Unit 1 The Music Industry External Exam Lesson 4 Service Companies and Agencies 11 th October 2016 Service Companies and Agencies During this lesson we will be considering The equipment that might be needed ID: 651237
Download Presentation The PPT/PDF document "Learning Aim A: Understand different typ..." is the property of its rightful owner. Permission is granted to download and print the materials on this web site for personal, non-commercial use only, and to display it on your personal computer provided you do not modify the materials and that you retain all copyright notices contained in the materials. By downloading content from our website, you accept the terms of this agreement.
Slide1
Learning Aim A:Understand different types of organisations that make up the music industry
Unit 1: The Music Industry (External Exam)
Lesson 4: Service Companies and Agencies
(11
th
October 2016)Slide2
Service Companies and Agencies
During this lesson we will be considering:The equipment that might be neededWhat might be available from service companies and agencies
How the products from service companies and agencies support the music industry and why these are important
The pros and cons for musicians of working with agenciesSlide3
Service Companies and Agencies
Even the smallest show needs the services of others to exist, and as shows get more and more technical, service companies can get more and more specialised.
TASK
Can you suggest which services/products a small artist, performing in a local pub, may need?
And then…
Can you compare this to the services/products a famous artist, performing at an arena may need?Slide4
Unknown artist / Local pub
Famous artist / Arena
Service Companies and AgenciesSlide5
Service Companies and Agencies
Companies that provide services to artists, venues and production companies include:Royalty collection agencies
Artists’ representation
Hire companies
Transport companiesSlide6
Royalty Collection Agencies
PRS for Music (Performing Rights Society)PPL
(Phonographic Performance Ltd)
MCPS
(Mechanical Copyright Protection Society)
What do they do?
Provide a license for organisations
to play, perform or make available copyright music on behalf of
their
members and those of overseas societies, distributing the royalties to them fairly and efficiently.
They
promote and protect the value of copyright
.Slide7
Royalty Collection Agencies
The
fees generated by
the
music licences ensure that
their members - many
of whom are small businesses themselves – are paid when their music is used.
They
distribute
a percentage
of the licence fees
they
collect back to
their
members in the form of royalties and only deduct
their
administration cost.
Royalties
help ensure
their
members can make a livelihood from their music
enabling them to continue to make music.
In the UK
copyright
protection generally lasts for a period of
70 years
from the end of the year the composer dies. After this period, the music is classed as being in the “public domain” and you would not need the licenses to use the music.
PRS WebsiteSlide8
Royalty Collection Agencies
What is the difference between PRS, PPL and MCPS?
PRS
collects money on behalf of the songwriters, composers and publishers.
PPL
collects money on behalf of record companies and performers.
MCPS
covers the mechanical and reproduction rights used to manufacture CDs/cassettes/minidisks/vinyl/DAT/DVD/ Blu-ray/VHS/
CD-Rom
etc.Slide9
Licences for Playing Music in Public
If an individual or an organisation wishes to play a song or piece of music in public (i.e.to a wider group of people - for example on their business or organisations premises) it is classed as a public performance and permission must be obtained from the copyright owner, record company and performer of that song or piece of music before doing so. These permissions are known as music licences.
Who has to have music licences?
Any location or premises, outside of home, where music is played from clubs to concert halls, from discos to dentists' waiting rooms and from trains and taxis to takeaways. The owner/proprietor of the premises or vehicle is normally responsible for obtaining a music licence for the public performance of copyright music. If the person does not obtain the required licence they may risk infringing copyright and performers' rights.
PPL and PRS for Music are two different music licensing organisations with a single aim - to ensure music creators and performers are fairly paid for the public use of their music. Slide10
Royalty Collection Agencies
What happens if an organisation does not apply/buy a license?
PRS for Music
take reasonable
steps to ensure those playing copyright music in public are made aware of the need for a licence.
Representatives visit
public premises to assess potential licensing requirements and
regularly
contact businesses to help ensure they are not infringing copyright.
Failure to obtain a licence for the use of music in public may result in civil action
for copyright
infringement and
the organisation may
be liable to pay damages and costs.Slide11
Royalty Collection Agencies
Copyright, Design and Patents Act 1988
This Act was passed as law. This allows the PRS/PPL/MCPS to take action against anyone found to be playing/reproducing music without the correct license.
Action can include:
Seizing equipment
Fine
Being taken to courtSlide12
Artists’ Representation
EgManagement
Public Relations (PR)
Agents
StylistsSlide13
Artists’ Representation
ManagementThe band/artist management need to know their “stuff” about music and genres and have lots of contacts in the industry. Networking skills.
They deal with the band members/artist’s needs, this can include motivating them to do tasks (gigs/interviews
etc
). Interpersonal skills.
They are the people who hold the authority for the band/artist’s music and negotiate contracts.
They earn their money by getting a % of the profits, so they need to have a good “business-head”.
Eg
Crown Music Management (Jessie J)
September Management (Adele)
The Creed Company (Bruno Mars)
13 Management (Taylor Swift)
Modest Management (One Direction)Slide14
Artists’ Representation
PRThey are the middle-man between the artist and the media.
They create a “public image” for the band/artist
They deal with media coverage and press releases – info about singles/albums to be released, upcoming tours
Creative language skills, write reviews on live events
Good links with media/journalists
Eg
Bob Jones (PR for Michael Jackson)
Purple (PR company for many including: Adele,
Beyonce
,
Courteeners
,
Dizzee
Rascal, Jessie J, Sophie Ellis-
Bextor
, Will Young)Slide15
Artists’ Representation
Agents
They book shows/tours and make sure everything runs smoothly
eg
transport, accommodation, dressing room, equipment, sound checks
etc
Work closely with promoters
They negotiate contracts for live performances
They deal with all the needs for the band/artist back stage
eg
only red M&Ms, red roses
etc
Eg
Syco
(One Direction, Il
Divo
, Susan Boyle, Leona Lewis)
ITB – International Talent Booking (
Courteeners
, Adele, Mumford & Sons, Aerosmith, UB40)Slide16
Artists’ Representation
Stylists
They work closely with the PR to create the image for the band/artist
They work closely with the management/agents to organise costumes for shows and tours/videos
etc
They are responsible for wardrobe/costumes, hair, make-up, spray tans
etc
Eg
Caroline Watson (One Direction, Victoria & David Beckham)
Cobbie
Yates – Reggie Yates’ brother (Jessie J – was styled by Karl Willett)
Gaelle
Paul (Adele)
Rebecca Lockwood (
Courteeners
)
Luke Day (Take That)Slide17
Hire Companies
When planning a performance, the management team will consider the artistic/creative requirements
of the artist/band or director and the
budget
to decide whether it will be more cost effective to
purchase or hire
equipment.
Hire companies are businesses that hire equipment either for recording purposes or for live performances.
Sound and lighting equipment (
eg
Arcsound
Ltd, London/ACE Ltd, Manchester)
Rehearsal/studio space (
eg
Elevator Studios, Liverpool/The Joint Music Studios, London)Slide18
Transport Companies
Similarly to the hire companies, when planning a tour, the management need to consider how the equipment and the band/artist will travel from one venue to another.
It may be necessary to book
plane
tickets for a world tour or to launch a single/album in another country.
They will often book a luxury
coach
(with all the mod-cons) for the band/artist and a
van/lorry
to transport the equipment.
They
will sometime hire drivers for the rented vehicles as well.