UNIT 1: Working in the Music Industry

Work booklet & Project Evidence

Name______________________

Target Grade ______________

Contents

Aims of the Module

The music industry may appear to be led and dominated by just a few massive multina-tional companies, and all-powerful impresarios who hold careers and contracts in the palm of their hand. But that is only half of the picture. The music industry relies on count-less individuals, small industries, partnerships, local agencies and promoters who make the world of music a true industry. It includes different types of performance venue, or-ganisations that create music products such as recordings or live shows, companies whose work involves arts administration (such as funding bodies) and businesses providing ser-vices such as transport and equipment hire. This unit will allow you to gain a good understanding of the scope of the music industry with a view to getting work in and using the organisations that exist. You will investigate music organisations to find out about the work they do and how they relate to and rely on one another. You will also be given the opportunity to find out about the people who work in these organisations, from performers to people who work in technical, production and administrative roles. If you wish to work in the music sector or intend to progress to higher qualification levels, you will need to understand the various business practices within the industry and the range of job opportunities that exist. You will also need to understand how the industry operates for the individual entrepreneurs, sole traders, partnerships and small organisa-tions that predominate. This unit aims to help you gain awareness and the underpinning knowledge of the structure of the music industry, its working practices and opportunities. Learning aims In this unit you will: A Understand different types of organisations that make up the music industry B Understand job roles in the music industry.

Success Criteria

FORMATIVE ASSESSMENT – UNIT 1 GRADING CRITERIA 1, 2 AND 3

GRADING CRITERIA

To achieve a pass grade the evi-dence must show that the learner is able to:

To achieve a merit grade the evi-dence must show that, in addition to the pass criteria, the learner is able to:

To achieve a distinction grade the evidence must show that, in addition to the pass and merit criteria, the learner is able to:

Criteria Achieved: P1 describe an or-ganisation from an area of the music industry, its func-tion and relation to other areas of the industry [IE]

M1 explain the function of a music organisation, its function and rela-tion to other areas of the industry

D1 explain the function of a music organisation draw-ing supported conclusions about its relation to other areas of the industry

Criteria Achieved: P2 describe a job role from the per-formance area of employment, how it relates to other roles from the same and different areas of the indus-try [IE]

M2 explain a job role from the per-formance area of employment, how it relates to other roles from the same and different areas of the indus-try

D2 provide an explanation of a job role from the per-formance area of employ-ment providing a detailed account of how it relates to other roles from the same and different areas of the industry using well chosen examples

Criteria Achieved: P3 describe a job role from a differ-ent area of em-ployment within the music industry and how it relates to other roles from the same and different areas of the industry. [IE]

M3 explain a job role from a differ-ent area of em-ployment within the music industry and how it relates to other roles from the same and different areas of the industry.

D3 provide an explanation of a job role from a differ-ent area of employment within the music industry providing a detailed ac-count of how it relates to other roles from the same and different areas of the industry using well chosen examples.

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Locations of local venues Learning aim A

1. In the space below, draw (or paste in) a map of your local town.

2. On your map, mark:

small venues with an S

medium venues with an M

large multi-use spaces with an L.

3. Complete the table below by:

a) entering the names of your local venues in the first column.

b) indicating the type of music that each venue usually hosts by putting a tick in any column that applies.

Venue name Metal Po

p

Folk Ope

n

mic

Other:

________

Other:

_______

Locations of large multi-use spaces Learning aim A

1. In the space below, paste a map of your region (with a radius of approximately 50 miles).

2. On your map, mark the large multi-use spaces with an L.

3. Choose three of your large multi-use spaces, and complete the table below by listing the events that will be

staged there in the next month.

4. Write a list of the advantages and disadvantages of:

local venues

arenas.

If you run out of ideas, consider what your answers would be if you lived in a different location, e.g. a small village

without easy access to public transport.

