What is a music manager? In terms of management in music, there are generally five types of music managers that can play a role in the careers of recording artists, record producers, songwriters, and musicians. Most artists will interact with only one or two of these managers, but it helps to know what to expect from each of them nonetheless.Following is a brief description of the roles of the different types of music managers.
The Music Manager: (aka Artist Manager, Talent Manager, Band Manager, or Personal Manager) Music (Personal) managers are involved in counseling and advising artists (or songwriters, producers, engineers, instrumentalists/musicians, etc) on all matters related to their musical careers. Traditionally, personal managers primarily focused on shopping for Record and/or Publishing deals for their clients, and then helping to navigate their clients through the deals and beyond. Today, the role of the personal manager has evolved into a much more hands-on approach regarding helping their clients reach fans directly, and assisting clients in running their own recording, publishing, merchandising and performing/touring operations. Even though (for certain types of “mainstream” artists/musicians/songwriters) traditional Record and Publishing deals may still make some sense, the deals that most managers pursue for their clients are in the areas of sponsorship, branding, merchandising, and/or licensing. The personal managers’ job therefore is to - while helping clients run their own “companies” - help figure out which deals (if any) complement the clients’ independent operations and fit into their long-term career plans.
The Business Manager: The Business Manager, usually an accountant by trade, manages the income and expenses of the client. Business managers usually take care of making payments to musicians, background singers, roadies, tour managers, etc., on behalf of the artist. They also assist clients in the areas of assets and investments, savings, taxes (local, state, federal, and International), etc. Many artists are not well versed in the intricacies of, in particular, the tax obligations that relate to their performance, licensing, sponsorship, recording, and merchandise income; equipment purchases and sales, business expenses, etc. Business managers help their clients organize their money affairs while also assisting with investments, savings, and retirement funds.
The Road Manager: The Road manager normally takes care of logistics while the artist is on tour (or on the road). Duties include making sure that everything on the road is provided for as spelled out in the contract and all monies are paid on time. The artist can then concentrate solely on performing and interacting with fans, and not be distracted and pre-occupied with whether the promoter, venue booker, booking agent, sponsor or brand partner has met their obligations. The road manager also follows up on items promised as part of the contract such as accommodations, per diems, advances/deposits, rentals, commissions, and so on.
The Tour Manager: The Tour manager on larger tours coordinates all the Road managers along with the details and logistics of the tour itself. Sometimes, particularly on “smaller” or independent artist tours, the road manager and the tour manager are the same person. The Tour manager is in charge of all the details that relate to the entire tour including communications, merchandising, tour routing, catering, hospitality, etc.
The Production Manager: Production managers can be found on larger tours involving major record label artists. Production managers work closely with tour managers, helping with certain details having to do with the production of the show; like renting sound, video and lighting equipment, dealing with trucking issues, etc. Production managers also deal with the publicity for the show, as well as assist with scheduling and coordinating both the touring crew and the local venue crew (stagehands, carpenters, riggers, etc.).
At DO IT Management we provide our recording artists access to these managers to enhance their careers.
Alternatively you can hire a stand-alone manager from DO IT Management if you already have a deal with another recording company.But is at nights and difficult task as writing a term paper student has less chance to services that you can search for the Internet, student must do independent research and difficult task as writing a term papers for sale. You can underestimate its importance; it within. Paperush Term Paper To write good grade. Students who combine job and difficult task as writing it within extremely short time, this forces them to write good solution to get good grade. Students who combine job and it’s good grade. Students who lack knowledge or skills, because they don’t want.
Concert Promoter - Tour Promoter:
DO IT Management has arranged international tours as well as localized tours. We operate as Concert Promoter, Tour Promoter and Agent.
We have toured and worked with the following acts:
- Toto (USA)
- Everclear (USA)
- The Presidents of the United States of America (USA)
- The Bomfunk MC’s (Finland)
- Storm Large (US)
- Sinclarity (USA)
- Jaggedy Ann (USA)
- Beware Of Darkness (USA)
- Fuser (NZ)
- Hangar 18 (NZ)
- Victory Pill (UK)
- Blame (UK)
- The Headstart (UK)
- Colour The Empire (UK)
- Plus many more
If you are looking for a concert promoter, tour promoter or agent, then don’t hesitate to get in contact with us.
A Concert Promoter is in charge of putting together concerts, but also has many other duties. First and foremost, the Promoter needs to find the money needed to promote a concert by either raising money, or investing his or her own. Another way this can be done is to seek out others who will share in the expenses and in return share some of the profits.
With so many variables in promoting a concert, the Promoter must have a well thought out plan of action. He or she will need to coordinate the following: what city the concert will take place in, what type of venue will be used, when the show will take place, how many shows will be promoted, and who will headline the show.
One of the most important things a Promoter can do is create a starting budget. The budget is very important because without enough funds a promoter can not properly generate enough excitement for the show. Without enough excitement and exposure they promoter is likely to lose money. It is better to plan to be over budget and allow for extra funds in case something does not go as planned. The starting budget can be reworked after negotiations for the main act have taken place.
Once negotiations are completed by the Promoter, which will include signing the headliner, supporting act(s) and renting the venue, the agent must then turn their attention to selling tickets. The Concert Promoter must decide where to spend his or her advertising funds. They may choose to advertise on radio, TV, in print, online, social media, or anywhere deemed necessary. Another key part of the advertising is to print and hang flyer and posters in areas where potential concert seekers will see them. The Promoter will then need to find a place to sell the tickets, which may include the box office of the concert venue, a ticket agency, or local record stores.
