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A talent manager, also known as a '''personal manager''', is one who guides the career of artists in the entertainment business. The responsibility of the talent manager is to oversee the day to day business affairs of an artist; to advise and counsel talent about professional matters and personal decisions which may affect their career. The roles and responsibilities of a manager vary slightly from industry to industry, as do the commissions to which the manager is entitled. Music managers duties differ from those who advise actors, writers, directors, etc. MUSIC MANAGERS Music managers can manage Bands, singers and DJ's. The role of a music manager is extensive, often times tasks are divided among personal managers, business managers, tour managers, agents, bookers, and promoters. Starting off Early on in an artist's career, the different facets of management and marketing falls upon either the band itself or, if they have one, the manager. Because the band or artist is relatively unknown, promotion, booking, and touring are minimal. When starting off, a new music manager should establish a clear understanding of what the artist(s) want. This can be done through a written or verbal contract. A music managers' first task should be focused around a CD launch. Compensation When discussing rates, be careful, this can cause distrust early on. If you are demanding the standard 15% of artist revenues, understand their perspective. You as a manager have no experience or clout. If it's a band of 6 members, their percentage is smaller than yours You're best to agree on a number tentativly that can be renegotiated at a later date. If you insist on a number that they don't agree with expect to be let go at the first convenient opportunity. Gigs It is important for your band to have experience in front of crowds. Fundraisers and talent shows are good experience and do not require a lot of commitment (in terms of fan pull) on the part of the artist. If the artist wants a gig in a pub or bar, expect there to be conditions. The following is a list of questions asked by bar owners/managers (in order of importance).
That's all. In some cases they may ask for a demo (a recording of 4 of the artists' best songs). The main objective for the bar owner is to fill their floor on any given night. They don't care if you're terrible they just want to see numbers. Under 75 people is generally frowned upon and will result in a minimum fee. A minimum fee could be upwards of $100. Some bar owners will wave or reduce their $100, $200, or $300 charge if the artist can pull in a significant number of people (predetermined during negotiations-usually a handshake). Recording studio If the artist does not have a recording studio (i.e. a buddy's basement) then you should take this on. If your artists have contacts use them, don't fight it. Take whatever help you can get. Obviously you should attempt to get them the best rate possible. Photography While the artist is recording, a photographer should be searched. Pictures of the artist can be used for websites, CD labels/jackets, posters, and Press Kit . Cost for high quality roles of film and their processing could be upwards of $200 for 150 pictures (labour not included). Finding a photographer friend is helpful but don't expect him or her to cover material cost. Have the photographs taken before your CD designs or artwork go into production. CD production Also while the CD is being recorded a CD production company should be found. CD production is when an artist takes their burned CD recording to a company to have it mass produced. The company will also make the CD jackets and labels once you provide the design or artwork. This is where the artist should expect to invest heavily. Up to a thousand dollars is not uncommon for 500 manufactured CDs. Again connections come in handy. CD launch venue Once a production date is given you can safely go out searching venues. CD launches are more attractive to bar owners because it nearly guarantees an audience. Consequently CD launch venues are relatively easy to land. Try to book a place where the crowd will feel good walking into and out of. Presentation is everything. The crowd should be talking about the artist on arrival; not the crappy conditions of the neighbourhood or bar. The size of the venue should be relative to your means. If the place is too big, the artist will look unimportant. If the place is too small- well that could be a good thing. Just make sure the stage can fit the band's gear. Press Kit Once a CD launch date is established a press kit should be prepared. The press kit is used to contact the press to promote the band. By this stage in the artist's career they should have a good grasp of their level of talent . Press Kit consists of:
It is important for the press kit to be flashy and attractive. It does not have to be expensive. Nice quality paper is not all that original. Typical large artist management companies include Gremlin UK (http://www.gremlinuk.com), Triskele (http://www.triskelemanagement.com/) and Wise Buddah (http://www.wisebuddah.com). LECTURERS MANAGERS Since the mid 80's Lecturers have Personal Managers, similar to their colleagues in the Music industry, the Lecturer's Managers are representing the lecturer's interests and marketing their lectures. External Links An example for a top lecturer site and representaion bureau - writer Meir Shalev |
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