CRONIC RECORDS PRESENTS HAS 20 MILL LIABILITY INSURANCE ABN:39 961 806 421

                                                                                                                                                                                                                                                                                                                                          Managers, , Distributors, Producer Reps, Studio Execs, Marketing and PR

Agents,

Actors,

Execs,                                                                                                                                              Directors,  Documentarians,Composers, Songwriters, Visual Effects Artists, Digital   Artists, EFX people, Production and Set Designers, PAs, Stuntpeople,  Models, Music Video  Artists, Musicians,  Gaffers,  Film Fans, Hollywood Celebrities and anyone passionate about film.

specializes in producingcorprate concerts events network television programming & endorsements

with Celebrities/Artists/Acts.  celebrity talent that ranges  in price from usd$100,000 to $3,500,000+ .   owl contract requires -show secured financial commitments & are not based on contingent ticket sales.

How to secure a performance contract or a celebrity appearance agreement

1. Have your funds readily available.   a deposit will be due within 48 hours of confirming the date.
   

2. Check the availability of the venue.
   

3. Contact our agency with a short list of artists and your budget.
   

4. Research your choices for the best show.
   

5. Prioritize your list and submit offer on your first choice(s).
   

6. Be patient. An agent will contact you within 1-2 days with an update on the artist’s availability and whether they have confirmed doing the date. A prompt response to our agent’s questions will increase the chance of confirming your offer.
   

7. After the contract is issued, review it, sign it and return it with the deposit to guarantee the date.
   

8. Always have a plan b (and even a plan c, if you are really serious) and be prepared to act fast, to insure your chance of securing a top national act.

bookings contact 0245779503 international 001116145779503   email cronicrecordsentpresents@myspace.com

uk  USD EUR GBP JPY CAD AUD CHF RUB   ZAR MXN

100 % DOWN PLUS $500000.00 AUS STUDIO TIME PER DUBPLATE

100 % DOWN PLUS $250000.00 US STUDIO TIME PER DUBPLATE

PRIVATE APPERANCE $1,000000 US

private performance - $1,000,000 us

PRIVATE DINNER   $25,000 US  + PRIVATE APPERANCE

party appearance - $500,000 us

 speech - $750,000 - $1,000,000 us

Selling Merchandise at Clubs, Concert Venues, through Merchandisers and Online
Performance venues are also the perfect stage to sell merchandise from. Some well-managed
acts make a significant portion of their total income from merchandising. Sometimes a label will
ask the artist for their merchandising rights, i.e., the right to display their name and likeness on
shirts, stickers, and other items. Most artists keep these rights for themselves or enter into a deal
with a merchandiser such as Winterland, Brockum, or Sony Signatures. If they sign a deal, then
the label or company could pay a royalty to the artist of  the gross merchandising
income. ;
If an artist decides to retain merchandising rights, they can perhaps make more. To do so
requires expertise                                                                                                                                                        Touring: Performing Live at Clubs, Concert Venues, and Private Events
One of the most reliable income streams for an artist is live performing, in which they get a
percentage of proceeds from ticket sales or fees. I say “reliable,” because live performance is
more in the control of the artist than most of the rest of their career.
Early in their careers, touring is a great way for an artist to get exposure and build a following
through touring. It is never a big money maker in the beginning. Although at first an artist could
face running at a loss, the more established they become and the more tickets they sell, the
more money they make. Touring is a great way to directly connect with fans, and savvy artists
make the most of touring to maximize their income and marketing potential.
As an artist gets established, their income can increase to tens of thousands of dollars, and
sometimes even higher. Promoters control the bulk of the concert business in the U.S., and the
receive a guaranteed fee. Sometimes, they
get a combination of both. Splits vary widely, generally running  of gross sales
or net profits, depending on the deal. A manager earns his keep in the music business                                                                                                                                             Licensing rights to use their music generally through a music publisher:
l Mechanical royalties paid by a record company for use of a song
l Performance royalties paid by radio, TV, clubs, etc. for playing the song
l Synchronization royalties paid by a film, TV, or video company to use a song Artists have the potential to make money from
by
squeezing as much income out of touring as possible.
After time, if an artist can find some success and can build a following, touring when coupled with
record sales and promotion can really fuel a career. Apart from various booking, promotion, crew
and equipment fees, the artist gets to keep a lot of the earned money, if costs can be controlled.                                                                                                                                                          Recordings—selling and licensing recordings generally through a record label:
l Royalties paid by record label based on the list price minus a lot of deductions
l Royalties paid by a film, TV, or video company to use a song in a production
Touring—performing live at clubs, concert venues, and private events:
Merchandise—selling merchandise at clubs, concert venues, etc.
Artists have a greater variety of methods in which to make money in music. Generally, these
depend on their ability to play, perform, and entertain, as well as their ability to exploit their
personality and the “brand name” of their band or act that they record and perform under. Artists
are up-front in the music business, and their brands are what people recognize and search for
when seeking out music. Think of the value that has been built up in popular brands like “Sting”
or “Madonna” or “Prince.” Artists, unless they are also writers, generally must continually stay
active, recording and performing music, in order to begin to hope for the same kind of financial
success that writers can enjoy. forever.                                                                                                                                                                                                                   The Money Flow for Major Label Artists

For bands and artists signed to major label contracts, we have some reservations about just how much they will benefit financially from iTunes. While we would expect that Apple will faithfully pay the labels their appropriate portion for each song sold, just how much money will end up in the artists' pockets? That answer is contingent on the contract that the artist signed with the label.

