Breaking The Band: Part II

In my last installment, I discussed how one might go about taking a band to the next level. I have encountered a band with a uniquely vintage sound and great originals, enough for an album’s worth of material. This should ordinarily be at least 40 minutes of material, but no more than 55, so that the listener does not become tired of listening.

I then found a very experienced producer who was also impressed with this young band and he gave me his impression of how the band’s sound could be most accurately replicated under studio conditions. What impressed me about this producer was his knowledge of the recording process, and if he didn’t know something, he always seemed to know someone who did. This was of utmost importance because both the band and I needed to be confident that the finished product was going to be as polished as it could possibly be. We also selected a very well known recording studio that we knew had the microphones, amplifiers, and board for the sound we were trying to achieve. My company then entered into a contract with the studio, which provided for a fixed amount of recording time at a fixed hourly rate, which included the engineer.

Next, the band and I entered into a recording contract, which simply provided that they would perform and record their original compositions, and the master would become the property of my production company. My company would pay all recording, editing, mixing, and mastering costs, as well as the costs of design and actual production of the physical CD. The copyright to the compositions would remain property of the band. All revenue from CD and digital sales were to be paid to my company until such time that all production costs noted above were repaid in full. Only after those costs are repaid would the band be entitled to share in the royalties as provided in our recording contract.

You may encounter some situations requiring additional agreements, or riders, to these contracts, such as when special instruments are required or additional musicians are needed to play them.

This is the basic and most simple framework for a viable production and recording deal. The ultimate plan is to market the album through digital outlets and to sell them at live performances.

Those live performances will be booked through a booking agent, which will hopefully be sufficiently impressed to obtain many gigs for the band. Also, we intend to make numerous videos of each original song, either in the studio or by filming live performances, for uploading to YouTube.

As we go to press, the basic tracks have been recorded and editing is in progress. To be continued.