Venue name

Events i) ______________ ii) ______________ iii) ______________

a)

b)

c)

d)

e)

f)

g)

h)

i)

J)

Task For each of the performers / groups below, pick a suitable ven-ue and justify why it is suitable. 1) Alison Balson 2) Scouting for Girls 3) John Faddis

Responsibility of venues to ensure the Health and Safety of the audience

Information in regard to this can be found at: http://www.hse.gov.uk/event-safety/venue-site-design.htm

Your duties as an event organiser

As an organiser, you must as far as reasonably practicable, ensure the safety of vis-

iting crowds. The venue should also by safe and without risk to the health of those

working there.

What you need to do

The event organiser should ensure the event venue / site is designed so that it is safe for people working there and so that the audience can enjoy the entertainment safe-ly.

This task can be broken down into:

pre-site design data collection

assessing venue / site suitability drawing up venue / site design plans

Pre-site design collection

Properly knowing and understanding the event and its audience is an important pre-

cursor to successful site design. This means having a detailed grasp of a range of fac-

tors including:

- the proposed size of audience and workforce

- knowledge of the audience type / profile

- knowledge of the proposed event activities and whether they are indoors or out-

doors

- whether the audience will be standing, seated or a mixture of both

- site access and infrastructure required

- emergency plans - duration and time of year that the event will take place

Assessing venue/site suitability

Once you have a clear understanding of the event concept, visit the venue or site to

carry out a preliminary assessment to determine its suitability. Study any appropriate

mapping and seek advice and information from the landowner, local authority and/or

venue management.

The factors you need to consider include the following:

Venue capacity for the audience, staff and contractors

The capacity of a venue depends on the available space for people. Limiting factors

are often:

emergency exits audience circulation capacity of the venue / site

Existing structures and features

Find out if existing structures and features pose a hazard, eg restricted height access

for vehicles / lifting equipment / operations. Make sure any roads; bridges etc are

structurally sound and able to withstand the additional load of heavy vehicles and the

number of people attending your event.

If your event is in the street, street lighting and other street furniture could affect your plans. Do railings, bus stops or other structures create additional hazards such as pinch points that present risks to the audience? If so, can they be temporarily re-moved?

Ground conditions and site topography

Ground conditions and site topography will help you to decide where to position any

temporary demountable structures required like stages and seating, plus the size and

position of any signage.

Find out what the load-bearing capacity of the floor / ground is for any intended

structure and what the ground conditions are likely to be at any structural anchoring

points.

Find out how the site copes with extreme weather like flooding, as this may affect

your site design and even the time of year you hold the event.

Don’t create pinch points where channeling the public could lead to dangerous over-

crowding during emergencies – extra space may be required around structures.

Find out what the prevailing wind direction is, what impact a windy spot may have on your ability to erect structures safely and whether you can design the site using the topography to reduce wind loading on them.

Access for vehicles and pedestrians onto and around the site

Consider safe access for vehicles and pedestrians onto and around the site. This in-cludes onsite parking, camping and caravanning facilities, plus holding areas for plant and equipment and trade vehicles.

Infrastructure and local amenities

Assess the site’s proximity to a hospital, fire station, public transport links, parking,

major roads, local services and facilities. This information will influence the type and

scale of any additional provisions and services you may need to provide.

If you need to bury temporary services or drive stakes into the ground to support structures like marquees and tents consider the hazards from underground services.

Checklist – on venue suitability

Ask yourself if you have considered the following:

Venue capacity for your audience and staff?

Emergency exits and routes?

Any hazards posed by existing features or structures on site?

Ground conditions and site topography?

How vehicles and pedestrians will safely access and move around the site?

Proximity of local amenities?

Any hazards posed by permanent or temporary underground services or tempo-

rary structures?

Any relevant health risks arising from animals?

Drawing up venue/site design plans

Once the basic outline of the site has been determined, you should draft a site plan

for the location of provisions and facilities, including temporary structures.

Site plans should be regularly updated as new information is obtained.

Once all requirements are finalised, draw up a final site plan.

The aim should be to produce a referenced plan, clearly indicating where the struc-

tures, facilities, fencing lines, entrances and exits etc will be.

The venue / site plan will assist you and your contractors during construction of the site. It will also be useful for services operating during the event, e.g. stewards.

Task 1: Read the above document and make a list of

the points that must be adhered to by the venue owner in regard to the Health and Safety of the Au-dience.

Task 2: Make a list of the risks to the audience who

visit a venue to see a concert/ Band.

