Do you have the lyrics, the look, and the motivation, but still need help getting to the top? Here’s 5 things to look for when hiring a music manager.
Making it in the music industry today is easier because you don’t a big record label to be heard.
However, while it’s easier to upload and promote your own music, you still have to deal with mass competition. After all, you’re not the only one who’s striving to become an internet sensation. So the key to standing out is to hire a music manager. But if you’re not convinced you need one and feel you have the perfect formula to get “found,” then this guide is for you. Now, let’s review why you should work together with a manager and how to find a good one.
Because of all the competition in the indie music industry, it’s good to have someone on your team who knows what they’re doing. And it will help even more if he or she was successful with other artists in the past.
Let’s take a look at some of the top reasons hiring a music manager can work for your music campaign.
Marketing and promotions is a full-time job, which means you can’t do that and continue to make great-sounding music. Trying to juggle both is only going to cause one area to suffer.
So if you want to come out on top, then you need a manager who can take care of the business side of things. This way, you can focus on what you do best – creating music.
And this is a good thing because you want your manager to work hard to make you a success. If they fail, then their pockets remain empty.
So a music manager will work hard to make deals that can earn cash for the two of you.
When you work in the promotions industry, you’re bound to connect with a few notables. That’s more than what you can say if you decide to do all the marketing on your own (with zilch connections).
With a manager, you can get connected with people who can enhance the quality of your music, get your music heard and possibly land you collaborations with well-known artists.
You’re a newbie in the music industry, which means you’re not familiar with all the technical terms of deals. Your manager will ensure you get the best outcome from your negotiations.
Plus, they act as a buffer in situations that can become highly emotional.
Now, let’s review what you should look for when searching for a music manager.
You don’t want to work together with a manager who doesn’t believe in your music. If they don’t show any enthusiasm for your tracks and style, then they’re not going to do a great job at promoting you.
Then you have to worry about losing your manager to another artist they actually like. Business relationships are a lot like real-life relationships – if there’s no interest, there’s no loyalty.
This can turn out to be a double-edged sword. A manager that’s worked with high-profile artists in another music genre could still benefit your campaign. The connections they have can make it worthwhile to hire them.
However, without this status, you don’t want to risk working with a manager that isn’t experienced with working with clients in your genre. This is why you’ll find most managers advertising their services for a specific type of artist (R&B, country, hip-hop, etc.).
Also, inquire about their past success. You don’t want to waste time with a manager that’s wet behind the ears and will take forever getting you noticed.
The only way you’ll know whether or not a manager can provide satisfactory results is to look at their strategy. This includes having an audience you’ll target, mediums you’ll attempt to promote through and financing.
How much will it cost to get your ads placed in those magazines and on popular websites? Are paid reviews a part of the strategy? If you have a low budget, then make sure your manager has a workaround for this.
Sure, any manager will boast about all the good they did for past clients. But does it have any merit? Social proof is everything today and it’s easy to get with a quick internet search.
Search around on Google to see if there are any reviews for the managers you’re considering. If not, this may be a sign they’re brand spanking new. In a sense, no reviews are just as bad as negative reviews.
Continue looking until you can find a music manager with reviews you can use to gauge your interest in their services.
It’s very easy to build a website and post ads online stating you’re an artist manager. But what makes them qualified? Besides past experience, it’s good to check out a manager’s credentials.
This includes licenses, certificates, and degrees. Even long-term internships are a good sign the manager knows what they’re doing.
Always read the terms of your agreement before signing any documents. There are key areas you should discuss in person or over the phone, so you can have all your questions answered.
One detail you want to cover includes the fees – is this a flat rate or percentage of sales? What are the terms for firing the manager and hiring a new one? If you’re not confident in your skills to discern all the details, then take the contract to an entertainment attorney before signing.
Most artists don’t create their own music, which is where music producers come in. The internet makes it easy to find deals on music production and licensing.
With the help of your manager, you can find the right beats for your tracks. One place to start your search is at Telling Beatzz.
