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The Music Business Resume
CREATIVE ROLES
These are the people involved with writing and performing music.
Band Member
Performing musician and integral part of the band
May or may not be involved in the writing process
Traditionally a musician, but could equally be a DJ or programmer
Needs to be proficient on their instrument and work well as part of a team
Solo Artist
Usually a singer
Sometimes writes their own material
Needs a distinctive look/charisma
Needs drive, ambition and confidence
Songwriter
Composes the song
Sometimes performs
Musically creative, competent musician
Happy to work alone
DJ/Remixer
Remixer takes elements of a song and combines them with new ideas to create a new song.
Needs a good knowledge of production techniques.
Interest in music technology.
Programmer
Needs a good knowledge of music technology.
Usually adds a modern, dance-oriented edge to a song.
Similar to a remixer, but doesn’t change the original song as much.
RECORDING ROLES
People involved with recording the artist’s music.
Producer
Responsible for controlling the overall sound and artistic direction of the recording.
Has to make sure the recording is on time and on budget.
If actively involved with the recording/mixing process they are referred to as the producer/engineer.
Needs to be able to deal with artists, record companies and managers.
Has to get the best performance out of an act.
Needs a thorough knowledge of recording studio and techniques.
Often has to work unsocial hours.
Engineer
Responsible for the technical side of the recording – usually has no artistic input.
Unless – low-budget, when band will use just an engineer.
Good knowledge of recording equipment and techniques needed.
Often has to work unsocial hours.
Needs to be able to keep calm in stressful situations.
Assistant Engineer
Also referred to as the ‘tape op’.
Helps the engineer, keeps track of mixes, general dogsbody.
Starting job in a studio.
Needs an interest in music technology.
Attentive and efficient.
Needs to work long, unsocial hours.
Studio Manager
Responsible for running the studio and its staff.
Needs to keep the studio functioning efficiently – everything in working order.
Responsible for booking sessions for bands/record companies.
Responsible for the finances of the studio.
Hires session musicians.
Needs to be highly organised and efficient.
Needs to be a good communicator.
Session Musician
Technically competent musician, hired for a track or an album.
Usually paid hourly or per session to play or sing.
Often works with a solo artist who does not have their own band.
Sometimes hired if the band themselves don’t play well enough.
Needs to be able to read music.
Has to be highly proficient on their instrument.
Needs a knowledge of various musical styles and conventions of playing.
Needs to be calm under pressure and a good time-keeper.
Mastering Engineer
After a song has been recorded and mixed into stereo by the engineer and the producer, the final mix is then given to a
mastering engineer who usually compresses it (optimizes the loudness) and applies some final EQ (equalisation –
treble/bass adjustments).
Puts the songs in order on a PQ master for the CD manufacturing company (pressing plant).
Needs a thorough knowledge of mastering procedures.
Needs a good ear.
Needs to be able to concentrate for long periods of time.
Arranger
Usually has a classical background.
Responsible for writing parts for instruments to play on tracks (including orchestral instruments).
Needs a good knowledge of instruments and scoring.
Needs to be able to work to deadlines.
Manager
The manager acts as the buffer between the band/artist and the rest of the music business. It is a pivotal role.
The manager liaises with the record company, producer, tour manager, media etc etc.
The manager takes around 20% of the band’s income.
Needs to be an excellent communicator.
Needs to be diplomatic yet assertive.
Needs a good network of contacts and good negotiating skills.
LIVE PERFORMANCE ROLES
These people are responsible for the organisation and smooth-running of a concert or gig.
Tour Manager (TM)
Responsible for organising and overseeing transport, accommodation, staff, budget and
itinerary for a tour.
Needs to make sure that the artist is in the right place at the right time.
Needs good coordinating/organising skills.
Needs to be diplomatic yet firm.
Needs to travel and work away from home for extended periods.
Instrument technician (tech)
Ensures that the instrument they are responsible for (e.g. guitar, bass, drums, keyboards
etc) is functioning correctly between and during gigs. (e.g. if a guitarist breaks a string on
stage, it is the tech’s job to replace the guitar immediately.)
Needs a thorough knowledge of their specialised instrument.
Ability to play is useful.
Quick thinker, cool under pressure.
Roadie
Responsible for transporting, setting up and dismantling the artist’s equipment, lighting and
PA system at gigs.
The bigger the gig, the more specialised the role of the roadie.
Very physical job – involves lots of heavy lifting.
Often doubles up as the tech.
Needs physical strength and stamina.
Needs to work well as part of a team.
Often has to work away from home for extended periods.
Live sound engineer/front of house sound engineer
Responsible for the sound the audience hears in a gig.
Balances the singers/instrumentalists using a mixing desk.
Sound is then projected to the audience via the PA (Public address system)
If the sound engineer is employed by the venue (rather than the act) they are known as the
house engineer.
Needs a thorough knowledge of PA equipment.
Needs a good ear for music.
Needs to be able to work under pressure and solve sound problems immediately.
Monitor engineer
Responsible for the sound the performers hear on stage.
The sounds of the band are mixed and relayed to the band via onstage speakers called
monitors.
Needs a good knowledge of monitoring equipment.