Health and Safety at Work Act 1974

This policy concerns the welfare of employees at work and also applies to others who use the owners building. http://www.hse.gov.uk/pubns/indg244.pdf : Read the document and an-swer the following questions. Q1. Name some places that are described as a “Workplace”. __________________________________________________ __________________________________________________ __________________________________________________ __________________________________________________ __________________________________________________ Q2. Does this Act cover pubs and small/large venues used for Entertain-

ment purposes? Yes or No Q3. Write a few sentences about each of these Health issues and what

sort of environments employees should be working in.

Ventilation ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Temperatures indoors ________________________________________________________ ________________________________________________________

________________________________________________________ ________________________________________________________ ________________________________________________________

Working in hot/cold environments ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Lighting ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Cleaniness and Waste ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Room dimensions and space ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Workstations and seating ________________________________________________________ ________________________________________________________

________________________________________________________ ________________________________________________________ ________________________________________________________

Safety Maintenance of equipment ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Floor and traffic routes ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Dangerous substances ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Transparent doors etc ___________________________________________________ __________________________________________________ ________________________________________________________________________________________________________________________________________________________________________ Windows ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________

Doors and gates ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Escalators ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Welfare

Toilets/Washing facilities ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________ Drinking Water ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________ Accommodation for clothing ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________

Facilities to rest / eat ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Assessor Comment/Mark: ________________________________________________________ ________________________________________________________ ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Signature:_______________________ Date:)___________

Venue visit – health and safety Learning aim A

Use this form to document your research into health and safety while on your venue visit.

Name of venue:

Date of visit:

Name of professional we spoke to:

1. What is the size of the venue? 6. Where are the entrances and exits?

2. Where is it located? 7. How are fire exits marked?

3. What type of events are showcased there? 8. Is there a relationship between the size of the

4. What are its opening hours? 9. Why might that be?

5. How many staff are employed at the venue? 10. How would this be different in a different type of

Add any other questions you want to ask here:

Venue Visit

During your visit to a local music venue, you will need to assess the venue for Health & Safety purposes. Task 1. Create a list of things to locate whilst you are in the venue. 2. Create a map of the venue layout. Whilst you are visiting the venue, use your list and map to ensure that you gather all of the relevant information. Make sure that you duplicate the loca-tions onto your map. E.g. There is a fire escape in corridor A and hall B, draw a fire door symbol at these locations.

Exam Question: 1) Which one of these is the responsibility of the venue manage-

ment when staging live music events?# A) A and R B) Rehearsal facilities C) Sound checking D) Artist safety

Scenario

On 14th April there will be an exhibition held in the social area entitled ‘A Guide to the Music Industry’.

This will be an opportunity for students interested in opting for BTEC Music to gather information about the

course and opportunities available to them.

Learners work in pairs to contribute to the exhibition and will be assessed on research materials, exhibition

materials and a process log.

It is essential that you use the criteria grid throughout

this assignment. Remember to meet the pass criteria

and then move onto the merit criteria. When you

have met the merit criteria then move onto the dis-

tinction criteria. Do not just jump to the distinction cri-

teria!

Unit 1: The Music Industry

Learning Aim B: Understand Job Roles in the Music Industry For this unit you need to know the different areas of the Music Industry and the re-sponsibilities of each role. You need to know who is responsible for what activity, why and how are things done and what are the advantages and disadvantages of relying on individuals for individual services in relation to the key stages of the production time line.

Performance/Creative roles Here we will look at the skills and responsibilities of each performer or creative role and find out who does what and why it is important. We will look at links between performers and the creative roles and how the industry is built on these relationships. This includes the following Jobs:

Musician Composer/Songwriter/Producer Musical director Live sound technician Roadie (backline technical support) Instrumental support, guitar tech, drum tech

Management and Promotion Roles

Artistic management Venue management Studio Management Promoter Marketing A + R (Artists and Repertoire)

Recording Roles

Recording studio personnel Producer

Session musician Mastering

Media and other roles

Music journalist/blogger Broadcaster (TV + Radio) Software programmer/app developer Retail and Distribution

