What is the easiest and fastest way to calculate the accuracy of royalty statements? What is the easiest and fastest way to calculate worldwide vinyl record sales of a specific album? I have a volunteer attorney because I am a starving artist. He can’t do much for me but it’s better than nothing. What is the most clever, strategic way to deal with a situation like this to somehow improve these conditions for other artists? Any advice, links and resources would be so helpful. Been dealing with this for 5 years. Sadly a lot of these organizations that get tons of grants and claim as a business to exist to be ‘helping artists’. With these types of things aren’t doing anything to help. Someone is pocketing the money and this is corrupt

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I hate I’m doing this key stuff cause sometimes I come across beats and the Key for them are Ab minor but but .. on fl studio there is no Ab minor then I’ll ask people what’s a good replacement and they would say sharp A minor and I don’t know what that is😭 So perhaps yall know or hav a better description.

I wouldnt be dumb with it just some pad synths or something. I just wanna know if there's some kind of algorithm out there that will catch me on that stuff

I'm an artist from the caribbean and I make music in spanish. Which label can best promote in latin america and the us?

You obviously read the title… I’m 15 with almost 15k monthly listeners gaining average 700 new listeners a day and 2k streams daily. I used to have a manager but he dropped everyone on the roster because it was “too much of a workload for him”. (Backstory: he didn’t do anything except post one snippet every month and take 10% of my stream revenue). I have talked to my dad and he offered to manage me but i feel i need someone with experience in the music industry to elevate my career . How would I go about finding one or do I wait for someone to find me? Or do i need to keep growing my fanbase myself and wait? I do have a LLC and a website (under parents names) and a growing social media presence.

Updated : What is the greatest advice you have received when doing Tour Management ?

Does anyone know any distributors that distribute music to Chinese streaming platforms? Thanks in advance

I am a music industry major at USC, and recently got more interested in artist development. I was wondering if anyone who has experience in the music industry, preferably in the LA area could spare 25-30 minutes for a brief interview so I can learn more about A&R and creative direction. I would appreciate it a lot!

I worked in music for years. Was a high level manager.

Life took some turns and I left. Its been about 9 years since I was full time.

I could go back, my connections are all still strong.

Tell me why this is a terrible idea (ok, fine, tell me if you think its a good idea too).

What have I missed??

Recently I was on a singing competition which aired on national tv. A A&R that works with one of the biggest labels in our world caught me on the street and wanted to work with me.

I did my stalking research and discovered that what he said was true. I had like one session with the dude and his friend it was extremely enjoyable and I loved it, but recently he has been saying that he’s swamped with work and deadlines.

So my question is, would it be rude to keep asking him for when he is available or should I let him come forward whenever he is available.

it seems like its sort of hard to prevent it sometimes if you write songs with them and have emotional performances and work together a lot. idk

hi, i’m a 17 y/o artist from the uk.

i’m not a big artist. i just hit 60 monthly listeners after sitting at around 20 for 3 years. my biggest song is still under 1k streams, but there is growth, people are starting to take me seriously, and a few dm me showing love.

i hate content, though. i’m trying harder, which explains the uptick, but it’s draining, especially since i don’t have friends pushing my music. it’s tough watching people i know get over 2000 likes on first freestyles while i get ignored.

i email platforms like bbc radio and grmdaily, but i get no responses or rejections. probably because i don’t know how to network. meanwhile, i’m still in school, juggling music, schoolwork, work, and day to day life.

i’ve tried to set myself up right: i’ve got a website, i’m present on all the socials, but it feels like i’ve been talking into the void for 3 years.

this is why i really want a manager. i know i might be too small for one, but how do i get one? if it’s too early, when’s the right time?

Hey guys,

Since I’ve recently created this profile and joined this community, I’ve had a few people shoot me messages for advice on navigating the industry due to my background of being at a major label for 10 years until recently.

I’m open to starting a zoom session, putting the details on here and hopping on for anyone with questions or who’s seeking some pointers or just to talk music.

Would anyone here find that useful?

Thanks!

https://www.youtube.com/watch?v=1UCFlBR4dwc&t=1015s

From my talks with managers and/or upcoming artists (let’s say 5,000-20,000 IG followers), I’m given the impression that the value of newsletters has increased over the last 5 years. But it also seems like they don’t use it that much! Of course, you should never spam people, but still… one every 3 months?

What is your experience?

Hi all, I graduated with a degree in music business in Dec 2023 and have been looking for a job. I’ve mostly had internships in graphic design but want to do marketing at labels instead. The main experience I have was for a class project, creating a marketing campaign for Charli xcx and pitching it to Sam Pringle, her manager. It included ideas such as for her to be on the Barbie soundtrack, do double duty on SNL, and collaborate with h&m, all things that did happen (which could all be purely coincidental). But it was this project and Sam’s positive feedback that made me want to pursue marketing in both music and film/tv. Any company recommendations or advice? I’d also be open to connecting if anyone’s in marketing. Thanks! (Based in nyc btw)

I’m currently a manager at a rental AV company FT and a show runner on my spare time. I’ve been trying to get a job as a PA and recently even had an interview with a big company that I thought went really well but then they ghosted. I’ve also been a VIP assistant for a handful of shows for a big artist in multiple cities. They mentioned bringing me on for the 2nd leg but that’s not until next year and I haven’t heard anything since (not getting my hopes up on that either). I’ve been doing my best to network but feel like I am stuck and don’t know where to go from here. Any advice would be helpful bc I really don’t know what to do at this point but just continue to work these shows and hope someone sees my hard work and would be willing to bring me onto something now or in the future.

Hi folks. I make a living off of streaming revenue, so I want to be sure everything goes smoothly when moving the catalog to a new distro.

Has anyone moved their catalog to a new distributor and can share tips on ensuring everything syncs properly before taking down the old distro?

I know Spotify has the “one more release” button to confirm things are linked up, but other DSPs don’t seem to have a clear way to check. For instance, on Apple Music, I noticed duplicate releases for a few days, but now there’s only one of each release (even though it’s still live on both distributors).

Thanks in advance for any input!

I was reading David Lee Roth's stellar autobiography, "Crazy From The Heat". He has a chapter in the book called Business 101, which to me, should be required reading for anyone attempting to enter any facet of the music business. But he says that in 1993, with no record, and no tours, he made no money and still paid out $1.2M in legal fees for various facets of his business life. Obviously this can't be true in a literal sense because he would still have had some type of mechanicals from Van Halen as well as publishing even in a slow year. But this statement got me thinking. Are catalog artists (meaning the Van Halen's, Pink Floyd's, Led Zeppelin's of the world) making more money than ever in publishing? It would certainly seem so given the slew of massive catalog sales as of late.

A song like "Stairway To Heaven" or "Running With The Devil" has surely always been lucrative in publishing residuals with getting constant heavy rotation at radio from countless stations across the globe. Furthermore, film and tv sync didn't just suddenly become lucrative last year -- the money has always been there. Yet it seems like artists with major catalog songs are seeing significantly higher residuals than decades past. Is that the case? Assuming David Lee has, at best, 25% of the songwriting and 25% of the publishing of the Van Halen catalog, what would make these quarterly earnings so exponentially higher today than say the 80's or 90's, when the songs were also getting heavy airplay then?