From Apple to Youtube, Google Play to Spotify, the music industry has seen monumental changes in past decades. And of course, you’ve written a really great book about the music industry that has had many new editions over the years. You can probably think up a long list of musicians and labels who have pulled off great stunts, from getting discovered on a social networking site to a kitschy marketing campaign that exploded like fireworks.

Everything You Need to Know about the Music Industry Everything You Need to Know about the Music Industry

The advice here expands to others that may want to get into the business, like agents and managers, and presents the path to success without sugar-coating it.The book is a very helpful DIY marketing tool for all musicians to make their products known in the contemporary world. The book contains a lot of interesting chapters including protecting your name and music, sampling legally, avoiding legal issues, and how to collaborate with other musicians. A lot of them are just completely dedicated to their music career, even to the detriment of their family and personal life. The book explains the importance of things like establishing a constant presence on social media, getting songs placed in film and TV shows, and building a grassroots fanbase.

All You Need to Know About the Music Business: Eleventh All You Need to Know About the Music Business: Eleventh

This is the reason behind all of these guidebooks, they show how to break through various aspects of the music world, whether they be TV, commercials, video games, and others while also tackling the PROs (ASCAP, BMI, and SESAC). And this is something I’ve been a student of, because I have been very fascinated by why some artists are huge and others aren’t.Considered the industry bible by the Los Angeles Times, All You Need to Know About the Music Business: Ninth Edition is a gem of a book by the music lawyer Donald Passman. The real breakthroughs in life, whether in business or in art, come from those who are driven, passionate and feel they simply have to do what they are doing. Are there any areas of digital music you would recommend artists look into now because they are potentially more lucrative than others?