How and why workers are employed in the Industry

Employment patterns Getting a break and starting out Importance of individual roles and responsibilities How individual roles and responsibilities interrelate How the industry relies on entrepreneurs, the self-employed and small enter-

prises How to get paid

Learning aim B: Understand job roles in the music industry Job roles from different areas of the music industry and the responsibilities of each role. Who is responsible for what activity, why and how are things done and what are the advantages and disadvantages of relying on individuals for individual services in relation to the key stages of the production timeline. TASK: you are hosting a careers convention alongside professional organisations. Your stand will be ‘Jobs in the Music Industry’ You will be creating a stand and guide to all jobs and aspects of the industry. Some from your previous work, and other job roles are below. Split up and research each job role, companies, and organisations to then produce a guide to each and a case study to go with. (These will be on A3 paper split in two).

SECTION 1 LESSON 8 Performance/creative roles Learners should consider the skills and responsibilities of each performer or creative role in terms of who does what and why it is important. Consideration should be given to the links between performers and creative roles and how the industry is built upon the relationships between skilled practitioners across the disciplines. ● musician

instrumentalist, vocalist, accompanist, DJ auditioning, attending rehearsals (including technical and dress rehearsals), taking part

in performances and workshops, marketing and promoting own work ● composer/songwriter/producer

writing music, arranging, orchestrating, creative input responding to briefs, pitching ideas to clients, producing scores and parts, marketing and promoting own work, composing to a brief, producing producing, sequencing music, using technology to realise

music, creative and artistic direction

● musical director conducting, arranging and leading rehearsals hiring musicians, liaison within projects, problem solving

● live sound technician

stage planning, rigging, de-rigging, supervision of crew sound checking, ensuring mike and lines work correctly, adjusting levels, on stage mix,

front of house (FOH) and monitor mixing ● roadie (backline technical support)

assisting with get-in, rigging, de-rigging, get-out specialist instrumental support, logistics, driving

● instrumental support, guitar tech, drum tech.

SECTION 2 LESSON 9 Management and promotion roles Learners should consider the skills and responsibilities of management and promotion-al roles in terms of who does what and why it is important. Consideration should be given to the links between management and promotional roles and how the industry relies on skilled practitioners across the disciplines. ● artistic management

personal and financial management, advice and guidance, liaising with recording companies, arranging tours, fee negotiation ● venue management

booking events, licensing, management of staff, management of publicity for events, organising events security, health and safety of artists, audience and staff ● studio management

booking sessions, managing the maintenance of equipment and facilities

● promoter identifying performance opportunities, venues and artists, securing finance for

events, manages financial risk, insurance and safety ● marketing

managing marketing materials and strategies

● A&R (Artists and Repertoire) scouting for talent online and at live events.

SECTION 3 LESSON 10 Recording roles Learners should consider the skills and responsibilities of recording and production roles in terms of who does what and why it is important. Consideration should be given to the links between recording and production roles and how the industry relies on skilled practitioners across the disciplines. ● recording studio personnel

engineer, assistant engineer, technical manager, tech support maintenance and repair, electronics engineer, installation

● producer artistic overview, creative manager, liaising between creative partners, financial control,

sample clearance ● session musician

performing given music, performing collaboratively, in an ensemble or as a soloist, provides own equipment ● mastering

mastering engineer, producing the finished mix to comply with all technical requirements, optimised audio performance and ensuring quality

CD manufacturer, producing multiple copies of provided master CDs on demand, jewel cases, slip cases, artwork, screen printing, packaging, delivery to distributor or digital delivery through services such as iTunes.

SECTION 3 Lesson 11 Media and other roles Learners should consider the skills and responsibilities of media roles and the wider

world of employment opportunities in related areas in terms of who does what and why it is important. Consideration should be given to the links between these roles and how

the industry relies on skilled practitioners across the disciplines. ● music journalist/blogger

writing copy for publication in print or web, articles, reviews, biographies, research, op-ed ● broadcaster (TV and radio)

selecting music for broadcast, programming, demographic targeting, research, writing, editing

● software programmer/app developer

writing and/or coding software products such as apps, programs, packages, files, podcasts

writing music packages for distribution online

● retail and distribution selling products in shops, stores and online using retail techniques and skills moving CDs from warehouse to retail outlets, logistics, selling via mail order and

through online stores. Your booking slip is attached and you must liaise with Mrs Bushby to book tables and

all items needed.