Merchandiser
Concerned with the design, manufacture and selling of the band’s merchandise (T-shirts,
posters, key-rings etc).
Needs visual flair.
Needs to be able to work to deadlines.
Needs to have good marketing/selling skills.
Promoter
Responsible for getting the public to know about their band/artist, usually by fly-posting,
leafleting and advertising in magazines, newspapers and on the radio.
Organises printing of tickets.
Liaises with the tour manager over selecting venues.
Collects and distributes money after the gig (settling the show).
A venue promoter looks after one venue only.
A band promoter matches acts to venues.
Needs a thorough knowledge of the music scene.
Good organisational skills.
Good communicator.
Booking agent
Organises tours and one-off gigs, often coinciding with the release of a new album.
Scouts for new acts to represent.
Usually takes a 10% fee.
Performer
Many types of musician including backing musicians, functions bands, residency bands (e.g.
hotels, cruise ships) tribute bands.
Backing musicians have to be good, technically competent musicians and are usually hired
just for touring.
RECORD COMPANY ROLES
The record company represents the band/artists through their recordings. They advance
money against prospective royalties and are responsible for organizing recordings,
exploiting and promoting them, and making sure that they are available for sale. Once a
band/artist has signed a contract, and recordings of songs made during the term of that
contract belong to the record company.
A&R
Stands for Artists and Repertoire – name comes from the early days of the industry when
the A&R department would select the songs for the artists to record.
Main responsibility is to find and sign artists to their record label.
They are the main point of contact for the artists and manager.
They usually decide which songs should be released.
They often select which producer to use.
They need in-depth knowledge of current musical trends and a strong instinct for what will
sell.
Talent scout (junior A&R)
Their job is to keep an eye out for unknown or little-known bands by listening to unsolicited
demos and checking out small gigs – they then report back to the A&R department.
They need an instinct for recognizing the ‘next big thing’.
They have to go to lots of gigs to search for new talent.
Marketing and Promotions
Responsible for targeting recordings at a specific group of consumers.
Controls and coordinates design of artwork and packaging.
Chooses the format of a release (CD, vinyl, mp3)
In charge of TV, press and radio advertising campaigns – making sure that the target
audience is aware of the release.
Need to have creative and visual flair – original ideas.
Strong organisation and communication skills.
Good working knowledge of the advertising industry.
Team player.
Press Officer
Major labels usually have their own, indie labels usually hire a freelance press officer.
Supplies the press with information and promotional material regarding gigs, tours and
releases.
Enhances the profile of the band/artist by creating as much publicity as possible about
them.
Needs good copywriting and proofreading skills.
Good communication and organization skills.
Strong networking skills.
Up to date with the current music scene.
Able to work to tight deadlines.
Plugger
Their sole purpose is to persuade DJs and radio producers to play records of the artists they
represent.
Radio stations often have several playlists – A,B and C. A list gets played throughout the day,
B list gets played quite frequently, C list less so.
The plugger’s aim is to get onto the A list, though these are often made up by the big
names- they are also influenced by chart position.
The plugger needs to have a persuasive personality and strong communication skills.
Major label boss
Steers the artistic direction of a label.
Receives advice from A&R, marketing etc as to which acts to sign, keep or drop.
Responsible for the finances of a label.
Often answerable to a higher executive in the corporation – there are many record labels
but the majority of them are ultimately owned by three big companies – Warner, Universal
and EMI.
Needs to balance managing and delegating responsibility.
Needs to be able to listen and direct.
Needs good business/financial skills.
Needs to have creative vision and an instinct for what will sell.
Indie label boss
Does the same things as for a major label but, depending on the size of the label, may have
to carry out other roles as well such as A&R, marketing etc.
More their own boss as they operate independently.
Often specializes in a particular genre so gets to know his acts better.
In touch with the current music scene.
Needs to be adaptable and competent in many different roles.
MEDIA ROLES
Radio Producer
Controls the overall style and content of a radio programme.
Responsible for putting playlists together – sometimes in collaboration with the DJ.
Needs a working knowledge of radio broadcasting equipment and procedures.
Needs to be in touch with the tastes of the audience.
Radio DJ
Responsible for playing songs on air as well as links, interviews, games etc.
Generally, the more commercial and mainstream a show is, the less influence the DJ has.
Needs a clear and confident voice,
In-depth knowledge of their chosen genre.
In touch with the tastes of the audience.
Familiar with broadcasting equipment.
Individual style and creativity but also needs to work as part of a team.
Music Journalist
Could be a staff writer (employed by a particular publication) or freelance (contributes to various publications).
Writes articles and reviews for newspaper music sections and the music press.
Conducts interviews and writes them up.
Often receives demos from unsigned bands and goes to gigs then writes reviews.
Needs good communication and networking skills.
Excellent command of the written word.
Creative fair.
Inquiring nature.
Web designer
Responsible for designing and maintaining a website.
