manage you on a commission basis then it is usually worth considering. If somebody is asking for a fixed monthly fee to "manage" you then this isn't a standard management arrangement. This would be more like some kind of "artist services" arrangement. This is very different, and you should be clear about what they are providing you for the money they want to charge you. Hope that helps.

@@theartistguides Thank you so much, Sir!! Really appreciate it!

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Thanks for your comment. You are right that the copyright exists, and you own it, regardless of whether it has been registered. We have done a video on music copyrights if you or anyone else is interested in more detail: th-cam.com/video/NwXkG5ZXP2o/w-d-xo.html One thing to add regarding copyright registration is that the US has a copyright register and it is advised to register music copyrights to help make legal battles easier. However, in the UK and many other countries, there is no similar copyright register or regsitration process for music

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You're welcome, thanks for your kind words. There is no definite answer to your question. It would depend on whether you are doing this full time or part time, whether the artists are already working professionally and what their needs are, how you intend to logistically manage the relationship with each artist, and how much you need to learn still, etc.. It's a huge learning curve if you haven't done it before, but all managers are different and have different key skill sets. We started 12 years ago with 1 artist who was working professionally. You can contract yourself to as many artists as you want, but the more you have the less time you can dedicate to each one, which can place risk on the success of the project. There is a balance you would need to discover for yourself, but there is no reason that you shouldn't aim to build a roster of artists. If you want a crash course in artist management then I'd be happy to work with you on some 1-2-1 coaching calls to help you get started. Feel free to email me if you want. All the best, Sean

There is not an exact answer, and there can be all types of arrangements and ownership. However, generally, whoever it is that will be releasing, marketing and selling the sound recording, will need to have control, which usually means the artist having "ownership" or part ownership of the sound recording copyright. It is very standard that the producer would then receive royalties from the artist on any income created from that recording. Hope that helps.

Thanks for your question. Unfortunately, It is difficult (if not impossible) to answer fully. I could literally list a hundred things and more. Success for an artist requires strategy across the whole of the creative journey from the music to the marketing and touring. To build an audience, it starts with the music. I don't know at what stage of growth your artist is currently at, but to find an audience, begin by looking at other artists who may have an audience who might be interested in your artist. You can then target their audiences, to get started

@@theartistguides thank you so much for the feedback. My artist is currently working on releasing releasing her first song on Spotify so we are starting from ground zero, would you be able to also share what are some of the most important things to do and consider at this stage and what did you do if you’ve managed an artist at this stage?

@@bobjackson5525 You're welcome. Build over time, concentrate on establishing your artists identity and be consistent with your releases, branding and campaigns. It takes a while to get the music right, and there is a lot you can do to help the musical development. Release singles, and maximise every release with a carefully construted and well executed campaign. Hope that helps. I coach individuals on this if you want bespoke help for your project. We are currently providing free intro sessions if you wanted to book yourself some time with me. visit here: theartistguides.net/coaching