Exam Question: 1) State which role is responsible for ensuring the music is available and in

the correct formant for a session musician at a recording session. _______________________________________________________________ 2) State one way in which composers, performers and producers can contin-ue to earn money from their music after the date of performance or produc-tion ______________________________________________________________________________________________________________________________ 3) Explain one reason why the sound check is important ______________________________________________________________________________________________________________________________ 4) Which one of these is the responsibility of the musicians when working in a recording studio? A) position the mics correctly B) Hire the correct equipment for the session C) Ensure the licencing requirements have been met D) Have their instruments ready to play on time.

Lesson 13 Task: As part of your careers convention, you need to look at how con-trasting musicians achieved their first break into the industry. Pick 2 contrasting artists, search for interviews, youtube videos or ar-ticles that describe how they started out in the industry. Present your information as a timeline of events including: Signings Releases Pre signing performances Jobs before signing Key moments in career Other affiliations

Assessment and grading criteria for Unit 1

To achieve a pass grade the evidence must show that the learner is able to:

To achieve a merit grade the evidence must show that, in addition to the pass criteria, the learner is able to:

To achieve a distinction grade the evidence must show that, in addition to the pass and merit crite-ria, the learner is able to:

P1 describe an organisa-tion from an area of the music industry, its func-tion and relation to other areas of the industry

M1 explain the function of a music organisation, its function and relation to other areas of the indus-try

D1 explain the function of a music organisation drawing supported con-clusions about its relation to other areas of the in-dustry

P2 describe a job role from the performance ar-ea of employment, how it relates to other roles from the same and different ar-eas of the industry

M2 explain a job role from the performance ar-ea of employment, how it relates to other roles from the same and different ar-eas of the industry

D2 provide an explana-tion of a job role from a different area of employ-ment within the music in-dustry providing a de-tailed account of how it relates to other roles from the same and different ar-eas of the industry using well chosen examples

P3 describe a job role from a different area of employment within the music industry and how it relates to other roles from the same and different ar-eas of the industry.

M3 explain a job role from a different area of employment within the music industry and how it relates to other roles from the same and different ar-eas of the industry.

D3 provide an explana-tion of a job role from a different area of employ-ment within the music in-dustry providing a de-tailed account of how it relates to other roles from the same and different ar-eas of the industry using well chosen examples.

Different types of organisations in the music industry that you will need to know when

completing P1, M1 and D1.

Different types of job roles in the music industry that you will need to know when completing P2, M2 and D2.

Exam questions: 1) Identify one agency which: Finds and develops composers Promotes music to performers and broadcasters Typesets and produces sheet music 2) Which type of organisation is responsible for moving CDs from the manu-facturer to the shops? A) Agency B) Record company C) Distribution company D) Broadcasting company 3) Which one of these is an example of an agency? A) Artist representation B) Record company C) Musicians union D) Equity

Use a range of research methods to compare each of the organisations that can de-liver the products listed above. Ensure to obtain prices and quotes where possible. N.b. Telephone, letter and e-mail addresses will be needed to contact and obtain this information.

Unions Learning aim A

Take a look at the following websites of Equity, the Broadcasting, Entertainment, Cinematograph and Theatre

Union (BECTU) and the Musicians’ Union to find out more about their history and what they do for their mem-

bers.

www.equity.org.uk www.bectu.org.uk www.musiciansunion.org.uk

As a class, use your findings to create a mind map for each union like the one started below.

Discussion

What advice would you give to a young performer or production worker about the advantages of being a mem-

ber of a union? Are there any disadvantages?

Researching an organisation Learning aim A

Use this sheet when carrying out research into an organisation, or interviewing someone (either on the phone,

in person, or via email) from an organisation.

1. What does your organisation do/what service do you provide?

2. What do you wish your customers knew/considered?

3. What do you spend most of your time doing?

4. What advice would you offer about a venue/band working with you?

5. What do you think is vital to a successful career in the music industry?

Interview questions Learning aim B

These questions are a starting point for what to ask during your jobs guide interviews with local music industry

representatives. Use these as a starting point and then write your own questions below.