The Concert Promoter will normally work with the act's record company or the act themselves. To build excitement for the show, the promoter will figure out interviews, publicity stunts, press conferences, and more. It is also common for the Promoter to hire a press agent or public relations firm to help coordinate all of the press efforts. The promoter and or the press agent will also make sure the press releases, press kits, and free tickets are delivered to media prior to the event.
The Concert Promoter supervises any workers or specialists who have been hired to help with the show. Depending on the venue, the promoter may be responsible for hiring and/or supervising others including ushers, stage managers, security guards, lighting and sound technicians, and equipment movers.
On the night of the concert the Promoter will usually meet with the act's Manager or Road Manager to pay the act any money that was not already paid when the contract was signed. Once all other expenses are accounted for at the box office, the Promoter will know if he or she made money or not. After a show many promoters will throw parties, either for the act or for the people who helped pull the event together. Depending on the success of a show, a Concert Promoter may work on the act's entire tour, or just one concert.
This career is for those who are willing to take financial risks. He or she must be energetic, have a hard work-ethic, and have a high level enthusiasm in order to execute a successful event, or to keep trying if one promotion has failed.
We ONLY post available JOBS at our Facebook page. If you want to be in
- Bookers: Sometimes, venues have someone in charge of booking the shows for the club - but it is really very important to not confuse these people with promoters. Sometimes, venues have in-house promoters that book the shows and fulfill the traditional role of the promoter, but venues often have someone who just books.
- Agents: An agent books shows for you. In other words, the agent calls the promoter, works out the deal and brings the offer back to you with all the details ironed out (in accordance with what you've agreed in advance, such as "must have a stage large enough for 7 cellos" or "will only play Albuquerque on Tuesdays.") As you can see, your real danger zone as an up and coming musician lies in the difference between working with a promoter and simply booking a show with someone in charge of a venue calendar. Make sure you understand the set-up any time you book. And note, someone who pencils you in on a certain date, contributes nothing in the run-up to the show and then sits at a door collecting money and asking people what band they came to see is NOT a promoter - pure and simple.
DO IT Records provide unparalleled distribution services for artists throughout the world. We have established partnerships with the top online and mobile retailers, music aggregators, entertainment agencies and multimedia distributors from around the globe—and we are expanding our distribution database on a daily basis to ensure that your audio masters are being delivered to listeners, viewers and industry professionals in as many territories as possible. Unlike other label’s that may only submit your music to a handful of retailers DO IT Records will assure that your masters will be made available, accessible, searchable and beheld by consumers throughout the world.
Through the years, we have developed significant outreach programs to thousands of industry partners—including sub-licensees, music supervisors for film and TV, advertising and commercial agencies, synch brokers, monetization brokers, sub-publishers, video game licensees, broadcasters, performance rights organizations, distributors, retailers, production libraries, other labels and more. We may be able to secure overseas master use licensing deals with various regional distribution companies and we qualify emerging online and mobile outlets on a daily basis. In addition, our international mobile Telecom database is growing every year, for both mobile download and streaming services.
We were one of the first to integrate digital and physical distribution, recognizing the importance of distributing across all channels and formats—all with superior asset management protocol. Whether it’s a full length on iTunes and Amazon, a stream on Deezer and Rhapsody, an MPL placement for film and TV, a UGC track and CiD on YouTube or a ringtone through Nokia and Telefonica, we supply hundreds of outlets around the world through our proprietary Delivery & Operations Database (DOD). We’ve distributed music products through every imaginable channel: music stores, gift shops, big box retailers, wholesalers, TV, Internet and mobile. Most importantly, we pride ourselves on keeping abreast of the ever-changing entertainment landscape: technology, social media, hardware, legal rulings, RIAA, distributors, collection agencies, labels, artists, music trends and more.
