Production Cost Analysis Sample Concert Promotion TOURING AND CONCERT PROMOTION COURSE SYLLABUS MUSC 262 Professor Terry by rpd19193

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									                     TOURING AND CONCERT PROMOTION
                        COURSE SYLLABUS-MUSC 262

Professor Terry Tompkins
3141 Chestnut Street, 3rd Floor, Room 3017
Building 9, Philadelphia, PA 19104
215-895-2085
trt34@drexel.edu

Office Hours: Wednesdays Noon-3pm or by appointment

Course Description
This course will teach you the concepts necessary to understand the inner workings of the
touring and concert promotion industry. You will learn how to book a tour, pitch a
venue, write a performance contract, advance a performance date and finance a tour.
You will also meet with guest speakers who are professionals in the touring and concert
promotion industries. At the end of the term, you will book shows for touring artists in
clubs and listening rooms throughout the East Coast.

Attendance
You are expected to attend every class. If you miss a class, you are solely responsible for
obtaining ALL information that was discussed (including without limitation handouts that
were distributed, assignments and announcements) in the class that you missed. Class
participation is a MUST and will contribute favorably to your final grade. I will take roll
at every class – every unexcused absence beyond (2) will result in a ½ grade loss (unless
arrangements are made with me prior to the day of class).

Assignments
WRITE A SUMMARY PAPER ON EACH GUEST SPEAKER – DUE ONE WEEK
AFTER EACH GUEST SPEAKER’S APPEARANCE
You must write a one page summary for each guest speaker who speaks to the class this
term. Your summary should detail a short chronology of the speakers’ career paths as
they moved up through the touring and concert promotion industry. You must apply the
concepts learned in class to evaluate the guest speakers and their real world experiences.

CREATE A PERFORMANCE CONTRACT – DUE WEEK 8
Create a performance agreement for a hypothetical artist. You will need to include an
offer sheet with specific deal terms, performance length and time, talent buyer contact
info, load-in and sound check times. The contract must include all legal language and
any technical needs for the performing act. Please refer to the template in the course
handout as a guideline to format the contract.

CREATE AN ADVANCE SHEET FOR A LIVE PERFORMANCE – DUE WEEK 9
Create an advance sheet for the hypothetical artist referenced in the performance contract
(Week 8 assignment). You must list all information necessary for the artist’s
performance, including technical equipment, hospitality provisions, compensation, load-
in location, venue contact info and supporting act specifications. Please use the course
handout as a reference for the content and layout of the advance sheet.


                                             1
CREATE A TOUR SUPPORT BUDGET – DUE WEEK 10
Create a tour support budget for an existing tour of MAD Dragon recording artist, Hoots
& Hellmouth. Hoots & Hellmouth will be embarking on a three-week tour of the south
and southeast sections of the US in February and March 2007. You will propose a tour
support budget considering the following elements: gas, tolls, per diem, lodging,
equipment rental, tour manager fees and vehicle rental. Please calculate gas based on the
miles per gallon that the tour vehicle gets, the average rate of gas for that timeframe and
the distance traveled. Also, please use www.hotels.com to determine the average hotel
rate in each tour market. You must create the budget in an MS Excel document and
demonstrate all of your calculations.

DESIGN A TECHNICAL AND HOSPITALITY RIDER – DUE WEEK 10
Create a technical and hospitality rider for the artist you created this term. The technical
rider should be comprised of a stage plot and input list for the artist. The stage plot
should include the location of the artist’s placement on stage. The stage plot should also
display a diagram of the stage that includes: type of instrumentation, microphone
placement, microphone preference, microphone stand type, input(s) requested, power
needs and monitor placement. You should format the input list in an excel spreadsheet
that lists each instrument, microphone preference, amplifier and the tour manager’s
contact information. The hospitality rider should include the artist’s requests for food,
transportation, lodging, water, soda, beer, towels and any additional specific needs.
Please use the course hand out as a reference for the technical and hospitality rider.

**** Please refer to the course hand out for a detailed explanation and examples for all
assignments.

Grading
Attendance, Punctuality and Class Participation              10% of your grade
Mid-Term Exam                                                25% of your grade
Final Exam                                                   25% of your grade
Performance on assignments                                   20% of your grade
Summary Paper on Guest Speakers                              20% of your grade

                                        WEEK 1
Introduction and discussion of syllabus
Touring: Overview
2006 Analysis of touring industry

Careers in Touring and Concert Promotion - roles and responsibilities

1. Marketing and Promotion
Tour Relations/Promotions
College or Lifestyle Marketing
Touring Publicist

2. On Tour/Road
- Tour Manager
- Road Manager


                                             2
- Roadie
- Guitar Tech
- Merchandiser
- Sound Technician
- Production Manager
- Travel Agent

3. Concert Promoter
- Buyer
- Publicist

4. Venue
- Buyer
- Venue Manager
- Production Manager
- Sound Tech
- Bartender/Manager
- Doorman/Security

                                       Week 2
Booking agent
o Definition
o Role

1. Top booking agencies in the US – overview, function and analysis
              1) William Morris
              2) The Agency Group
              3) CAA – Creative Artists Agency
              4) Little Big Man/Paradigm
              5) Monterey Peninsula Artists/Paradigm
              6) ICM – International Creative Management\
              7) High Road Touring
              8) Pinnacle

2. Pros and Cons of large agency vs. small agency
        - Size/Infrastructure
        - Influence
        - Experience
        - Dedication

