The Music Industry got to love it

Monday, September 9, 2013

Kia Shavon: Engineering at it's finest

I interviewed is Kia Shavon, who is an audio engineer specializing in recording, mixing, audio restoration and live sound. She is currently the head audio engineer at Brook Brovaz Studio, one of the fastest growing multimedia facilities in NYC. As an engineer her duties include recording, editing and mixing songs for numerous artists, underground and major. Since graduating from Hampton University in 2009 with a Bachelor of Science in Music Engineering Technology, she has worked with Bernard "Pretty" Purdie (world's most recorded drummer),Majek Fashek (African reggae legend), major hip hop artists, Cassidy, Stalley, Peedi Crakk, Smif N Wessun, and many underground artists worldwide. She is also a part of the NBA Entertainment Crew where she assists with the live sound setup and production for commercials and special events.

When asked how she separates the people from the problem she replied, “It is very rare that I come across clients that I can’t stand. I believe that’s happened to me twice throughout my career so far. I’ve built the reputation of being, as my clients call it “about my business” and artists who approach me get a sense of that early on. So long as they respect what I do as a business, we have no problems and that’s usually the case. There was one arrogant and obnoxious client I had to work with earlier in my career, but I had to put my personal feelings to the side and maintain a professional attitude throughout all of our interactions because as a professional you have to learn how to not let your emotions interfere with your business obligations. However, I also used that situation to motivate me to work harder to become one of the best in my field so I would no longer feel the need to have to work with every artist. This is why my second interaction with a disagreeable artist led to me letting him know that we simply could no longer do business together. I get along with all different types of personalities. The only thing that would make me really not like an artist is disrespect, which no amount of money will make me tolerate.”

When asked how objective criteria effects her decisions she responded by explaining how she used industry standards, “Determining rates was a challenge initially. I did plenty of research on what other engineers were charging, which I found varies greatly. There is no standard rate based on skill level/ experience or location. But I was able to figure out how to separate my services into different packages based on industry standards. For example, when I first started I gave everyone the “Deluxe Package” (unlimited revisions, final mix, master, radio edit, clean version, Acappella, Instrumental Only versions) for what apparently should have been the “Basic Package” (finite number of revisions, final mix) rate. I’ve since adjusted my packages and rates accordingly.”

When asked how her services is a mutual benefit for both her and her clients she said, “I come to a reasonable, competitive rate that’s not higher than what I know people at my level of expertise are charging, but not low enough to the point where I feel like I’m being counterproductive and have to accept a huge amount of projects to make a living. I benefit because by charging a relatively low rate, I’m able to amass a decent amount of clients because there are a greater number of artists who can afford my service. The client benefits because they can’t get a better quality service at the rate I charge from anywhere else.”

Sunday, August 25, 2013

Artist Managers...the makers of greatness

My name is Cloe Luv, owner of Brook Brovaz. Brook Brovaz is broken down into three companies, Brook Brovaz Music, the Production Company, Brook Brovaz Corp, which is the label, and Brook Brovaz studios, which is the Recording studio. I play the manager role for all three, I manage the engineers getting them placements and work, I manage the producers and song writers getting them placements and sales and last but not least the artist. I have been a manager for the last two years and it has been an amazing experience. There are ups and downs, but these are all apart of the learning process. Here are some tips that I had to learn the hard way. First talent without discipline and ambition equals failure. I have that one heart breaker that I think every manager will experience, that one whose talent keeps you going even when all the warning signs are up. For privacy I will refer to this signer as Quev. Quev has one of the most unique voices of this time; his mixture of Jazz and R&B combined with his modern style of writing was enough to have me jump in head first with his career. So here are the things that have to be considered before doing something so drastic, what has this person accomplished on their own already. Not necessarily Grammy awards or mainstream radio play, but the smaller things that have to be done before getting to those stages. Has your artist signed up with one of the Pros, have they invested in their career (studio time, production etc.), what research have they conducted on their own to help their career? These are just a few of many things to consider when making the chose of taking on a client. Sad to say I did not consider these things first, I was stricken by the talent that stood in front of me, I now know talent isn’t enough; not even close. Quev could not stay out of trouble, be a product of the streets, he was in gangs, in and out of jail and even landed in the mental institution. He would come to the studio drunk, trying to record slurring; he would become aggressive and argumentative when he was confronted with these issues. Finally enough was enough and I had to let him go, he begged for another chance, but I had no more chances to give, giving two others already. The problem with these situations isn’t just the time and money invested…but the emotions that are hard to shake. The mental fight of what if…that what if can drive you crazy so I advise all upcoming managers to screen your clients first let them prove to you why you should manage them. Currently I have 5 artist, the first act Coola has a single out I’m Gucci, produced by my music production company. Coola is talented one of the best in out time, with the potential of becoming one of the best of all time, but he did not allow that to make him lazy (resting on his talent), rude or ungrateful. He tells me all the time how lucky he is to have me but I got lucky with this one. Check out the single and stay tuned for the album, also music from MAK, Ihni Shara, Montana Sparks and D. Harris.

