E.I.U.M.T. SERVICES: E.I.U.M.T. SERVICES

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If you or someone you know are seeking placements on;

Sony Red Music

In need of Services: www.eiumt.com
How It Works: Register on our E.I.U.M.T. website www.eiumt.com for free, Once we receive your Registration Application we'll set up a call regarding your immediate goals. All submissions go to our company email; entindustryumt@gmail.com

( Must be Radio-ready, Clean Versions Mp3 formatted tracks, 3-4 photo's, Bio, and social media ) ( Models: Comp Card & Live footage required ).
Any questions please call our office line 727-333-`1720 or 646-500-1125. If you provide us an email, we'll send our E.I.U.M.T. Services packages to you which provides all information on our company (E.I.U.M.T) as well as pricing and our service reaches Internationally. We are also seeking Partners always.
Thanks for your time. Looking forward to working with you.

Custom EPK

Electronic Press Kit (EPK) is highly customizable, giving you the ability to target venues, promoters and press. Setup your music, photos, videos, stats, press, shows, and bio with just a few clicks. It takes less than two minutes to configure and send. And they look great.

Performance Rider

Rider refers to the little extras a band receives from the promoter at a gig, usually in their dressing room. Typical riders include things like food and beverages, or a pre-arranged amount of money that the promoter will provide to a band to buy themselves a meal and some drinks. The rider should also include information about special dietary requirements or preferences of the band. The rider will usually contain specific information, such "the promoter will provide four hot vegetarian meals and assorted beverages."

Riders can go beyond the basic food and beverage components to include things like the number of dressing rooms a band requires, and even what kind of furniture the band would like in the rooms, what kind of flowers they want in the dressing rooms, and so on. If you're making demands like these on your rider, however, your concerts had better be extremely profitable. Otherwise, you may simply talk yourself out of a gig.

One Sheet

A single page summary document that gives the reader a concise overview of the person they are reading about. One sheets are useful in the business world and can also be great marketing tools. It is filled with information that piques the interest of the reader, reeling them in for more!

Price Sheet

Publishing & Distribution Deal

1. Individual song

One of the most common and straightforward types of deals, you, as the writer, acquiesce the copyright of your work (which can be a single song or any given number of previously-chosen tracks) to the publisher. For this, the company will pay you a portion of the money it earns over time from the song(s). This can be a good way for artists to get their publishing feet wet, as these deals are typically easy to work with. Also, since they only apply to a select number of songs – even just one – you’re not tied down to just one publishing firm. You can sign with a handful, giving each company a track or two, and deciding later which you feel most comfortable with.

2. Exclusive songwriter

Under this type of deal, you agree to hand over the rights to everything you create during a certain time period, which can be as reasonable as a year or two. The publishing company you sign with pays you a predetermined amount of money per week or month, regardless of how much business is actually done around your songs. Much of the money you earn is treated as an advance – meaning that you still make the same set amount no matter how much the publisher is earning from your songs. While it can be frustrating to hear your songs everywhere (commercials,radio etc.), but only make a small amount, it's a good option for those looking for a steady paycheck from their creations. This kind of deal helps you worry less about where next month’s rent is coming from.

3. Co-publishing

Co-publishing is nice work – if you can get it. Though it can involve more legal work on the part of the artist and his or her legal team, in this deal, the songwriter co-owns the copyright of the song with the publisher – which is reassuring to many who don’t want to completely give up control of their work. Usually, you, personally, don’t co-own the copyrights, but a company you start does. When you see several names of publishing companies in liner notes of songs, at least one of them is typically really just the artist. This sounds complicated, but it can help you earn more money. For instance, in this scenario, the company you own earns 50 percent of the income, plus a songwriter’s share on top of that.

4. Administration

Even though administration deals are usually longer in terms of time (five years isn’t uncommon), they can help put a songwriter or performer at ease because someone is always trying to make the compositions work for them. With this agreement, a publishing company doesn’t own the rights to your work, but they do have the right to “administer” it, i.e. license it where they can. While the percentage earned is lower here than with other deals – somewhere between 10 percent and 25 percent – you can earn a lot of money in the end, based on the publishing company's efforts.

5. Foreign sub-publishing

This is essentially the same thing as an administration deal, but involves foreign partners. In this globalized, all-online world, don’t look at international publishing as a pipe dream, even if you're just starting out. You may have a deal with an American publisher, but it may not have the time, resources, or expertise to do your work justice in other territories. In those cases, sometimes it’ll work with other companies to represent your work where these partners are based. These are referred to as sub-publishing agreements, and, depending on how big you and your songs are becoming, it is possible to have several of these for one body of work.

The Foundation of a Complete Distribution Portfolio!