3. Agency/artist contract
       - Term
       - Territory
       - Compensation

**** Guest speaker – booking agent from one of the top agencies in the United States

                                      WEEK 3

                                           3
Concert Promoter
o Definition
o Role
o Function

o Top concert promoters in US
        Live Nation
        AEG Live
        HOB
        Jack Utsick

Pollstar Magazine
        - Function and role
              o Concert reports

**** Guest Speaker – local concert promoter, responsible for booking a live performance
venue, various weekly concert series and festival events

                                      WEEK 4
Talent Buyer
o Definition
o Role

1. Terms of the deal
       o Tix Price
                  considerations
       o Capacity
                  Definition of venues types
       o Overhead
                  Factors
                     • Venue rental
                     • Soundman
                     • Advertising and promotion
                     • Security
                     • Rental of equipment
                     • Insurance
                     • Catering
                     • Performing rights fees

2. Celebrity Access
       - Function and role
               o Talent buying research criteria
                        Radio
                        Soundscan
                        Sales history via Pollstar
                        Competition
                        Routing


                                           4
**** Guest Speaker – talent buyer from Live Nation, who is responsible for booking top
live performance venues in Philadelphia

                                        WEEK 5
Performing Arts Centers
o Definition
o Role

1. Non-profit business model for live performance venues
               o Funding
               o Subscription
               o Scheduling of event
               o Type of performers
               o APAP, Association of performing arts presenters
               o Top performing arts centers in Delaware Valley
               o Analysis of acts, ticket pricing and revenue

**** Guest Speaker – talent buyer from performing arts center and host of annual festival

MID-TERM EXAM

                                        WEEK 6
Booking Shows

1. Types of touring opportunities
       o One offs
       o Residency
                   vertical vs. horizontal
       o Tour – regional vs. national

2. The package
       o What to include
       o When to send
       o How often to follow up
       o Where to access contact info.
                One Sheet (photo, short bio, press quotes, venues played)
                Describe type of sound
                Photo, Link, MP3 or CD
                Avails
                Determining artist value in a market
                Promotion team

       -   Who to call, when to call, what to say
             o Sample e-mail
             o sample phone conversations

3. Types of deals
           Flat Fee

                                             5
          Door Deal
          Split
          Versus

4. Offer Considerations
                  Ticket Price
                  Capacity
                  Guarantees
                  Number of shows
                  Overhead
                  Promoter Profit
                  Split Point

5. Additional booking considerations
                  Advance tickets
                      • when to put on sale
                      • how much to charge
                      • DOS vs. walk-up rate
                  Deposits
                  Ticket Buys and Guest Lists.
                  Billing
                  Recording Restrictions
                  Merch Splits
                      • T-Shirts
                      • CD’s

                                     WEEK 7
Interview and assignment of performing artist(s)
       - Artist interview
             o Profile
             o Bio
             o Tour history
             o Promo materials
             o Performance configurations
             o Technical and hospitality considerations

1. Assignment of live performance venues
       - Territories
              o Northeast
              o Mid-Atlantic
       - Type of room
              o Listening Rooms vs. Rock Rooms
              o Colleges and Universities (NACA)
       - Festivals
       - Performing Arts Venue




                                          6
                                      WEEK 8
Performance Contracts
      - Definition of performance
      - Location and date
      - Compensation
      - Recording/reproduction and photography
      - Right to sell merchandise
      - Rider considerations
      - Hospitality
      - Technical
      - Permit, License and Taxes
      - Cancellation or act of God
      - Insurance and security

                                      WEEK 9
Promotion, Scheduling and Merchandising

1. Advancement of Shows
       - Promo (posters, samplers, flyers, radio, publicity)
       - Press Lists/Publicity Resources
       - Tour Management
            o Advance details
                        When, who and how

2. Booking Calendar
       – Universal scheduling calendar
       – Yahoo or Trumba


3. Cost Analysis of Touring
        - When/Where
        - How often
        - Avails of Artist
        - Venue Avails
        - Tour Budget and Support
        - Ticket Buys

4. Merchandising
       - Sponsorships
       - Per head avg
              o Type of product/merch
                       CD
                       T-Shirt
              o Genre
              o Type of room




                                           7
                                        WEEK 10
Review and discussion of guest speakers
      - application of principals learned this term

Collection of work that was assigned and completed by the class for artist during the term
       - what worked and didn’t
       - loose ties

Review lecture material from term for the final exam


Americans with Disabilities Act
Students with documented disabilities who need course accommodations, have
emergency medical information or require special arrangements for building evacuation
should notify the instructor within the first two weeks of class. Verification of any special
arrangements needs to be made through the Office of Disability Services, 3201 Arch
Street, Suite 210. For further information visit: http://www.drexel.edu/ods/.

Academic Honesty Policy
Drexel University is committed to a learning environment that embraces academic
honesty. In order to protect members of our community from results of dishonest
conduct, the University has adopted policies to deal with cases of academic dishonesty.
Please read, understand, and follow the "Academic Honesty Policy" as written in the
Official Student Handbook: http://www.drexel.edu/studentlife/SLhandbook.htm

Injury Policy
A certain degree of risk is contained in performing any physical activity. Drexel does not
assume responsibility for any injuries sustained as a result of participation in the normal
activities of this class. Please communicate any injury to the instructor before class
begins, or soon as it occurs. If you have chronic or recent injuries it is your responsibility
to notify the instructor so that exercises can be modified for you




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