‘Hello. We’re creating a jobs guide to help those who want to work in the music industry. We would like to ask

you some questions about your job.’

Question Answer

1. What is your job title, if you have one? If not,

what is it you do?

2. What are the good and bad parts of the job?

3. Do you need any qualifications to do your job

or is it something you learned to do while you

were starting out?

4. What are your job hours and what is your typi-

cal working week?

5. Where do you work? Is it the same place eve-

ry day?

Venue visit – pre-visit checklist (1)

Learning aim B

Things you need to find out

Here are six things you will have to find out during your visit. Add a further four things to make a top ten list.

1. Nature of the venue – what shows have recently been on and what is in the near future?

2. What is the staffing structure? Can you create a hierarchical chart of the full-time team? Who works at the venue and is designated full-time, part-time and casual?

3. What is the organisation’s network? Which companies are regularly used to supply goods and services?

4. How are shows run with suppliers and partners sharing and cooperating? How do roles interre-late?

5. How does the venue communicate with its staff and with its clients and suppliers?

6. Is there one person in charge of money? Who pays whom?

7.

8.

9.

10.

Health and safety

When you are in the venue, make careful notes of the health and safety features. Here is a list of five things to

consider; add a further five to make your own top ten list.

1. Your safety – make sure you are aware of emergency exits and evacuation routes.

2. Your safety – what are the fire and evacuation procedures?

3. Who has day-to-day responsibility for health and safety in the venue?

4. What is the capacity of the venue and why is it not greater (or smaller)?

5. Audience safety – what are the roles of the front-of-house staff (door staff/ door supervisors)?

6.

7.

8.

9.

10.

Venue visit – pre-visit checklist (2)

Learning aim B

Your interviewee

During your visit, you will need to sit down for half an hour with one of the full-time or part-time employees from

the venue and question them on their role. Below are five questions to start the interview off. You will also need

to prepare some further questions to ask about their job in the venue.

1. What is your job role and what do you do at the venue?

2. Who do you mostly work with at the venue? Do you supervise others?

3. How important is your role in the day-to-day operation of the venue? What would happen if you fell ill or were unable to work?

4. How does your role relate to the others who work at the venue? Is there a good sense of teamwork?

5. What are your essential skills? Do you work with computers, tools, your hands? Did you learn these skills at work or college?

6.

7.

8.

9.

10.

Promoters

Who does the venue work with from outside the company? Are there local entrepreneurs

or promoters who book the venue for their shows and events. How does that relationship work? Here are five

questions to ask; add five of your own.

1. How would a promoter go about putting on a show here?

2. What is it that the promoter has to do and what does the venue contribute?

3. How is the money side dealt with?

4. Are there different ways of hiring the venue? For example, is there an ‘all in’ package where the venue supplies everything, or a cheap package where the venue supplies nothing?

5. Which nights make money and which do not? Should we be looking at bands or DJs?

6.

7.

8.

9.

10.

Venue visit – health and safety Learning aim A

Use this form to document your research into health and safety while on your venue visit.

Name of venue:

Date of visit:

Name of professional we spoke to:

1. What is the size of the venue? 6. Where are the entrances and exits?

2. Where is it located? 7. How are fire exits marked?

3. What type of events are showcased there? 8. Is there a relationship between the size of the

4. What are its opening hours? 9. Why might that be?

5. How many staff are employed at the venue? 10. How would this be different in a different type of

venue?

Add any other questions you want to ask here:

Discussion: Compare freelance, contract, commission and other contracted work within the music industry.

Past Exam Questions 1) What must a freelance or self employed musician ensure they pay

to the government? ________________________________________________________ 2) Give 2 characteristics of freelance employment __________________________________________________________________________________________________________________ 3) Which organisation would a drummer most commonly join? A) PRS for music B) MU C) BETCU D) Equity 4) Give two reasons why a professional musician might join a union? i) ___________________________________________________________________________________________________________________________________________________________________________ ii) ___________________________________________________________________________________________________________________________________________________________________________ 5) Name the organisation responsible for collecting money each time a piece of music is played on TV. _________________________________________________________

Carrie Wilson, Promoter

What is your role?