Over the past 30 years, Sugo Music Group has built cutting-edge delivery systems for artists, labels, and music licensors around the world. We were one of the first to integrate digital and physical distribution, recognizing the importance of distributing across all channels and formats—all with superior asset management protocol. Whether it’s a full length on iTunes and Amazon, a stream on Deezer and Rhapsody, an MPL placement for film and TV, a UGC track and CiD on YouTube or a ringtone through Nokia and Telefonica, we supply hundreds of outlets around the world through our proprietary Delivery & Operations Database (DOD). We’ve distributed music products through every imaginable channel: music stores, gift shops, big box retailers, wholesalers, TV, Internet and mobile. Most importantly, we pride ourselves on keeping abreast of the ever-changing entertainment landscape: technology, social media, hardware, legal rulings, RIAA, distributors, collection agencies, labels, artists, music trends and more.

Building Long-Term Relationships for Our Label Partners

Sugo Music Group has established relationships and partnerships with the top online and mobile retailers, aggregators and distributors in the world. We fine tune and expand these affiliations on a daily basis to ensure that your audio masters are being delivered to listeners, viewers and industry professionals in as many territories as possible. Unlike other distributors which might only submit your music to a handful of retailers (and might also charge up-front annual fees to do so), Sugo Music Group will assure that your Masters will be available, accessible and beheld by consumers throughout the world. We have developed significant outreach programs to thousands of industry partners—including sub-licensees, music supervisors for film and TV, advertising and commercial agencies, sync brokers, monetization brokers, sub-publishers, video game licensees, broadcasters, performance rights organizations, distributors, retailers, labels and more. We might be able to secure overseas Master Use Licensing deals with various regional distribution companies, and we qualify emerging online and mobile outlets on a daily basis. In addition, our international mobile telecom database is growing every year, for both mobile download and streaming services.

Why Us?

Our company was founded in 1983 by artists, musicians and savvy business entrepreneurs. From the first day in the office, we decided to build our business acumen from the proverbial “one brick at a time” premise. Today, after 30 years of research, development, implementation and expansion, we firmly stand behind our philosophy of providing complete distribution portfolio solutions for our label partners. Get plugged In! Contact us today!

Weekly Reports on Stats

Digital E-Blast

Social Media Branding & Imaging

Artist Development;
Artist development is a professional process which performing artists and songwriters undertake, traditionally as unsigned artists or unpublished songwriters, in order to cultivate their musical attributes into an attractive commercial proposition for labels and publishers.

Project Management

Project management is the application of processes, methods, knowledge, skills and experience to achieve the project objectives. General. A project is a unique, transient endeavour, undertaken to achieve planned objectives, which could be defined in terms of outputs, outcomes or benefits.

Graphics:

Business Development

Legal Business Contracts

Mastering For Radio

Press Release

Revamp Social Media/Setup

Social Media Campaign

6 Page Website

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Licencing, Song Placements, and more!

New Production Listings / Updated June 14

TV series looking for a few songs similar in style to "Get It On", by Jenaux.

TV series looking for a few songs similar to DMX's " X Gon Give It To Ya".

TV series is looking for new pop songs with a retro sound ala Elle King, Caro Emerald, Meghan Trainor, etc. Male and Female vocals okay.

Production is looking for all styles of original rock songs that were recorded between 1965-1971.

TV series in production looking for original songs recorded in the 1980s, but before 1986. Pop, Rock, New Wave, Rap, etc.

Retail store project consisting of over 1500 locations is looking for all types of pop, pop songwriter, pop indie, pop dance for non exclusive, one year paying uses. Male or female vocals. Good sounding production quality. Original material only.

( Submission Policy Licensing for Film Gaming are Listed in Attachments & in Licensing Section @ www.eiumt.com )

E.I.U.M.T. NEWSLETTER APRL 2016

   ANTONIO CHOICE & BRYANT K. MARSHALL
   PasskeyChoice Entertainment & Digital Media
  www.passkeyentertainment.com | www.ATLSHOTTEST.com
    "Passkey Choice Is Unlocking Doors To All Your Ent. & Digital Needs"
"Successfully keeping your "Brand in front of your Product"

E.I.U.M.T.: 8 Steps to Build Your Brand as an Artist - Talenthouse

How to Build Your Brand

1: Define yourself.

No matter your genre, you yourself are your brand when it comes to the arts. Product companies like Nike or Apple have the advantage of not being people. While they certainly want consumers to choose their products, Apple Inc doesn’t get its feelings hurt if someone prefers a PC to a Mac. On the other hand, putting yourself out there as an artist is extremely personal – and scary.

: What's your brand identity?

So it’s important not only to identify your brand but also to believe in it.

Think about questions like:

What are my values? What do I really care about?

What’s important to me aside from my art?

What’s my look? Is there a certain group of people I like to identify myself with stylistically?

Don’t get too existential about it, but do take some time to sort it out in your own head.

2. Be you - but simplified.

People are complicated. You are complicated. Your answers to the previous questions prove that. But your brand can’t be. If you’re trying to be all things to all people, you’ll never make anyone happy.

