A bunch of guys get together and start a band. From a legal/business perspective what does that mean? Maybe the guys are in high school and just hanging out and jamming. They get better and better and the next thing you know, they start performing in schools and small clubs. What does that legally mean? People start talking about them and all of a sudden wow, someone actually offers money for them to play at a private party. Now what is the world does that legally mean? It mean your legally in business, in fact, surprise, your in the music business. How much money you make, how big you become is determined by how many consumers enjoy or hate you (get emotionally and psychologically excited about your music, looks, backstory, blah, blah, blah), and how much they will PAY (to see, hear, and associate with the image/emotions they have of you in their heads) and the rest is history. This book is about The Recording Biz Co-Writing Sole Proprietorship Master Licenses SoundExchange Creativity Rack Jobbers Sony Music The Foundation 360 Deals Universal Music Creative System Musicians Songwriters BGV's Personal Managers I.A.T.S.E. Music Publishers Royalties AF of M Videos Microphones NACA Warner Music Notice of Intent to Obtain a Compulsory License Spotify Concert Promotion Attorneys CAA Master Session Rates Pitch Memo The Concert/Touring Business Logic Pro Group Provisions Collaborations Agents Publicists Social Media Talent IFPI Record Producers Labels Diamond Sales Revenue Stream Financials Creative Destruction Creating a Local Buzz Term Major Labels SESAC Mix Down The Digital Revolution iTunes Copyrights Blanket License ICM YouTube Cloud Music Demo Session Rates Ticket Scalping The Berne Convention The Act of 1976 Price Elasticity Sonny Bono Phonorecords Guarantee Plus a Percentage of the Net Fair Use Rights Time Warner Serious Music Market Intellectual Properties DPD Mastering Bertelsmann Career Songs WebSites Ten Writing Principles Music & Intelligence Published Live Nation Riders Video Streaming Notice of Breach Apps Units Transcription License Interactive Streaming ASCAP Limited Liability Corporations One-Stops Clear Channel Guarantee Plus a Bonus Internet UTA Pollstar Affiliate Labels NPR Radio Master Lease Deal Billboard Magazine Branding Big Champagne Internet Radio BMI Unions Mass Merchandisers The X Factor Tour Support Digital Downloads Artist Image Guarantee Versus A Percentage of the Gate Free Goods Packaging Fees Points Shark Deal WME2 A&R Publicity Showcases Amazon.com Deal Memo Development Deal RIAA Promotion Sales Multiple-Rights Deals Platinum Sales Controlling Law Copyright Assignment AEG Live Signing Acts Pick Up Option Commitment Album Merchandise Producer Aesthetics Pick Up Patterns Scales Contracts Effects Studios Pro-Tools Consoles Audio Engineers Advances The Formula Grand of Rights Notices Controlled Composition Clause Grammy Awards Distribution Overdubbing Managers Agents Trust Power of Attorney Booking Agents Entertainment Economics Culture Icons IEBA Straight Guarantee Profit Margins Deposits Artist Compensation Binding Effect Radio Airplay Scaling the House TicketMaster Representation Think Like a Beatle Moguls Super Star Artist Music Companies Networking Trends CDs Price Elasticity The No Starving Artist Rule Award Shows Timing Technology Rider Road Managers AARC Actors Equity Association Mastering Independent Labels Promotional Copies Digital Subscription Services Co-Publishing Deals Satellite Digital Services Video Streaming Cell Phone Downloads Payment Rates and Schedules Synchronization License The Emotion Business Recapturing of Rights Global Revenues File Sharing The Digital Revolution.

The nuts and bolts of how the business of music is conducted is explained here. The author discusses such topics as revenue streams, copyrights and recording sessions. (Music)

In "Star Tracks," Larry Wacholtz has indeed written the next generation of indispensable music industry literature. The acknowledged bible, David Baskerville's "Handbook . . ." finally has a fitting protege. Wacholtz has used the cream and meat from works by the music business elite (Passman, Krasilovsky, the Brabec twins and Baskerville himself), contributed a ton of his own research data with practical quotes by top professionals, and presented it in a lively easy-reading style. The book is comprehensive, with a wealth of charts and figures, but manages never to be dull. --Alan Remington, Professor of Music, Orange Coast College