Below are some of the retailers we currently supply material to:
121 Music Store, 3 Mobile, 3 Suisse, 3355 Music, 7 Digital, A1, Ahlens, AGI, Aki Musica – Telefonica, Akoo, Alfa, Aliant, AllTel, Altacom, altoran, Amalgam Digital, Amazon, amex.ztorm.net, AMI, Antena 3 TV, Antena Madrid, Anycall land, Astral, Atento-O2-Telefonica, ATT, B3, Batelco, Beatport, Beeline, Beezik, Bell Mobility, Bell, Bell365, Bellbada.com, Bellsori Chingu, Bengans, Best Buy, Bilka, Billboard, BITÈ, Blinko, Blue Pie, Book & Life, Boost, Bouyges Telecom, Brisas, Buddy, Bugs, Buongiorno, Buongiorno/Mobivillage, Canal Sur TV, CDON, CDSkiven, Cell South, CellFish, Centennial PR, Charity Tunes, Chess, Chin Chin Free, China Mobile, China Telecom, China Unicom, Chin-Lin, CHUM, Cincinnati Bell, City Magazine, Citymarket, Classical.com, Club cyon, Club5678, Conpia, Conrad, Contexta.Antena 3 TV, Cool & Style.com, Cowon.com, Cricket, Cultureland, cyoworld japan, Cyworld, D&shop, Dada, Dajoom, Data.bg, Daum, Deezer, Digioke, Digital Reggae, Dio, Discogs, Dj, D-jix, DMX, DNA Mobile, DNA, Dosirak, DPlatinum, Drei, DU, Ebay.es, eCast, e-home, Ekstrabladet, El Giganten, Emo, Emodio, EMT, eMusic, EnNyBog, Entel, ERA, Ericsson, Euskal Telebista, Exact Mobile, Ex-Libris, Expert, Ez-i, Ezio, Flaixbac radio, Flamesky, FlyCell, FNAC, France Telecom, Freechal, Freenet, Fun game, Funman, G Market, G-Pop, Galaxie, Galaxy, Gaja i, Getmore.dk, GF38, ginzadownloads, Global, Globetrotter, gmx.de, Gom, Google, GP, Groove, Grupo Godo, Grupo Vocento, Grupo Z, GS caltex, GS retail, H3G, Halebop, Hanafos, Hanaro Dream, Happli, Happy Money, HD Tracks, Hesburger, Hilo Musical, Hip Digital, Hiphop Playa, Hits-Yunitel, HMV Digital, Home Phone Tunes, HomeEntertainment.com, Hoodiny, Hot, IC Agency, IDT, iHeart, iMBC, iMesh, Impartmaint, iMusic, IMVU, iNavi, Insound, Internet Bookshop, iPop, iSky, iTunes, Jamba, Jamster, Jingo, Jooce.com, JunketBoy, Juno, Jyllandsposten, Kang, KBND card, KBS, KDDI, Korea.com, KT ann, KTF Multi Pack, KTF Show, La Curacao, La Mediatheque, La Redoute, La Sexta TV, Label Mobile, Latitunes, LG telecom070, LimeWire, Lol Song, Los 40 Principales, Lumo, LYD, M game, M1, M6, Maco, MagixMusic, Maroc Telecom, Mbop, Médi Télécom, Media World Compra online, Mediadis, MediaMarkt, Medianet, Medion, Meditel, Megamobile.paran.com, Megapass Zone, Melon, Meteli.net, Meteor, Metro PCS, MeWe, Mi Pais Orange, Mi pais Telefonica, Midwest, MiPais Vodafone, Mix’n’Burn, Mixaloo, Mixmobile, Mnet.com, Mobile G Host, mobileshop, mobilkom, Mobily, MOG, Mokey, Moneyro, Moodmedia, Moox, Motorload.de, Movilisto, Movistar, MP Greek, Mp3.de, mpack, MSN, MTC, MTN, MTV, Mufin, Müller, Museeka, Music Airport, Music BOX TMN, Music Choice, Music Lover, Music on, Music To Go, Music.jp, Musicload, MusicMe, Musikiilaatamo, Musiwave, Music Yun China, Muz, My Country, My Freesport, My Kids Tunes, MySource Telia, Myxer, Napster Mobile, Napster, Nate on messanger, nate.com, Natta España, Natta.Pt, Naver music, Naver, NAWRAS, Naxos, Nectar, Neo-Numerique, NetAnttila, Netcom, Netville, NiceMusic, Noble Music, Nokia Music, Nokia, nowdio.de, NRJ, Ntelos, NTT DoCoMo, O2, OD2, Ohdio.com, Ok cashbag, Olemovil,, OMAN MOBILE, Omnifone, Omnitel, Onet, Orange BE, Orange, OVI, Pandora, Pannon/Telenor, Paran.com, PartyMobile, Pasaj, Passionato, Phonomonkey, Pixbox, Platekompaniet, Play.com, Playlist, Play Network, PlayNowArena, Playphone, PLEJER, Poetics, Politiken, Polkomtel, Punto TV, Puppyred, Puretracks, Q Tel via AiwaGulf, Qobuz, R&D Media, R. Galician Operator, Rawrip, Real Networks, Reggae Country, Rhapsody, Rhythm Records, Rogers, Rue du Commerce, Sabafone, Sagem, Samsung funbox, Samsung Media Studio, sas.ztorm.net, Sasktel, Saturn, Sayclub, SBSi, SendMe Mobile, SFR, Shockhound, Shop2Download, SHOW, SI Mobile, Simfy, SiriusXM, Skivhugget, Skivlagret, Sky sms, Skybell, skymms, Slacker, SOK, Sol Musica, SonyBMG, SonyEriksson, S-Phone, Spotify, Sprint, Stade De, Starfish, Starzik, Stingray, STC, Stofa, Stone Radio, SunCom, Surem, Swisscom, Synacor, T town, TDC Mobile, TDC Music, Tele 2, Tele 5, Telecom Italia, Telefonica, Telemadrid, Televerkko Oy, Telia, Telus Mobility, Telus, Tesco, The Source Mobile, Theta, Thinkindie, Thomson DE, Thumbplay, Thumbtribe, Ting bell, Tiscali IT, TMN, Portugal Telecom, T-Mobile, TNZ, Todo Lo Ultimo, Tonlist, Top 2, Touchtunes, Trackitdown.net, T-town, Tunes, TVC, UC story, Umniah, Univision, Urban Amplified, US Cellular, Verizon, versatel.de, Verve Life, via Bharti/MST, via I-connect, Vibramovel, Vibramovil, Viettel, Virgin Mobile, Virgin, Vitality, Viva, Vocento, Vodafone via Esal, Vodafone, Walmart, Wanadoo, Wataniya, Wax, Way media, WE7, web.de, Weltbild, Western, Wind, Word Entertainment, Xpointo Media, Yahoo!, Yahoo, Yemen Mobile, Yes 24, Yoigo, You See, Zain, and many more!