If you’re looking for the perfect instrumental for your lyrics, then don’t hesitate to contact us!
Browse our extensive and exclusive catalog of over 200 custom made beats and instrumentals, available for free download or purchase.
THIS LICENSE AGREEMENT is made on 7th June 2024 ("Effective Date") by and between Licensee(hereinafter referred to as the "Licensee") also, if applicable, professionally known as Licensee, residing at [N/A] and Thomas Hodek. (hereinafter referred to as the "Licensor"). Licensor warrants that it controls the mechanical rights in and to the copyrighted musical work entitled "BEAT NAME("Composition") as of and prior to the date first written above. The Composition, including the music thereof, was composed by Thomas Hodek ("Songwriter") managed under the Licensor.
All licenses are non-refundable and non-transferable.
Master Use.
The Licensor hereby grants to Licensee an exclusive license (this "License) to record vocal synchronization to the Composition partly or in its entirety and substantially in its original form ("Master Recording“).
Mechanical Rights.
The Licensor hereby grants to Licensee an exclusive license to use Master Recording in the reproduction, duplication, manufacture, and distribution of phonograph records, cassette tapes, compact disk, digital downloads, other miscellaneous audio and digital recordings, and any lifts and versions thereof (collectively, the "Recordings", and individually, a "Recordings") worldwide for unlimited copies of such Recordings or any combination of such Recordings, condition upon the payment to the Licensor a sum of Varies US Dollars ($Varies), receipt of which is confirmed. Additionally licensee shall be permitted to distribute unlimited internet downloads for non-profit and non-commercial use.
Performance Rights.
The Licensor here by grants to Licensee an exclusive license to use the Master Recording in unlimited for- profit performances, shows, or concerts.
Broadcast Rights.
The Licensor hereby grants to Licensee an exclusive license to broadcast or air the Master Recording in unlimited amounts of radio stations.
Credit.
Licensee shall acknowledge the original authorship of the Composition appropriately and reasonably in all media and performance formats under the name "Thomas Hodek" in writing where possible and vocally otherwise.
Synchronization.
Licensee may exploit and monetize from licensee's unique derived work(s) of composition for use on TV, Film, Video game or other synchronous projects. Licensee may represent other publishing owners of the original composition for exploitation and have full authority of granting non-exclusive license for synchronization use as long as credit and publishing information is provided to such agency.
Consideration.
In consideration for the rights granted under this agreement, Licensee shall pay to licensor the sum of Varies US dollars ($Varies) and other good and valuable consideration, payable to "Thomas Hodek", receipt of which is hereby acknowledged. If the Licensee fails to account to the Licensor, timely complete the payments provided for hereunder, or perform its other obligations hereunder, including having insufficient bank balance, the licensor shall have the right to terminate License upon written notice to the Licensee. Such termination shall render the recording, manufacture and/or distribution of Recordings for which monies have not been paid subject to and actionable infringements under applicable law, including, without limitation, the United States Copyright Act, as amended.
Indemnification.
Accordingly, Licensee agrees to indemnify and hold Licensor harmless from and against any and all claims, losses, damages, costs, expenses, including, without limitation, reasonable attorney's fees, arising of or resulting from a claimed breach of any of Licensee's representations, warranties or agreements hereunder.
Audio Samples.
3rd party sample clearance is the responsibility of the licensee.
Miscellaneous.
This license is non-transferable and is limited to the Composition specified above.
Governing Law.
This License is governed by and shall be construed under the law of the Bayern DE, without regard to the conflicts of laws principles thereof.
- Licensee, owns 50% of publishing rights. - Tellingbeatzz (GEMA), owns 50% of publishing rights - Licensee, owns 50% of publishing rights. - Tellingbeatzz (GEMA), owns 50% of publishing rights
To download your free version of please enter your name and email address and the download link will be emailed to you
One Comment
10 Expert Tips For Licensing a Song
[…] everything to your publisher, you could be trying to push music through a bad publisher. Make sure your manager is savvy enough to advise you on the right […]