Is a music arrangers fee worth it?
150866
Its probably best that you contact one of the collection societies such as BMI/Ascap whom should be able to advise you whether its worth it. If the arrangers are getting the other 50% of writers royalties, then I'm not so sure that there is a need to pay them. Because as you're relying on receiving payment that way, then maybe they should?! But you've also got to take in to account that studio time is being paid for, and this in itself is probably worth the fee that you are paying out.
739587
I know! It's ridiculous; most tabs are a little dodgy or incomplete anyway, so it's not like it's always worth paying for. The actual writers themselves aren't complaining about the money, just greedy companies.
1057171
it depends on the instructor.\n\nif it is a well renoun person who can make $100 a sitting, and is worth it,  then do it if you want to be proffessional.\n\nbut if you are just doing it to learn an instrument for recreation, find a tutor who will charge about $15 to $20.\n\ni used to pay $15 twice a week for drum lessons, and it was probably the best thing I've done.
257811
Write the studio and ask if one is available.  You may need to pay a fee.
234211
They pay their royalties on a monthly basis.  One week out of the year, they keep a log of what they play and who wrote it.  The publishing companies use this information to calculate payment for the song writers.  \n\nWhen I worked in radio, we subscribed to BMI and ASCAP. We paid around $1,000-$2,000 per month to each service to play their artists.
356956
Unfortunately, most independant music teachers, while skilled at the instrument, lack the business skills to make it a profitable endeaver. Since mistakes in the business side can be very costly, I'd recommend you go see your local SCORE group right away. SCORE is a group of retired execs that give free help to get new businesses started, and improve existing ones.\n\nThe second issue is the difference between being able to perform, vs the ability to teach. In time, it will develop. In the beginning, its probably ok to follow the steps your teachers used when you learned. I will however stand behind the fact that skilled music teachers who are marginal performers often do much much better in this arena, than top teachers with poor teaching skills.
764138
I might be able to help. I have worked with some of the greats in the music industry and honestly, I'm not to happy with anything out there right now. If you would like to know whom I worked with, please reply with an email and I will include my website for your consideration.
789864
General opinion would be based on the following:-\n\n1.you would need to tell me exactly how long would you hang before you have made your comission on the interest.\n2.Who owns the masters\n3.who would own the copyright\n4What contracts would you expect me to sign up to and are these contracts approved by the musicians union in the UK???\n\nThese are questions all new comers to the music business should want to know the answers to. I am not looking to sign sign up but I hope the above is informative to any one who is interested.\n\n~v~
1098855
It may cost but worth it. It's either that or spend hundreds on seminars. If you want to do thet email me and I'll send you information.
112030
Be very careful with your money.   Too many scam\n  artists roaming thru the Net.  Legit companies will\n  not charge a fee.
83986
depends if your selling sheet music or instruments. Tubas are 3000$ pianos are up to 50k
3230
I have seen groups solicite in their web site. If you have a small but loyal fan base they can really help out. \nOffer them "exclusives", access at a performance or bounus tracks or something. If you don't have a manager ... maybe you need to get one to keep the business side going while you create.
442229
there are plenty of audio editing programs out there, but they get pretty pricey.  Cake walk starts at about $400 and it's not to user friendly, but you're set to start a band with it in hand.
273679
Definitely unless you just got a quelm about her age.  That's how the real world works, find something your good at and make money off of it.  \n\nCheck into some of the local churches, they're often looking for piano players and its a rather moral environment compared to teenage bands.
1009383
ok, as someone in the music business, who's had the chance to sign record deals, and has known a lot of ppl with them, let me offer some advice:\n\ndo as much as you can on your own, recording, gigging, selling cd's, whatever it takes.... do it all on your own, and pay for it yourself. when you sign a record deal you're signing a loan, just like when you buy a car or a house. so, they give you $10,000 or however much, and you do all your stuff with your money, but then they OW N you. you dont get paid until you gig enough and sell enough stuff to pay back the record company. and they dont care if you fail, they'll still want your money, so you'll be working at walmart to pay them back. and even if you get signed, and do ok, you'll need to pay them back entirely before you see any real money, and even then, you'll only get like $ .20 per cd you sell. its ROUGH.\n\nbut, if you can prove that you can do most of it on your own, you've got bargaining room. you can say "listen, i can do most of this on my own, i'm not going into this unless theres something in it for me. i'm not gonna be your slave." and then work out a better deal with them.\n\nbut first, focus on getting good at playing out, and make sure you're working and get a real job to pay the bills.
293965
I think it is a good idea if you are really involved and want to do it. I would suggest starting by doing a few parties for free, and then once you get some business, start charging. Good luck!
917958
staring with a few questions:\nAre your songs copyrighten?\nWhat Performing Rights Organization are you a member of?\nHow many genres do you work in?\nDo you specialize in a genre?\nHow large is your catalog?\n\nThese are key things to sort out when venturing into the world of music publishing. In a perfect world you'd find a manager a publisher and let the money start rolling in....unfortunatly getting a publshing deal these days is about as hard as get a record deal.\nBUT\nthe good thing is publishing deals with mainly with ownership and issuing the rights to use a song.\nFor that perspective you can copyright your songs, compile and organize your catalog and bamm, you're a publisher.\nTHE \nhard part comes in selling your songs to the movies.\nKnowing your market is key, know what your movie makers want, and actually having it...\nUnderstand that doing all types of genres doesnt mean a hill of beans to a music supervisor looking for a specfic song for his movie project.\nDoing the research, knowing the music desision makers are  and what they need is how you get a feel for the demand of your catalog in the market.\nTrade mags, tip-sheets, etc.. can help with this, but keep in mind these resources and contacts are valuable to independent artist  and companies and should not be abused. Some tip-sheets are not cheap and for some you even need to provide credentials to buy. If you are a member of a performing rights org., check their website, look for workshops, \nshowcases, events where panelist speak and answer questions, or events that give you a chance to meet people. At some point you have to put on your salesmen's hat. \nButs not impossible to get a song placed on your own...