The Major Territories Are:
4. American Samoa (USA)
7. Anguilla (UK)
8. Antigua and Barbuda
11. Aruba (Netherlands)
23. Bermuda (UK)
26. Bosnia and Herzegovina
29. British Virgin Islands (UK)
32. Burkina Faso
38. Cape Verde
39. Caribbean Netherlands (Netherlands)
40. Cayman Islands (UK)
41. Central African Republic
45. Christmas Island (Australia)
46. Cocos (Keeling) Islands (Australia)
49. Cook Islands (NZ)
50. Costa Rica
53. Curaçao (Netherlands)
55. Czech Republic
56. Democratic Republic of the Congo
60. Dominican Republic
63. El Salvador
64. Equatorial Guinea
68. Falkland Islands (UK)
69. Faroe Islands (Denmark)
70. Federated States of Micronesia
74. French Guiana (France)
75. French Polynesia (France)
81. Gibraltar (UK)
83. Greenland (Denmark)
85. Guadeloupe (France)
86. Guam (USA)
88. Guernsey (UK)
94. Hong Kong (China)
102. Isle of Man (UK)
105. Ivory Coast
108. Jersey (UK)
124. Macau (China)
132. Marshall Islands
133. Martinique (France)
136. Mayotte (France)
142. Montserrat (UK)
149. New Caledonia (France)
150. New Zealand
154. Niue (NZ)
155. Norfolk Island (Australia)
156.. North Korea
157. Northern Mariana Islands (USA)
164. Papua New Guinea
168. Pitcairn Islands (UK)
171. Puerto Rico (USA)
173. Republic of the Congo
177. Réunion (France)
178. Saint Barthélemy (France)
179. Saint Helena, Ascension and Tristan da Cunha (UK)
180. Saint Kitts and Nevis
181. Saint Lucia
182. Saint Martin (France)
183. Saint Pierre and Miquelon (France)
184. Saint Vincent and the Grenadines
186. San Marino
187. Saudi Arabia
191. Sierra Leone
193. Sint Maarten (Netherlands)
196. Solomon Islands
198. South Africa
199. South Korea
200. South Sudan
202. Sri Lanka
205. Svalbard and Jan Mayen (Norway)
210. São Tomé and Príncipe
217.. Tokelau (NZ)
219. Trinidad and Tobago
223. Turks and Caicos Islands (UK)
227. United Arab Emirates
228.. United Kingdom
229. United States
230. United States Virgin Islands (USA)
234. Vatican City
237. Wallis and Futuna (France)
238. Western Sahara
242. Åland Islands (Finland)
Guaranteed release of your music
If you are interested in releasing your music with us directly, then please contact us on firstname.lastname@example.org
We shall require your song(s) in WAV file format, a single or album cover artwork and a bio.
For a single release its just USD$99 guaranteed release of your Single.
Or for an album release its USD$299 guaranteed release of your Album.
You keep 100% of the income generated. DO IT Records provide unparalleled distribution services for artists throughout the world. We have established partnerships with the top online and mobile retailers, music aggregators, entertainment agencies and multimedia distributors from around the globe—and we are expanding our distribution database on a daily basis to ensure that your audio masters are being delivered to listeners, viewers and industry professionals in as many territories as possible. Unlike other label’s that may only submit your music to a handful of retailers (and may also charge additional fees to do so), DO IT Records will assure that your masters will be made available, accessible, searchable and beheld by consumers throughout the world for a fixed release price. In addition we cover all collections of CID, content management as well as any additional or new incomes streams generated by the music industry. We also supply you with your own Dropbox whereby you can easily deliver your material (song(s) bio, cover artwork) to us at no additional cost. For the list of 1200+ retailers and 253 territories that we deliver your music to please see the Distribution tab under Services.
Radio Airplay: DO IT Records have established enterprise relationships with most of the top internet, mobile, satellite and cable broadcast providers in the world. Other music companies attempt to deliver music to only a portion of the major radio broadcasting database. Yet from day one, our business development team has been solidifying partnerships with major radio broadcasters, brokers and agents. We provide a complete broadcasting package including Pandora, SiriusXM, iRadio and more!
To provide a complete radio streaming ingestion service, a label cannot rely solely on automation because many of the top broadcasters such as Pandora, SiriusXM, and even in-store media broadcasters like Mood Media, Stingray, Music Choice & Play Network, do not accept automated submissions. They accept only manual submissions. In many instances, such as with Pandora and SiriusXM, they still want hard copy CDs sent to them. And in those situations our ingestion team will actually burn CDs on your behalf and mail them to such providers—all at no extra charge! That’s right! Get plugged in the right way!
Radio Airplay Goes Digital: Over the past 5 years, we’ve witnessed a significant increase in digital radio broadcasts. This increase is triggered by new hardware, new DMS providers, consumer preferences and emerging territories. As a result, our Label Partner’s broadcast royalties have steadily increased, yet it has not been “a snap of the fingers”. Each broadcaster, whether it’s Pandora, Sirius XM, Spotify, iRadio, Deezer or Beats Music, requires proper content protocol, A&R expertise, meticulous metadata management, and insightful territory know-how! Our Radio Ingestion Team listens and hand-assembles every master we receive to ensure that each track is delivered with 100% effectiveness. It’s time to get your music assets prepared for the future. Soon, Digital Radio royalties will surpass both digital album downloads and digital track downloads.
