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A talent manager, also known as a personal manager, is one who guides the career of artists in the entertainment business. The responsibility of the talent manager is to oversee the day to day business affairs of an artist; to advise and counsel talent about professional matters and personal decisions which may affect their career.
The roles and responsibilities of a manager vary slightly from industry to industry, as do the commissions to which the manager is entitled. Music managers duties differ from those who advise actors, writers, directors, etc.
Music Managers
Music managers can manage Bands, singers and DJs. The role of a music manager is extensive, often times tasks are divided among personal managers, business managers, tour managers, agents, bookers, and promoters.
Starting off
Early on in an artist's career, the different facets of management and marketing falls upon either the band itself or, if they have one, the manager. Because the band or artist is relatively unknown, promotion, booking, and touring are minimal. When starting off, a new music manager should establish a clear understanding of what the artist(s) want. This can be done through a written or verbal contract. A music managers' first task should be focused around a CD launch.Compensation
Rates should be clearly stated initially. A good manager should understand the artist's perspective. A new manager has no experience or clout. In a band of six members, each member might receive less than the manger (who normally gets 15%). A tentative agreement, which can be renegotiated at a later date is often best. Managers who insist on a number that the band does not agree with can expect to be let go at the first convenient opportunity.
Gigs
It is important for a band to have experience in front of crowds. Fundraisers and talent shows are good experience and do not require a lot of commitment (in terms of fan pull) on the part of the artist. If the artist wants a gig in a pub or bar, expect there to be conditions. The following is a list of questions asked by bar owners/managers (in order of importance).
- What kind of music?
- How many people can you bring?
That's all. In some cases they may ask for a demo (a recording of four of the artists' best songs). The main objective for the bar owner is to fill their floor on any given night. They don't care if you're terrible they just want to see numbers. Under 75 people is generally frowned upon and will result in a minimum fee. A minimum fee could be upwards of $100. Some bar owners will wave or reduce their $100, $200, or $300 charge if the artist can pull in a significant number of people (predetermined during negotiations-usually a handshake).
Recording studio
If the artist does not have a recording studio (i.e. a buddy's basement) then the manager should take this on. If artists have contacts managers should use them. His job is to get the band the best rate possible.
Photography
While the artist is recording, a photographer should be searched. Pictures of the artist can be used for websites, CD labels/jackets, posters, and press kit. Cost for high quality roles of film and their processing could be upwards of $200 for 150 pictures (labour not included). Finding a photographer friend is helpful but don't expect him or her to cover material cost. Have the photographs taken before your CD designs or artwork go into production.
CD production
Also while the CD is being recorded a CD production company should be found. CD production is when an artist takes their burned CD recording to a company to have it mass produced. The company will also make the CD jackets and labels once you provide the design or artwork. This is where the artist should expect to invest heavily. Up to $1,000 is not uncommon for 500 manufactured CDs. Again connections come in handy.
CD launch venue
Once a production date is given you can safely go out searching venues. CD launches are more attractive to bar owners because it nearly guarantees an audience. Consequently CD launch venues are relatively easy to land. Try to book a place where the crowd will feel good walking into and out of. Presentation is everything. The crowd should be talking about the artist on arrival; not the crappy conditions of the neighbourhood or bar. The size of the venue should be relative to your means. If the place is too big, the artist will look unimportant. A small place can be a good thing. Just make sure the stage can fit the band's gear.
Press Kit
Once a CD launch date is established a press kit should be prepared. The press kit is used to contact the press to promote the band. By this stage in the artist's career they should have a good grasp of their level of talent . A press kit consists of:
- Pamphlet with artist(s) biography, career highlights and pictures.
- A written article about the artist that the press can easily edit and submit in their paper (less work for them).
- A demo CD (in some cases the entire CD should be sent so the magazine/newspaper/radio station can review the entire CD.
- Two tickets to the CD launch (if there is one)
It is important for the press kit to be flashy and attractive. It does not have to be expensive.
Typical large artist management companies include Gremlin UK (http://www.gremlinuk.com), Triskele (http://www.triskelemanagement.com/) and Wise Buddah (http://www.wisebuddah.com).
Lecturers' Managers
Since the mid 80's Lecturers have Personal Managers, similar to their colleagues in the Music industry, the Lecturer's Managers are representing the lecturer's interests and marketing their lectures.
External Links
An example for a top lecturer site and representaion bureau - writer Meir Shalev
How to use Organisational Constellations to find a Talent Manager
"Talent manager"