[blockquote] You are complicated . . . But your brand can't be.[/blockquote]You need to develop what’s called your “elevator pitch.” Imagine you get into an elevator with the biggest agent in your industry (hey, it could happen). She presses the button for floor 15 – you’ve now got 15 floors to explain in small words what you – your brand – is. And this chick has heard every pitch in the book, so you better make it good.

The key to a great pitch is putting the unique quality of your work into a context that others will understand; keeping it simple.

Example pitches:

“Rural survivalist painting the Midwest. Lone ranger with a paintbrush.”

“Trippy ambient techno sampling the ‘60s. A fairy colony on acid.”

“Four-piece Americana band with a splash of Elton John.”

“Gruesome, sweaty, visceral photography. Macbeth with a camera.”

3. Figure out who you're talking to.

: Your Audience?

Now that you’ve got yourself figured out, it’s time to define your audience. And be honest – you know it’s not “all people everywhere all the time.” Who’s going to respond most enthusiastically to your work? When you’re first starting out, you’re going to want “super-fans”: people who will stick by your side, follow your every movement, and generally be as stalkerish as possible without alerting the police. These are the people who will come to your shows, buy all your merch, and – most importantly – recommend you to their friends.

So is it:

Apathetic grunge pre-teen boys? Or trendy urban young females?

Hippie nature enthusiasts? Or corporate suit types?

The Twitterati? Or the Palm Springs elderly?

The more specific the better in regards to gender, age group, subculture etc.

4. Make all the things! (Staying on brand)

Okay. From this point on, everything you do, say, make, think – if it has anything at all to do with your work and your brand, it’s got to be cohesive. So as you continue to create your beautiful masterpieces and fill up your Talenthouse portfolio, remember who you are, remember your elevator pitch, and remember your target audience. The more pieces you have that reinforce your brand, the more opportunities you’ll have to cement yourself into a potential fan’s noggin. Some famous ad-man once said that a brand is the most valuable piece of real estate in the world: it’s a corner of someone’s mind. So get in there and claim that land in the name of Spain. Or where ever.

5. Judge your book by its cover.

How you present your work matters. Whether you’re in music, photography or film you’ll need a portfolio (link). Talenthouse is a pretty amazing resource for this. They’ve got it all laid out for you already, so you won’t have to worry too much about the structure of it. Of course, it wouldn’t hurt to also link to your Talenthouse portfolio on your own website that’s branded in your style. Some useful tools for site building include Wordpress and Wix: two great, easy, free options. Just make sure your site is mobile-optimized!

You should also think about a logo for yourself, if you haven’t already. If you’re a graphic designer, you might already know something about branding identity, but if not consider inviting a visual artist to help you develop your brand image.

Once you’ve got your look, put it everywhere – on your site, on business cards, on stickers, on your notebook, your purse, your forehead. You’ll see why in step 6…

6. Sell yourself.

Starting out as an artist requires a small amount of aggressive prostitution. This means going to shows – whether it’s fashion, art, music, whatever – and bringing those business cards. This also means learning your industry inside-out. Are there people you absolutely idolize and would like to be one day? Find them on Twitter. Follow. Comment. Retweet.

If you never try, you’ll never find those few gems out there who will absolutely be your guardian angels.

Get in touch with agents, get in touch with people who tried to start in your field and failed, get in touch with artists in your genre that are just starting to make it big, get in touch with gallery owners and see if they’re doing a show for up-and-coming artists soon… get in touch. Get your name out there. Ask for help. Ask for reviews. Ask for constructive criticism. (And sit tight through the destructive criticism.)

This is not easy. It's pretty hard, actually. But if you never try, you’ll never find those few gems out there who will absolutely be your guardian angels and help you through.

7. Never say no.

All of this selling yourself is bound to get you some offers of work. And some of that is bound to be kind of strange. But when you’re first starting out, well, beggars can’t be choosers. As an old advertising teacher once told me: “Never turn down a brief.” All work won’t necessarily be good work, but all work is work. And you can always learn from work.

8. Be Flexible.

Building your brand is all well and good, but it won’t do you any favors if it gets you stuck in a rut. A simple revision or update every now and again won’t destroy your hard-won brain real estate forever – and besides, if you’ve done step 1 well, you won’t need sudden, massive alterations.

But people do change. You and your work will change. You’ll learn what your audience really loves and what they could live without. You’ll discover new sources of inspiration for whole new bodies of work. And that’s great! Just don’t forget to bring your brand along for the ride.

About The Author

Guest contributor Caroline Leger is a free-spirited globetrotter/freelance writer transplanted from Vermont to Austin via Ireland and the UK. She studied English literature and advertising copywriting, and now spends her days collaborating with clients around the world, soaking up as much of the ATX live music scene as possible, and binge-watching TV. She dreams of one day owning a Basset Hound named Sammy.

https://www.talenthouse.com/articles/8-steps-to-build-your-brand-as-an-artist

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