It's been 10 years since Confessions of a Record Producer published real-life numbers showing what artists made on so-called "hit records" and how producers, labels, managers, and even the artists' own lawyers conspire to cheat them out of royalties. It's the only publication that tells the real story of how artists get ripped off and how they can protect their assets. In a special 10th Anniversary Edition, author Moses Avalon, one of the industry's most sought-after consultants and artist's rights gurus, has updates on all of the old shames and many new ones created by the internet and the ongoing transformation of the music industry. * Detailed numbers on how new royalties from digital downloads are calculated, collected, and manipulated. * Deep inside the new so-called "360 Deals" offered by the major labels. * Plus a DVD-ROM containing private lessons from Avalon's Workshop. Groundbreaking charts and graphs show industry consolidation, who owns what, and where the future of the music business is headed
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Moses Avalon has produced and engineered records for Warner Brothers and BMG. His work with Grammy-winning recording artists has earned him five platinum records and several Billboard and Ampex Golden Reel awards. In 2003 he advised a California Senate panel in its investigation of recording industry practices. Moses Avalon writes under a pseudonym because of the sensitive nature of the material his books cover.From Booklist:
Confession is good for the soul! Over the years, among many other like-minded authors, a stockbroker, a "dirty" ballplayer, a "lapsed" librarian, a corporate headhunter, and an advertising man have all felt the need to atone in print either for their own misdeeds or for those of their profession. Here Avalon pseudonymously exposes the ways the recording industry can take advantage of budding artists. Avalon started in the business 15 years ago as a studio engineer and went on to produce records. He has also composed soundtracks for several independent films and now consults for artist managers, record labels, and investors. Avalon examines the various stages of the record deal. He explains the role of each person involved and suggests what that person's self-interest is. He also contrasts the differences among deals at the major labels, independents, and vanity labels, and he discusses "baby" deals between artists and production companies. Avalon's final cut is a medley of stories, rumors, and myths about ways people can be or have been "ripped-off." Though sometimes too blunt, Avalon provides a caveat that novices could miss out on elsewhere. David Rouse
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