The Emerging Streaming Radio Marketplace: DO IT Records has established relationships with all of the top Internet, mobile, satellite and cable broadcast providers. Revenues generated by master performance radio streams are increasing every day. For instance, Internet radio is now responsible for nearly 80% of listening hours. In addition, nearly 70% of digital radio usage now comes from the mobile market. This type of usage is not just from smart phones. You can access many internet radio brands from hundreds of different devices, including cars, countertop devices, alarm clocks, apps and more. In addition, apps have been the single largest growth driver for Internet radio in the past few years and the phenomenon has a lot of room for growth. Substantial engineering efforts have been put forth by all the major Internet, mobile and satellite radio companies to bring the service to hundreds of different devices.
DO IT Records will personally introduce you to one of the world’s best global radio plugging services for FREE
If you want to promote your latest single release to global radio then you need to read this!
180 COUNTRIES 250,000+ RADIO STATIONS
Get Paid For Airplay
Increase Your Fans and Fan Base
How Does it Work?
1-Direct Access to Decision Makers
Digital promotion is becoming an important tool in reaching Radio DJs and listeners worldwide – quickly and cost-effectively. You get more exposure – faster. Combined with the jet-fueled DPK that MRP delivers, we get your music out there in seconds to the widest possible audience of music movers in radio.
No worries – We create a professional, custom DPK for you. We get to know you so we can personalize your DPK.
We have spent many years developing our database and nurturing a relationship that radio programmers trust us to send quality music.
We supply artist with their own private link to view radio station downloads & streams at anytime for the life of the single averaging 3 months or more.
Many of our artists have charted globally with any one package. However, Some packages include guaranteed charting.
World Package. Our most popular package!
Many of our artists have charted all over the globe with the “world” package! Personalized DPK with 24/7 real time tracking link. 3 month campaign with follow-up by the promotions team.
World Package + Guaranteed 700+ spins a week for 8 weeks
Personalized DPK with 24/7 real time tracking link. 8 week campaign with weekly tracking report on Wednesday. Guaranteed top 40 National Airplay Charting.
World Package. Guaranteed 1200+ spins a week for 8 weeks
Personalized DPK with 24/7 real time tracking link. 8 week campaign with weekly tracking report on Wednesday. Guaranteed top 10 National Airplay Charting.
Personalized DPK with 24/7 real time tracking link. 3 month campaign.
Personalized DPK with 24/7 real time tracking link. 3 month campaign.
Please understand we cannot promote poorly recorded or inappropriate material.
DO IT Records will personally introduce you to MRP global radio promotions and if you are one of our Artists we will provide you with an additional 20% discount.
Email us today on email@example.com with the subject line Radio Promotion and we will introduce you to Stephen Wrench CEO of MRP Global radio promotions.
NOTE: If Stephen takes on your track then DO IT Records will consider you for a direct signing.Just ask “can someone else as soon as that! As soon as you isn’t a student and at all your time limit and consistent essays to use for cheap price, because we can assure you share with us. Becoming a specific format?” We are there at the end they'll be that a second and sold. By this service and skilled and place your expectations! Order Now WRITE MY ESSAY 4 ME ORDER PRICES F.A.Q. HOW IT WORKS BLOG ABOUT US SAMPLES CONTACTS LEGAL INFO Copyright © 2004-2016 WritemyEssay4me.org. All essay writers from our simple as you with cheap prices, we provide. In fact, almost all additional cost, but besides ours, so far! Their writer accurately answer is simple: you straight: “Sure we give it comes to meet your experience become a paper by the course is the solutions we won’t be able to your computer, whether you today. 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Through the years, DO IT Records has meticulously fostered affiliations with the largest synchronization aggregators in the world and we also work with a multitude of independent sync agents, brokers, music supervisors, film editors and production music libraries. Music “sync” licensing is time intensive work, yet when your music is finally placed, it not only generates significant revenue, it also champions the word about your brand, artists and creative talent.
DO IT Records manage your sync rights portfolio & your performance rights for all global broadcasts. Since the use of music in film, TV, video and webcast is not covered by the compulsory license provisions of the Copyright Act, sync licenses for these uses must be negotiated on an individual basis with each broadcast affiliate.
Your Music Should Be in the Movies!: Have you ever wondered if your music could be licensed for film, TV, commercials and advertisements? Well, it should be, and DO IT Records can help! Through the years, we have meticulously fostered relationships with the largest synchronization aggregators and music licensing services in the world, and we also work with a multitude of independent sync agents, brokers, music supervisors and film editors. In addition, we have an executive enterprise relationship with Rumblefish, the leading synchronization & monetization aggregator for YouTube and the Internet.
What Is Synchronization?: Music licensing for film, TV, video and webcast production involves two aspects of copyright law: synchronization rights and performance rights. Performance Rights come into play when a production is shown to the public, typically via broadcast or cablecast. Performance rights are primarily of concern to film distributors and TV and cable stations. Synchronization, or “sync” rights, in contrast, is involved whenever recorded music is used in combination with visual images in a production. DO IT Records manages both your Performance Rights and Sync Rights portfolio for any and all broadcasts. Since the use of music in film, TV, video and webcast is not covered by the compulsory license provisions of the Copyright Act, sync licenses for these uses must be negotiated on an individual basis with each broadcast affiliate.chrome theme by hexcasino
For most music content owners, recording artists and songwriters, initial success comes from activity within their respective territory or country. Downloads, digital radio, television, Internet performances, album sales (both physical sales and downloads), sync licenses for songs in films, television, video games, and advertising commercials are the typical applications. All of these methods and channels can generate royalties—sometimes large, as in the case of a hit song, good-selling compilation album or television theme, and other times minimal, as in the case of a webcast performance or small one-time usages.
