Thank you all for the thumbs!!! That is super cool and ultra appreciated!
I know alot of folks here know how stressful and disturbing this craft can be when there is no work. God knows my wife does!
Quote:
|
I'll also say that it's also very instructive for me to see what the deal looks like that you've crafted with the artists. I haven't read a lot of threads on that topic and just your few words just gave me a ton of ideas on how to approach billing that seem both reasonable and advantageous to both parties...
|
With independant records or self-financed albums, flexibility is a big help. I think you can turn an otherwise 'on the fence' client into a deal.
I have always gotten 50% upfront even on one song (at a time) shots, which has been my lions share of work for the past 3 years. Monthly payments (as opposed to the remaining balance when the project is done) is easy for everyone to budget into reality. I rely too much on the money I make to risk holding a finsihed product for a broke label or artist.
Quote:
Congrats!
Let us know when the records are out and you'll even earn more money
Jo
|
I wish! Who knows one of these records could blow up...that is always the hope.
In reality it doesn't add up to much unless the record sells really well (which has nothing to do with me) I usually end up with mechanical royalites as well as I often co-write when I produce. Still got to move alot of of CD's before much trickles in.
This first deal has a clause for the artist which allows for x number of albums to be sold before any royalites begin accruing (The flexiblity again) this way he feels he can recoup a little faster.
I think the biggest benefit is the act of doing it. It leads to meeting more folks, and getting more work and getting your name out there.
P&B,