Usually commissioned and paid for by the artist’s record label.
Needs a thorough understanding of web programming languages.
Eye for good design and excellent IT skills.
PUBLISHING AND ROYALTIES
Whenever a record is manufactured, or when a song is played on the radio or TV or in
public, money is payable by law to the songwriter(s). Such sums are referred to as
‘royalties’. In the UK there are two main agencies – MCPS and PRS – who collect money on
behalf of the songwriter.
‘Mechanical’ royalties are generated from the recording of music and the reproduction of
recordings, whether on CD, DVD or any other format including online distribution.
Performance royalties are due whenever copyright music (live or recorded) is broadcast or
played in public.
MCPS and PRS royalties are payable to people who actually wrote the music and their
publishers, not to those who only performed it.
MCPS (Mechanical Copyright Protection Society)
The MCPS is the UK’s organisation that acts on behalf of its writers and publishers,
negotiating agreements with those who record the music, and distributing the royalties. The
MCPS also ensures that writers and publishers get a royalty when their music is used in a
film, advert or game – this is known as a synchronization fee.
PRS (Performing Right Society) – in the States – ASCAP, BMI.
PRS collects and distributes performance royalties. They collect money from TV, radio,
internet sites, pubs, clubs, leisure centres, schools and other venues that play music,
whether live or recorded, then distribute the royalties to their members – composers,
songwriters, lyricists and publishers.
PPL (Phonographic Performance Ltd)
The PPL collects royalties on behalf of record companies and their performing artists. Any
artist who has played on a recording will receive these royalties. A PPL licence is required
when recorded music is played out loud (not headphones) in public - this includes pubs,
clubs, hotels, gyms, restaurants and shops.
Music Publisher
A publisher deals with the administration of copyright on behalf of a composer.
They protect, register and exploit copyrights.
They issue licences (e.g. for musical theatre productions) and collect and distribute royalties
form the collecting agencies.
They may also print music and license them for inclusion in printed collections – eg. Glee
Books.
More royalties can be accrued through sales of printed music.
Publishers sign up composers in the same way as record companies sign up recording artists
– they sign a contract for a period of time and are usually paid an advance which is set
against future sales.
All songs that are written during that period are controlled by the publisher.
Need sound legal training.
Need good business and accounting skills.
Need good communication skills.
Knowledge of current music trends and an instinct for what will sell.
MANUFACTURING AND DISTRIBUTION
CD manufacturer
Responsible for making duplicate copies of the CD.
Makes a ‘glass master’ of the PQ CD (which has track times, length, names etc embedded)
from which all copies are produced.
Needs to be able to work to deadlines.
Distributor
This is the link between the record company and the retail shops after mastering and
manufacture.
Major labels usually have their own distribution network, independents tend to use
independent distribution companies.
Need strong organisational skills
Persuasive selling ability – need to convince shops to stock CDS.
Instinct for what will sell.
MAJOR LABELS
In the early days of the music industry, record labels were set up by large companies such as Columbia and
Victor. Nowadays, 80% of music is released on the major labels. The acts they represent are generally aimed at
the mass market or ‘mainstream’.
Major labels are large companies with various departments (A&R, Marketing and Distribution) working in
conjunction with each other. They have offices worldwide are able to promote and distribute their music
globally.
The main advantage for an artist on a major label is that more money is available to promote them on a
worldwide network. This in term means that they are expected to sell a large number of records – so they will
have to record and gig almost constantly. If sales do not meet expectations, a contract can be terminated.
INDIE LABELS
Traditionally, indie labels are known for introducing new and innovative artists who tend to enjoy greater
artistic control than they would have with a major label. Indie labels tend to specialise in ‘niche’ markets –
reggae, drum’n’bass, guitar bands etc. They don’t have as much money so they employ fewer people who take
on more roles. Indie labels license their recordings to foreign record companies to sell their music abroad.
Some indie labels collaborate with the majors: the indie label signs and records the artist but relies on the
major to manufacture, market and distribute the final product. The artist gains credibility (can be included in
the indie charts) for belonging to an indie label while, at the same time, receiving the support of the major
label’s infrastructure. Some indie labels rely on a major just for distribution.
In return for their support, the major will usually receive a share of the sales of the product. Occasionally, the
majors will gain part-control of the indie label with which they are collaborating.
Some of the smallest indie labels are run by one person – working from home with a telephone and the
internet, this person takes on the roles of label manager, A&R, marketing etc. There are usually limited funds
available but also limited costs to cover. There is more artistic freedom which can result in more innovative
releases.
There are many jobs in the music industry and many different ways of getting paid. Outlined below are a few
alternatives:

Fixed, part-time or full-time age working for one employer.

Contract – delivery – payment

Contract – service – invoice - payment

Contract – advance – service – delivery – settlement

Research – pitch – contract – service - payment