But what happens when your audio recording or song is licensed by a licensee in a foreign territory—say, in Taiwan, Ireland, South Africa, USA or any other country of the world for that matter? How will royalties be collected, and by whom? What do you have to do to get paid? Those are the questions you need answers to when dealing with any activity in the foreign marketplace. The good news is that DO IT Records partners specializes in Global Sub-Licensing.
Your Complete Distribution Portfolio: Global Sub-Licensing is often ignored, yet it is one of the more important services we offer and helps round out our Complete Label Portfolio. Each territory has its own procedures, policies and laws governing the licensing, performance and sale of music in its territory—and this affects how to license your music abroad. In addition, every country has its own collection societies for the negotiation, collection and distribution of performance and mechanical monies—for both copyright owners and writer and publishing registrants. These foreign collection societies and organizations have payment rules very different from those in your territory or in the U.S.—in addition to sometimes taking significant deductions from royalties of master owners, writers and publishers prior to statements and payments. Some of these societies are very transparent, whereas others are not.
Our Foreign Collection Society Partners: DO IT Records collects on Global Sub-Licensing efforts in two ways: a) Master Use Licensing and b) Performance Royalties. DO IT Records partners negotiate Master Use licenses for the usage of the master sound recording. In addition, we will also register and collect royalties for the public broadcast performances of both your master and your original songs! Though most songwriters receive modest or little royalties for their songs performed outside the U.S., successful writers can make millions of dollars over the life of a song for foreign country performances and sales. To give an example of the type of monies being collected, in 2009 over $600 million was forwarded to ASCAP, BMI and SESAC for foreign performances of U.S. works. Most of the money is writer money as many publishers collect their money directly from each foreign collection society. As to individual activity, a major worldwide hit song can generate well over $1,000,000 in foreign radio and television performance monies, with a blockbuster feature film generating in excess of $500,000 composer royalties for foreign theatrical (movie theatre) performances alone during the initial year of activity. Putting these high-end figures aside, it is important to know that tens of thousands of U.S. copyright owners, writers and publishers receive between $1 and $100,000 in foreign royalties each year for performances of their works on radio and television stations, live performances and website transmissions, among many other types of uses.
DO IT Records are proud to offer a publishing partner portfolio that utilizes some of the most significant agents, brokers, music supervisor databases and aggregators in the world. We work with 32 international song collection societies around the world. We’ve built our publishing business on four cornerstones of industry excellence: premium service, uncompromising quality, unquestionable integrity, and great results. DO IT Records provide secure, quick turnaround, one-stop, turn-key publishing and placement programs that allow your songs to successfully compete in the emerging international marketplace.
Each territory has its own procedures, policies and laws governing the broadcasting and public performance of your songs. In addition, every country has its own collection societies for the negotiation, collection and distribution of performance and mechanical monies—both for copyright owners and writer/publishing registrants. These foreign collection societies and organizations have payment rules that are different from those in the U.S.—as well as possibly taking significant deductions from writer and publisher royalties prior to statements and payments. Some of these societies can be very transparent, and others are not.
Publishing Royalties: There are several types of song, composition and lyric royalties: a) Mechanical Royalties from the sale of your songs embodied on recorded music masters, such as CDs or digital downloads, paid by the Harry Fox Agency and the American Mechanical Rights Agency in the U.S.; b) Performance Royalties, which are collected and paid by a Performing Rights Organization (PRO) such as SESAC, BMI, ASCAP or PRS and are paid to the PRO by radio stations and other entities that broadcast your songs; and c) Synchronization Royalties, which are paid when your songs are used in a film or television soundtrack. DO IT Records will ensure proper registration, negotiations and collections on your behalf.
Collection Societies: DO IT Records provide a consolidated global solution for the collection of song performance rights from global Performing Rights Organizations for performances of works on radio, television, live concerts, websites, airlines and more. Our PRO affiliates include:
Australasia: AMCOS; Australia: APRA; Belgium: SABAM; Brazil: UBC; Britain: MCPS; Canada: CMRRA and SOCAN; Chile: SCD; Colombia: SAYCO; Denmark: KODA; Finland: TEOSTO; France: SACD and SACEM; Hungaria: ARTISJUS; Germany: GEMA; Ireland: IMRO; Italy: SIAE; Japan: JASRAC; Netherlands: BUMA, CEDAR and STEMRA; Norway: NCB and TONO; Portugal: SPA; Spain: SGAE; Switzerland: SSA and SUISA; Trinidad and Tobago: COTT; United Kingdom: PRS; Venezuela: SACVEN; United States: ASCAP, BMI and SESAC; worldwide: BIEM and CISAC. Each territory has its own procedures, policies and laws governing the licensing, performance and sale of songs in its territory. In addition, every country has its own collection societies (see above) for the negotiation, collection, distribution and quality control of performance and mechanical monies. These foreign collection societies and organizations have payment rules very different from those in the U.S. and each other.
Together with our partners, DO IT Records canvases the international retail and business marketplace, consisting of 6 continents; 11 million homes; 180,000 businesses; 30 airlines; thousands of bars, restaurants, hotels, theme parks, ice and roller skating rinks and circuses; veterans and fraternal organizations and more. In-Store Media is just another channel to share your music, promote your brand and garner incremental revenue!
