Image

QUICK CONTACT

Your Name

Your Email

Your Message

FUND RAISING FOR CAMPAIGNS AND DEVELOPMENT

We are on a mission to help musicians globally accelerate their careers in a sustainable way. It’s time to reimagine the resources available to artists.

Our platform of artist development services offers an innovative fundraising solution, on-demand help with common admin & promotional tasks, and connections to verified service providers.

Once you have gone through the first couple of campaign steps it may be that with release two or three our relationship may develop so we can help project manage and even find funding through our business partners , read the following and see if it might fit then contact us to discuss –

Present your career as an investment opportunity

Expand budgets for projects

Find, negotiate, and handle paperwork with investors.

 

Raise funds for recording, PR, etc through sustainable investments in your work.

Start the conversation by telling us the basics of what you’re looking for and what you can offer:

I am looking to raise   –

Information for Funders –

REVENUE SOURCES

When you invest in a young, developing musician you take on risk. A lot of it. But this isn’t donation-based patronage so, if and when an artist starts monetizing his/her music, you as an investor have a claim to that revenue.

Let’s understand the potential sources of income:

STREAMING

Streaming is the future of music distribution – in 2015, global streaming music revenues grew 45% and now account for 43% of all digital music sales. It is important to understand two things right away and move on with life:

the unit economics for a piece of music today are worse than they have been in the past; and

the unit economics for a piece of music improve as more people subscribe to streaming services.

#2 is important and often overlooked. Whereas a song download cost the same ~$1 it does today when iTunes first came out years ago, the value of a stream in 10 years will likely be much higher than a value of the stream today. Streaming compensates artists (and their investors) on a relative basis, whereas downloads compensate on an absolute basis.

There’s no one fixed per-stream rate, despite numbers being thrown around. The amount of money that an artist receives from streams on e.g. Spotify depend on a) the total amount of money Spotify receives from consumers paying for its service or from advertisers multiplied by b) the relative contribution of an artist’s streams to total number of streams. There are some other nuances (i.e. special deals) but in simple terms that’s the math. Spotify charges $9.99 per month in the US and £10 in the UK and only keeps 30% of this income before paying out all other revenue to rights holders.

Everyone loves a rule of thumb so people frequently quote a $0.006-0.008 average rate per stream. In reality, probably very few artists receive that – remember, this is a dynamic output of many factors and not a set, pre-determined price.

Here’s a very helpful graphic from Spotify actually demonstrating what different types of albums have made over one month. Note this is from 2013 which means that as the service has grown, these figures would have as well:

 

DOWNLOADS

Download sales are straightforward, albeit on the decline: download revenues were down 10% in 2015. Artist puts a song on iTunes for $1 → a fan buys a song → Apple keeps $0.3 and artist keeps $0.7 (assuming artist is the full rightsholder). Obviously more than 1 stream on Spotify.

Artists with fanatical fans are still able to sell downloads and stars with leverage are starting to frequently withhold their work from streaming services for a period of time to boost those high margin download sales. Adele sold 3.4 million albums just in the first week after her release (at $11 each = $26 million to her labels after Apple’s 30%. Not bad for one week at the office!) by not allowing distribution through streaming services.

But for artists that are still in their developmental phase, downloads are likely to be a nice cherry on top rather than the main meal. We frequently see artists who are very early on in their careers prevent the distribution of music on streaming services. While we understand the financial and emotional rationale, sadly we think this is counterproductive.

 

LIVE 

Artists make money from live performances in 2-3 primary ways:

Share of ticket sales. There’s no one set % that artists take home – this highly depends on venue, artist’s position in a line-up, whether there are intermediary promoters, etc. However, as artists tend to “grow”, live becomes a much greater piece of the pie. Industry-wide, live music revenues are growing ~8%: amidst changes in digital distribution of recorded music, fans have actually been spending more on seeing their favorite acts live. While a tour used to be thought of as a marketing tool for promoting an album, these days albums much more frequently serve as the promotion for tours.

Public performance royalties. Whenever you hear music in a bar, restaurant, or a legit music venue, that establishment is paying a small but recurring license fee for the right to have copyrighted music playing in a public place. Diligent artists who play live shows can submit their set lists and recover a portion of this revenue.

Sponsorships. Brands of all shapes and sizes love being associated with music. Some of the biggest consumer companies in the world frequently spend money on sponsoring individual performances as well as full tours. However, this isn’t limited to just the stadium-selling rockstars. In the UK, for instance, Jack Daniels is consistently looking for young, indie artists to sponsor even for shows at tiny venues. Commercially focused artists are always on the lookout for such opportunities.

