Professional Documents
Culture Documents
that their material is so strong that the radio will pick up on it immediately and it is sure to be a Big
Hit, bringing record execs to their door. The fact is that there are only so many minutes in a
broadcast hour, and radio programmers have to play what their demographic target audience wants
to hear. Even on college or alternative radio, what will the listener request: R.E.M. or Someone
They've Never Heard Of?
(5) Examples of successful independent releases stuff my file cabinets but only because these artists
had both a demand for the product and a plan to finance, manufacture and market it. A good
example is my ex-wife who sells cassettes off the bandstand for $10 a pop. She has an independently
produced master in the can from her earlier dances with record labels. It is a broadcast quality
master. The majors didn't pick up on it but the mix is done and the artwork has been shot. She has a
friend who puts up the money for each repressing of the master. It usually cost about $2000 and
takes possession of the cassettes. He advances them to her 50 at a time for $5 each. He has become
the wholesaler. In about four months, he has his money back, and from there on he gets a buck a
copy. It works well for everyone. He gets his money back when 400 have been sold, and over the
next six months or so he will turn another $600. He sits on the collateral. My ex gets $2000 from the
first 400 sold, and an additional $5400 on the last 600. On her friend's $2000 investment, he has
gotten back $2600 in less than a year and my ex takes in $7400. This is a fairly reasonably-secured
business investment. There is little overhead, except for the manufacture of the tapes. One thing to
keep in mind though, is that my ex wife is very talented, regionally well-known, and works over 200
nights a year. Then you have the big time.
(6) To attain any kind of national recognition requires money and hard effort. If you must have your
product out, this is some idea of a very bottom-line way of looking at things:
ALBUM PRODUCTION 50 hours 24 track studio time @ $35 per hour $1,750.00
4 reels 2" Ampex 456 @ $115 per reel $460.00
12 Reference cassettes, DATs, analog reels $125.00
Color separation (one side only) $200.00
1000 Color cassettes 1,500.00
1000 J-cards $3,500.00
1000 45's - 500 each for 2 radio promotions $3,000.00
ALBUM PROMOTION 12 months Radio regional promoters, per release $25,000.00
Printing, Logos, posters, etc. $1,500.00
Postage, phone, miscellaneous $3,000.00
This is assuming that the band plays and sings all parts for no pay, that your cousin is the producer,
you don't pay taxes or unions, your brother is an engineer, and your girlfriend is a graphic artist with a
printer who owes her a favor. This is a very low budget. Of course, it has been done cheaper, but I
don't see those releases topping the charts. I got my first album recorded, manufactured and
promoted for under $1500. It sold well under a million copies in Texas alone, and I still fondly use
them as skeet targets.
There are different ways of collateralizing a deal like this. Usually the backer has all the rights in and
to the master until he is paid out. The backer might also demand a part of the publishing rights. It
goes on and on and on from there. They can ask for a piece of personal appearances, merchandising
income, depreciation of capital assets (sound, lighting, trucks, etc.). They will go on like this until you
say "No." Where you say no depends on how hungry and/or stupid you are. I have been and seen
plenty of both, and have learned to regret it.