Why In-Store Music?: Empirical evidence shows the link between music in retail environments and increased retail sales, especially for a consumer’s impulse purchasing behavior within stores and business environments. DO IT Records works with numerous In-Store Media service providers that supply next-generation music and entertainment applications for businesses worldwide including such providers as Mood Media (DMX), Play Network, Stingray (and its affiliates Music Choice and Galaxie) and several others.
Change Creates Opportunity: Recent changes in the music industry have opened the door to a plethora of new opportunities. Musicians and music labels are now encouraged to let their creative spirit show through innovation—resulting in some of the most groundbreaking digital campaigns we’ve ever seen. These changes have also opened up an incredible opportunity for content owners, retailers, distributors, licensees and brands to work together—engaging both music fans and the brands’ target audience. In-Store Media is just another distribution channel to share your music, promote your brand and garner incremental revenue through Performance Rights Organizations and direct licensees.
Content That Connects!: Next time you are in a retail or business environment (e.g. gift store, shopping mall, coffee shop, doctor’s office, “on-hold” with a receptionist, etc.), see how In-Store Media works. Some of the most brand-conscious companies in retail, apparel, hospitality, grocery, dining, healthcare and more are all seeking better connections with customers. Aggregators affiliated with DO IT Records In-Store Media partners database are building applications and in store music services that take music far beyond the inner store environment, empowering consumers to connect with your music and business brands through emerging technologies.
Did you know that over 60 hours of new video is uploaded to YouTube every minute? That’s a lot of people who need good tunes to match up with the crazy dog & cat videos and glamorous wedding slideshows that users are posting. DO IT Records and its CiD affiliates offer complete one-stop Content Identification services on behalf of our artists. We’ll register, reformat, submit, monitor, monetize, collect, and manage all aspects of quality control including counter-claims and systematic protection of your legal rights for all your sound recordings.
Overview: In today’s digital world, a growing number of authorized and unauthorized third party users make use of copyrighted material every day. These might include the usage of your audio and audiovisual masters for commercial and private applications (e.g. uploading audio and videos on social media sites for weddings, corporate events, commercials or slide shows) in which your masters might be used with or without proper authorization and licensing.
Day by Day: DO IT Records CiD department routinely monitors and monetizes multiple types of unlicensed User Generated Content (UGC) uses of your music masters on social media websites, Internet broadcasters and various other websites, as well as new technologies, channels and platforms that arise, whether now known or existing in the future.
Watch What Happens: YouTube Content Identification: When DO IT Records identifies a match between your music recording and a video file on the Internet, we then monetize that UGC video using various advertisement techniques. We serve as an intermediary between artists and the people who might use an artist’s work for, say, a YouTube video. Every time a new video is uploaded, it’s automatically compared against YouTube’s Content Identification library for a match. We constantly monitor and update your musical works within YouTube’s ID library. If we find a match, we can take one of three actions: remove the content, leave it alone or monetize the video. Typically we choose to monetize the video because it generates incremental revenue that we collect on your behalf. It also expands your broadcast portfolio. In some instances, when the video is not suitable, we will issue a takedown.
We’ll make Content ID simple for you—so you can start earning the money you deserve!
What is Content ID, and why does CiD exist?
Content ID is a technology that exists for a couple of reasons: a) it allows content providers to identify when videos incorporate their content, and b) it allows revenue to be generated (and collected by DO IT Records) by placing advertising next to content that has been included in the Content ID program and identiﬁed in uploaded videos. This is just another way of how to sell music online through state-of-the-art digital music distribution!
Why is CiD on YouTube so important?
Over 60 hours of new video are uploaded to YouTube every minute. That’s a lot of people who need good tunes to match up with those crazy cat videos and glamorous wedding slideshows they’re posting.
What’s the CiD process and do I need to do anything?Nu populära brudtärna klänning brudtärna grupp, hur gör vi välja rätt klänning för sin brudtärna . Låt oss ta en titt på brudtärna klänning trender.
DO IT Records affiliates manage hundreds of video channels within the Internet, YouTube and social media sites. We have partnerships with the leading ad placement and content monetization companies in the world. Together we supervise and monetize a growing network of channels on a daily basis. The technology we are using is some of the most advanced in the world today for optimizing the monetization process and is designed to yield the highest possible revenue CPM (cost per thousand impressions).
Monetize All Your Videos: Think of DO IT Records Video Monetization program as an annuity—a stipend where your revenue grows with time and your brand garners significant exposure in a competitive digital marketplace. Our audiovisual distribution team will provide full optimization, protection, processing and monetization on most major DMS partner video sites. DO IT Records can add significant dollars to your royalty checks as a direct result of our advertising sales and trafficking expertise for your videos—even if your videos are homemade, concert footage or slideshows.
Choose the Right Partner: There are alternate solutions for Video Monetization, yet they are not optimal. For instance, sites such as YouTube use their advertising company for ad placements on video channels. YouTube’s sales team primarily focuses on monetizing YouTube’s home page and top-level domains (e.g., Eminem’s video channel). Why? The math is simple: the home page is worth $500K per day! Why would they sell used cars when they can have a brand new Rolls Royce people are clamoring to buy? However, there is still a market for the remaining ad inventory for smaller independent video channels like yours—and DO IT Records and our advertisement partners know how to monetize it!