Task       Hours per Day

Live        52

Recorded            48

52% of consumer music spend is on live

 

USE OF MUSIC IN OTHER MEDIA

Whenever you hear a song in a TV show, movie, commercial, web-series, etc you are witnessing this revenue stream in action. Getting a song picked up for a hit TV show can be extremely lucrative and not at all as improbable as it seems. As other production costs continue to escalate, music supervisors at studios and ad agencies increasingly look to emerging artists for fresh sounds at relative ‘bargain’ prices, (relative to the Adele’s of the world). But for an indie artist, getting one short 10 second placement of a song can often mean $5,000 – 20,000 in lump sum revenue. Much quicker than getting millions of streams on Spotify!

That upfront payment is known as a ‘sync fee’ or ‘the front end’. The former title stems from the music having been synchronised to a picture, while the latter refers to the fact it is only one part of the fee available. The ‘back-end’ is a royalty paid in equal portions by e.g. a broadcaster to the artist and their publisher via a collection agency. While front end can seem more exciting to celebrate, back end royalties can also quickly mount up, particularly where the ‘sync’ is to television or film.

Of course, this revenue stream is somewhat unpredictable. Artists need to hustle to continuously get their music in front of agents, licensing companies and publishers. But with the right product, this hustle can pay big dividends!

 

MERCHANDISING

Often tied to live concerts, merchandising can be an interesting source of revenue for artists who have built a strong brand. We’ve seen huge artists with terrible branding sell millions of units, but also frequently see young bands with a knack for design create momentum around their products. There are plenty of services out there for on-demand manufacturing which makes merch generally a predictable investment for those who have a devoted following.

Present your career as an investment opportunity.

Expand budgets for projects.

Find, negotiate, and handle paperwork with investors.

Interested in working with QuiteGreat PR but need help finding the budget? Consider findin. Visit livamp.com/funding to learn more and see how you can easily get started on presenting your career as an investment opportunity for music funders around the world.

In a nutshell

LIVAMP Funding enables high caliber artists and their teams to raise funds for developmental projects by offering an investment in their work. The service helps you connect with potential funders and takes care of all of the legal and admin.

How does it work?

It takes 30 seconds for artists or their managers to launch the basics of their deal at livamp.com/funding. Describe your objective (e.g. 8 week release campaign with QuiteGreat PR), the approximate required budget, how much of your rights you’re willing to offer, and for how long.

The LIVAMP team will then get in touch to set you up with a custom-made page telling your commercial story and discuss the best campaign strategy with you.

 

What type of rights can an artist offer?

You can offer rights to your masters, publishing, live, and brand sponsorship. Offer individual rights or a combination, depending on your objectives and career trajectory.

 

Who can the investors be?

Investors can come from all walks of life. LIVAMP has a strong network of high net worth individuals who are interested in high caliber artist opportunities, but equally as important is properly targeting individuals in an artist’s existing network. The LIVAMP team will help artists craft all marketing materials to ensure that the outreach effort is collaborative, targeted, and presents the artist in the best possible light.

 

What happens after the funds are raised?

LIVAMP helps take care of all the legal paperwork, the admin to get the funds from investors to the service providers and any eventual royalties to the investors. Even if there are many individual investors, artists need only to deal with one representative of LIVAMP on everyone’s behalf.

 

Why investment vs. donation-based crowdfunding?

Crowdfunding campaigns can be a nice option to raise funds for an artist’s very first music project, but it’s hard to keep asking existing friends, fans, and family for money without giving them much in return. By offering an investment opportunity, artists properly align incentives, demonstrate that they see commercial potential in their work, and that they have a strategy. This is exactly how labels think about the world.

In other words: with crowdfunding, artists are asking for help; with investment, artists are offering an opportunity.
What are the fees?

LIVAMP holds back an industry-standard 10% of the funds raised only upon completion.

You Run The Media

Well, not totally, but within the campaign structures we will get our in-house team to create relevant copy in-line with the information you give us.

We will then build a bespoke campaign from the ground-up, looking at your style and image, identifying relevant platforms in which to promote you.

As the campaign grows we'll feedback to you on the reviews and how the media is responding to your music.

Watch Quite Great TV

Contact us now

Our team can help you to get the media attention you desire.

Quite Great Music PR Logo