In the terrestrial world, artists' royalties for sales are computed as a percentage of the record's suggested retail list price (SLRP). The SLRP is an approximation of the price charged by retailers, usually about $16.98 for a new release for a mega artist (note that this is just a suggested price for retailers -- you know you've seen CDs priced lower than this). Most artists get paid between 10 and 14 percent of the SLRP. But wait! First the record label deducts a packaging cost -- usually 25 percent for CDs -- since, in theory, artists are being paid for the music and not the packaging,  So now it looks like this:

$16.98 SLRP
-$4.25 25% packaging deduction
$12.73 royalty base price

But wait! There's ANOTHER deduction. Most major labels also hold money in reserve to cover "breakage". This a ridiculous, antiquated deduction that goes back to the days when vinyl records could actually break during shipping, but it still exists. Now our formula looks like this:

$16.98 SLRP for a CD
-$4.25 25% packaging deduction
$12.73 royalty base price
-$1.27 10% breakage deduction
$11.46 new royalty base price

But WAIT. There's ANOTHER DEDUCTION. Despite the fact that CDs have been around for about twenty years, they're still considered a "new technology" in many major label contracts. And because new technologies imply some sort of "risk" to the labels, they feel like it's within their right to hold some more of an artists' sale royalties. The standard "new technologies" deduction is 25%, so that makes our formula look like this:

$16.98 SLRP for a CD
-$4.25 25% packaging deduction
$12.73 royalty base price
-$1.27 10% breakage deduction
$11.46 new royalty base price
-$2.87 25% new technologies deduction
$8.58 new royalty base price

So now the artist gets 10 to 14 percent of this price -- or somewhere between $0.86 and $1.20 -- per retail sale. And, of course, artists only get this money AFTER they've recouped the costs of making the album which, in many cases, never happens at all. [note: This is a simplified version of things using averaged figures and not dealing with other common deductions like "free goods" and "reserves". For a more nuanced explanation we suggest you read Donald Passman's All You Need To Know about the Music Business].

The question is: how does the contracted royalty rate jibe with the iTunes model? Unlike traditional retail sales with the iTunes Store there is:

• No overstock

• No breakage

• No returns

• No packaging costs

...thus making all of those ridiculous deductions listed above even more pointless.

So, in theory, musicians signed to major labels should be getting 100 percent of their 10 to 14 percent royalty rate since all of those antiquated deductions are totally illogical. But even at that price, these standard contracted rates seem dismally low. If the same contract terms apply to digital sales as terrestrial sales, at the $9.99 retail price for albums on iTunes, an artist would get somewhere between $1.00 and $1.40 per sale. For a 99 cent single download, an artist would get 10 to 14 cents.

Could Deductions Still Apply?
Once we open this digital can of worms there are other contract clauses that may affect the rate at which you're paid. Will the major labels try to say that electronic transmissions are a "new technology" that, like CDs, kicks in a 25 percent deduction per sale? Will the labels consider online album sales as "top-line" sales, or does the price of $9.99 mean that it's considered a "discount" sale? If it's a discount sale that may mean you only get HALF of your contracted rate (5 to 7 percent from our example above). We'll have to wait and see.                                         

Remember the artist still has to pay TAXES!  Don’t forget Uncle Sam has to get his cut!  Also, don’t forget the Personal Manger, the Attorney, the Accountant, the Agent and other numerous expenses.

However, there are many other royalties that an artist can acquire.  They include, Record Clubs, Compilation CDs, Samplers (low-priced albums in which a few artists are featured), Premiums (albums sold with other products, such as cereal), Film Soundtrack Album, Music Video Sales, Greatest Hit’s Album, Foreign Royalties (song played in some foreign country radio stations pay royalties, unlike the US), Master Use License (music used in a movie, television, commercial, the Internet, CD-ROM and DVD), etc.

 Of course because of the Internet, the rules royalties are changing. Many people now buy their music via the Internet.   Just think, no packaging required and no distribution to traditional retail stores needed.  Some websites allow customers to buy individual songs as oppose to an album.  Changes are currently taking place on how royalties are calculated because of the Internet.  Many attorneys are pushing to have royalties be based on each song sold as oppose to each album sold.  So stay tuned!