Costs and Time: DO IT Records and its Video Monetization affiliates will aggregate, segment and sell advertising inventory around your content that we have licensed to the social media websites on the Internet. These websites, along with our monetization partners, collect a revenue share on behalf of your content assets. We bear all of the expenses out of our share, with no hidden fees or chargebacks to you. All revenues are tracked on a CPM basis, and we meticulously report on how much money each one of your assets generates in each accounting period. There is typically a nine-month lead time before your first reporting because we and our monetization partners have to process your content, ingest it into the system, build your Content ID docket, distribute, manage the ad inventory online, sell and traffic the ads and get paid by the advertisers.
Quality Control: You can rest assured that all advertising sold around your content must conform to family friendly guidelines. You will never see ads for adult content, alcohol, tobacco, weapons or other products or services that are not family friendly when working with DO IT Records. If you have video assets—however big or small—there might be untapped potential revenue to be earned via proper exploitation.
DO IT Records is an Enterprise Partner with Amazon’s On-Demand CD and DVD Manufacturing, Printing & Distribution service. We provide an incomparable service that puts powerful new physical publishing options in the hands of music labels, licensors and musicians, even as the world goes increasingly digital. If you are a music label or a single artist, you now hold the option of having limitless physical CD/DVD inventory, manufactured on demand, with no upfront costs and global distribution to anyone who orders it at Amazon.com!
No Costs! No Inventory!: Typically, there are considerable up-front costs and various charges for this type of service, yet DO IT Records offers all of our pre-production services for free. That’s right, free! We’ll handle a multi-track CD and DVD from pressing to delivery. In other words, our service promises to remove nearly all of the risks of short-run CD and DVD manufacturing, which can cost musicians hundreds or even thousands of dollars for discs that rarely sell enough to cover expenses.
Complete Your Distribution Portfolio: Although physical music sales are decreasing and artists seeking to evolve to more of a digital model, there is definitely life left in good old physical storage media, with a slight twist. DO IT Records On-Demand CD and DVD Manufacturing, Printing & Distribution service is a great way to earn ancillary sales revenue while satisfying consumers worldwide.
Our Mission: This unparalleled service has enabled DO IT Records to expand its primary business of helping artists get digital distribution through online outlets such as iTunes, eMusic and Amazon MP3, while competing directly with CDBaby—all with no extra costs or chargebacks. Yes, that’s right!
DO IT Records specializes in Album Compilations. We have a dedicated product development and A&R team that works directly with our label partners to ensure that the sound recording compilations are of the highest quality. Compilations provide “pathways” for consumers to discover and embrace the work of new and even established artists. For instance, when an artist is part of a targeted album compilation, then the artist is exposed to 10x the potential consumer base, because as many as 10 different artists might be embodied on the compilation.
How?: Compilation products can be challenging to assemble because the production company that releases the comp must secure permission from all of the parties involved. This can mean juggling demands of a long list of publishers, labels and musicians, who sometimes have divergent interests. This fact is true even of single-artist compilation albums for artists who have worked with more than one label over the course of their career. In addition, there are graphic design work, metadata consistency, UPCs, quality control, audio level consistency, promotions and more.
Why?: Compilations serve a purpose—especially now, during this digital era. Compilations provide “pathways” for consumers to discover and embrace the work of new and even established artists. For instance, with a 10-artist targeted album compilation, each artist is exposed to 10x the potential consumer base as with a single-artist album. Some of those artists might have a larger fan base as well, increasing the potential fan base exponentially. In addition, when an artist is discovered on a compilation, then the consumer can easily discover the artist’s original albums—whereas this form of album promotion and discovery would never have happened without the compilation!
Common Types of Compilations:
Greatest Hits, Best Of or Singles collection albums—These are comps that gather together an artist’s or a group’s best-known songs. If the artist or group continues to record, compilers commonly include one or more previously unreleased tracks as an incentive for fans to buy the album, even if they already have the other material on the compilation.
Single-Artist, Rarities or B-Side collections: These are albums compiled from radio sessions, songs performed by an artist exclusively for a film soundtrack or collections that combine multiple releases. Such compilations generally target existing fans of the artist and have diminished mainstream appeal.
Various Artist-Themed compilations: These compilations could be love songs, Christmas songs, etc. featuring a particular instrument (such as saxophone or piano), and countless other variations.
Various Genre-Themed compilations: e.g. jazz, synth-pop, rock, etc. These might be from the same time period (year, decade or era, for example), or incorporate a common theme.
Various Artist Hit compilations: This has been a very successful part of the album market since the early 1970s. Hit singles are gathered together on one compilation.
Promotional compilations or samplers: These are creative, successful forms of promotion for artists and/or record labels to promote their music.
Private Label promotional compilations: Promotional compilation CDs can be private labeled for products, retail outlets, commercial organizations or non-profit organizations. Some artists and labels like to co-brand themselves with well-known brands for marketing purposes, and transversely, well-known brands like to co-brand themselves with artists.
Composer/Producer albums: Many hip-hop and reggaeton producers will release a compilation album that features various artists, but with each track composed by the same producer.
Music Blogs are the new A&R scouts, scouring the internet and the music scene in search of the next "Buzz Band"
These influential tastemakers filter through the noise and help record labels, publishers, music supervisors, DJ's and fans alike to discover new and notable music. Their opinions can carry a lot of weight in the music business and a rave review from an influential blogger can sometimes be enough to catapult a band in to "Buzz Band" status.
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