Cloe Luv Peace and Luv

Tuesday, August 13, 2013

Two Timing Artist

We all hear stories about managers that two time their clients, but what about the clients that two time their managers. Debra Antney known artist manager in the hip-hop community, with names under her belt like Waka Flocka (her son), Nikka Manaj,Gucci Mane, OJ Da Juiceman, French Montana, and Lex Luger, among many other high-profile acts. She is currently suing her client French Montana for claiming he made several lucrative concert deals behind her back. She is suing for $50,000 that is her 20% fee that she was cheated out of.

LMFAO was sued by their former managers for 7 million dollars. The group consist of, uncle and nephew Stefan ‘Redfoo’ Gordy and Skyler ‘SkyBlu’ Gordy, have been sued by bosses at personal management company RPM GRP, who claim the band signed a deal with them in 2008 but later ditched the contract and hired two of the firm’s former employees to manage them instead.

Other big names like Taylor Swift and Ke$ha have also faced lawsuits by their managers. DAS Communications requested $14 million in damages after they were fired from Pop star Ke$ha. According the papers filed she made great amount of money in a very short period of time due to DAS efforts.

Taylor Swift’s former manager also sued country singer for millions of dollars, arguing she owes commissions from a contract she signed with him in 2004, according to RollingStone.com. In July 2005, Swift’s father Scott fired Dan Dymtrow and the singer signed with record label Big Machine. Dymtrow claims he was fired because Swift’s family didn’t want to pay his commission after he helped the singer’s music career take off.

This is more common then most people think. It is important as artist managers to make sure that your have signed contract with any artist you invest time and money in. The artist and the manager generally begin on good note. In most cases, the manager will find an opportunity or negotiate a deal that will set the stage for success. The probabilities are low, but if the song reacts with the public and finds it self on top 40 radios, the artist is set to make several million from publishing and performances. Managers are generally paid a percentage of the band’s income, often 15% to 20%. More recently managers are being offered salaried contracts instead of percentages, this way an artist can pay a manger half the money for the same amount of work. There are many different types of contracts so make sure your contract list every detail of your agreement.

Monday, July 15, 2013

Basics In Negoiatation

Hello to all, First I would like to thank those that have been keeping up with me and my journey in the music industry. I have learned a so much since my enrollment in Full Sail University. Currently I am taking a class that is all about negotiation and getting people to say yes. There are so many components and tactics to negotiation it is too much to explain in one post but I what to give you some information on key factors. The major topics that I have been learning are:

Separating the people from the problem- Separating the people from the problem means separating relationship issues (or "people problems") from substantive issues, and dealing with them independently.

· Positional bargaining- Positional bargaining is a negotiation strategy that involves holding on to a fixed idea, or position, of what you want and arguing for it and it alone, regardless of any underlying interests. The classic example of positional bargaining is the haggling that takes place between proprietor and customer over the price of an item.

· Objective criteria- Objective criteria are factual pieces of information, independent of the parties in the negotiation, that are relevant to what should or should not be agreed to in that negotiation.

Mutual benefit- A deal that provides simultaneously advantages to all negotiating parties have a reason to walk away from the deal satisfied with the same aspect of the deal

BATNA- Best Alternative To a Negotiated Agreement

· Handling Dirty Tricks- Is when Parties may engage in deliberate deception about the facts, their authority, or their intentions

Learning how to incorporate or when not to incorporate the above references have come to help me strategize better then before. I have been watching you tube/podcast about negotiation and I came across one that really peaked my interest. A video on TED Talks by William Ury, author of "Getting to Yes", the video explained that there are 3 sides to a story and the value and position of the third side. The third side can keep an argument on track or be the antidote to a solution. This played such a big role in the way I now view negotiation because prior to this I looked at it as a two way street. Never once did I consider the surrounding community and how that plays a role. This was just week one in the class, in which I have already seen negotiation in a new perspective so I know that there is so much more greatness to come. I have provided some links to other video I found about negotiation that I hope you all take the time to view. I encourage you all to continue to educate yourselves in all areas that you need to be successful in your field. My field is music so I know negotiating things like publishing, beats sales, distribution deal etc will be something I have to be readily armed for. Hope you all enjoyed until next time peace and love.