The two-year deal

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The two-year deal

Post by @?,*???&? » Tue Aug 25, 2009 8:54 am

Just wanted to share some long-term vision here that leans toward the new business model for studios:

Development Deals

1. Booking for bands. Sick of getting calls from bands with no money? Feel confident they are a good 'unit'? Book them. I've now got a database of over 700 clubs in the midwest and have taken on three bands.

2. Work college radio for them as a foundation of promotion for their tour. Integrate that in the promotion of their tour.

3. In six to nine months time produce/record/mix a new full-length album with a percentage of the profits from the tour.

4. Once the new recording is done, the whole thing starts over.

As a side note here, NACA.org could be integrated as well.

Their map:

http://www.naca.org/Events/RegionalConf ... gions.aspx

How deep do you want to go in the realm of music? Can you help the band?

My thing, and you guys know this from reading my posts is that it's about making legitimate records that come out with barcode. The above plan is insanely simple IF you want to get involved in music that does something more than get recorded in just a few hours (because that's all the band can afford) and then gets posted on myspace and never sold.

As a side note, the Naca map SHOULD be the model for regional airplay and sales charts. It is arcane to focus on a national chart system. If you haven't heard, Radio and Records folded into Billboard Magazine.

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Post by Gentleman Jim » Tue Aug 25, 2009 9:55 am

It's a time tested model. But the position isn't called 'engineer' or 'producer,' it's called 'svengali.' You'd be in the same position as Berry Gordy, Kim Fowley, and Malcolm McLaren; you'd also risk having the same type of personal reputation that they all ended up with.

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Post by chris harris » Tue Aug 25, 2009 12:31 pm

I offer my clients 10 to 12 hours a day of my time. I also offer them tons and tons of free advice. I never even invoice for the $35. I find that if I get great sounds and treat them like I'm an ally, rather than starting the relationship off by putting myself above them (label boss, booking agent, etc.), then I don't have to concoct schemes to drive business. My phone just rings. Crazy!!

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Post by AstroDan » Tue Aug 25, 2009 12:38 pm

Sven Jolly.
"I have always tried to present myself as the type of person who enjoys watching dudes fight other dudes with iron claws."

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Post by @?,*???&? » Tue Aug 25, 2009 4:47 pm

subatomic pieces wrote:I offer my clients 10 to 12 hours a day of my time. I also offer them tons and tons of free advice. I never even invoice for the $35. I find that if I get great sounds and treat them like I'm an ally, rather than starting the relationship off by putting myself above them (label boss, booking agent, etc.), then I don't have to concoct schemes to drive business. My phone just rings. Crazy!!
Hilarious. You live the state where practically no college radio stations even have their own websites and 65% of the population does not have access to broadband internet.

Quick, everyone move to Oklahoma, there's gold in them thar hills!

Oh yeah, and 85% of the state voted Republican.

Uh, no thanks.

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Post by chris harris » Tue Aug 25, 2009 6:05 pm

I live in a state where I don't have to whore myself out and rape my clients for use of a fucking eBow to make a living.

Take jabs at Oklahoma all you want. I fucking love it here. If you want to compare the quality of life between living in Norman, Oklahoma and living in Detroit, I'm game. But, it shouldn't be done on the forum.

You spend post after post dreaming up schemes to get more money out of clients. And, you hilariously seem to always think that you're on the cusp of revolutionizing the industry.

The point that I was making in my first post, was that REGARDLESS OF WHERE YOU LIVE, if you continually treat your clients like they're nothing more than a CUSTOMER, you'll always be left behind. And, you'll never achieve the kind of connection with them that negates the need to nickel and dime them.

Have fun dreaming up your empire there in Rock City. I'm sure that somewhere, right now, some engineer is having a great time with one of your former clients.

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Post by cgarges » Tue Aug 25, 2009 6:11 pm

Occasionally I have to handle booking on a rock gig. No fucking way could you pay me any amount of money to do that for other people on a regular basis. It's a big enough pain in the ass doing it for bands I'm playing with from time to time. I don't know anyone, busy band, busy agency, or raving lunatic, who considers that "insanely simple."

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Post by chris harris » Tue Aug 25, 2009 6:46 pm

It definitely takes more than simply having a database to make a good booking agent. Being a good, successful booking agent has as much to do with creating and cultivating RELATIONSHIPS, as running a recording studio does. That's what makes these delusions all the more hilarious.