I promote a club night at a local venue in Doncaster. I’m self-employed so I book

venues, artists,

DJs, lights, etc. for various circumstances and opportunities that arise. The regular

Friday night slot

is essentially DJs, lights and dancing, although we do put on solo artists, singers

and rappers when they’re available.

Tell us about a recent unusual event and how it

came about.

Normally I book at least a month in advance, but sometimes circumstances change and you have to get re-

placements in at short notice. Recently, there’s been travel chaos and the star DJ wasn’t able

to make it so we had to get someone more local to come instead. The club night had actually started before we

phoned the DJ to see if he could stand in, but he managed to make it in time and he went down a storm. We

now use him far more regularly, as we know he’s reliable.

What do you have to consider when making a booking?

Once you understand your audience and their demands, you can become quite precise in what you require and

how much you are willing to pay. The audience round here likes a specific type of music, so it’s easy to com-

municate my requirements to suppliers to ensure I get what they want. These are the things I do:

Hire the venue – pay a cash deposit at that point, and the rest after the night. Some venues have different

arrangements, liking upfront payments or sight of receipts, but most venues are encouraging and help-

ful, and want you to succeed and make money.

Know your dates, e.g. every Friday night. Carry a diary! Most of my notes are on my phone but I keep a

paper diary at home just in case, to make sure I’m not double-booking or failing to book at all.

Book the artist – they are the most disorganised people on the planet! Tell them you are going to book

them, then book them, then tell them that you’ve booked them – so three times, minimum.

Budget for marketing, to make posters and flyers; get local students to distribute for discounted ticket pric-

es. Tap into whatever networks you can. Students are great at doing the advertising in return for free

passes or some access backstage and so on. Keep the budget tight, both on paper and in your head.

Aim for 40 per cent profit every night. It sounds like a lot but you need 30 per cent to reinvest in the next

event, so your margin is only 10 per cent or so, which might not be very much.

If you’re new, the venue will ask you to hire the bar staff to cover security, but once you get to know the venue,

they usually cover that in their fee. I work out how much I can afford to pay out based on anticipated attend-

ance, which is around the same each week.

Over to you

Do you think you would enjoy this sort of role?

Would you enjoy working in an environment where circumstances can change dramatically from one day to the next?

What would you do if a band cancelled two days ahead of a booking?

Case

study 1

Craig Phillips, BTEC learner

Craig completed his BTEC Level 2 Music course last year and is currently

doing a BTEC Level 3 Music Diploma at college.

What did you do?

When I was doing my Level 2 course last year, I was surprised to find out

how many music venues there were in my town. We visited a couple of ven-

ues as part of our course, where we got to speak to people who worked

there. I love going to gigs, and I go as often as I can. I usually try to get

there early to see if I can help out with the setting up, or just talk to people

(if they have time!) to find out as much as I can about this side of the indus-

try.

Before starting the course, I was only interested in making music, but then I

discovered the business side of it and the potential for making money by

putting on regular nights at a local venue. I approached a local promoter; I

now help him out and I’m hoping to turn it into a career.

What was the most useful thing you learned?

Money and everything about it. You can see the queues and hear the beats, but the money is what makes it all

happen. I didn’t really see beyond the beats before. I think it’s taken something away from it, but I can see that

it’s business now, and that’s OK.

What do you wish you’d done differently?

I only use my laptop for making music; I wish I’d got into using it for other things in school. Not so much the

business side, but I wish I’d done some more video or pictures, and got stuff on YouTube. That’s the best way

of advertising and I should have got into that.

Other stuff I wish I’d done more – videoing, emailing, making flyers. DMing, BBM, Facebook, all that stuff real-

ly. Social networks – you can be so busy. But it’s fun actually, you just take what you do with your mates and

make it work for the gigs.

Over to you

What sort of night would you like to host if you were a promoter?

Would you host a night that you knew would be profitable even if you didn’t like that type of music?

What are the best steps you can take to get an extra 200 people to your event?

Case

study 2