And, again, it doesn't matter where you're from. If you constantly approach your relationships with clients from the standpoint of being superior to them, then you'll constantly be trying to come up with ways to SCAM more money out of them. Why not just EARN IT by being a good person, who's fun to work with, and delivers stellar results? Does that not work in Detroit?

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Post by RodC » Wed Aug 26, 2009 9:51 am

99.99999% of all bands out there wont make enough from a show to cover their gas... So there is no way there is enough money left to pay me what its worth to book a show, let alone a whole tour. I guess if I recorded more "superstars" this may work out, but I have see plenty of bands struggle just to break even on the road.
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Post by chris harris » Wed Aug 26, 2009 9:54 am

RodC wrote:99.99999% of all bands out there wont make enough from a show to cover their gas... So there is no way there is enough money left to pay me what its worth to book a show, let alone a whole tour. I guess if I recorded more "superstars" this may work out, but I have see plenty of bands struggle just to break even on the road.
Sounds like you need a better database. :roll:

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Post by AstroDan » Wed Aug 26, 2009 11:20 am

OK isn't real hilly.

I love Jeff's threads.
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Post by RodC » Wed Aug 26, 2009 11:24 am

AstroDan wrote:OK isn't real hilly.

I love Jeff's threads.
lol, its real hilly here.... and everyone circles the jack ass on election day....

Democrat ruled since the civil war, perfect model of a state if you want to see what that party can do for you and yours :lol:
'Well, I've been to one world fair, a picnic, and a rodeo, and that's the stupidest thing I ever heard come over a set of earphones'

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Re: The two-year deal

Post by Nick Sevilla » Wed Aug 26, 2009 11:31 am

@?,*???&? wrote:Just wanted to share some long-term vision here that leans toward the new business model for studios:

Development Deals

1. Booking for bands. Sick of getting calls from bands with no money? Feel confident they are a good 'unit'? Book them. I've now got a database of over 700 clubs in the midwest and have taken on three bands.

2. Work college radio for them as a foundation of promotion for their tour. Integrate that in the promotion of their tour.

3. In six to nine months time produce/record/mix a new full-length album with a percentage of the profits from the tour.

4. Once the new recording is done, the whole thing starts over.

As a side note here, NACA.org could be integrated as well.

Their map:

http://www.naca.org/Events/RegionalConf ... gions.aspx

How deep do you want to go in the realm of music? Can you help the band?

My thing, and you guys know this from reading my posts is that it's about making legitimate records that come out with barcode. The above plan is insanely simple IF you want to get involved in music that does something more than get recorded in just a few hours (because that's all the band can afford) and then gets posted on myspace and never sold.

As a side note, the Naca map SHOULD be the model for regional airplay and sales charts. It is arcane to focus on a national chart system. If you haven't heard, Radio and Records folded into Billboard Magazine.
This is such an old model, just with new names inserted to amke it look new.

:roll:
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Post by kdarr » Wed Aug 26, 2009 12:42 pm

These threads are hilarious. I love how all of Jeff's groundbreaking music-industry-saving proposals basically amount to doing business the exact same way it was done 25 years ago.

It's a bit like saying "I know how to fix the .mp3 sound quality issue! We'll record everything to wax cylinders!"

You do realize that your model basically makes one person do the job of 4 people, right? Booking is a tour is practically a full-time job in and of itself, not to mention radio promotion and everything else.

This is a forum for recording engineers - we want to make recordings, not be tour managers, radio promoters and publicists.

Really man, just take care of your studio and your recordings... let the clients worry about all that other shit themselves. If you want long-term clients, just be awesome to work with and do a really amazing job on the recording, stay in touch, and they'll probably come back next time. Your time would be better served.

[<|>]

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Post by Gentleman Jim » Wed Aug 26, 2009 1:50 pm

RodC wrote:
99.99999% of all bands out there wont make enough from a show to cover their gas... So there is no way there is enough money left to pay me what its worth to book a show, let alone a whole tour.
While that figure is dubious, it does raise a point: If there is going to be a few thousand dollars netted from a tour or series of shows that were booked by a part-time agent, don't you think there's a full-time agent that could do a better job? And booking agents have lower overhead costs than studio owners. A space, a phone, a computer, a scanner, an internet connection. Everything else is time.

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