How to Produce a Concert, Michael Burton Productions LLC [best fiction books of all time txt] 📗

I think this is the overwhelmingly most important thing a promoter can do, understand and know their audience. When you know your audience, you are able to immediately determine whether one specific venue is right over another.

For example:

Is your audience more likely to be downloading songs from iTunes, Rhapsody, Real, or listening to NPR?

If you think you should be staging your production at the one and only club downtown that starts most shows at 11pm, and you've noticed your audience is generally between the ages of 25-50, your audience may not follow you into that venue. If on the other hand the age demographic of the audience is 17-25, then attempting to book yourself in the club downtown may be appropriate.

Consider the following factors:

Age

- A majority of people in the 25-50 age groups have considerations that influence their decisions for late night entertainment such as, family and children, early work days, availability of discretionary funds, desire for creature comforts like soft-seat theaters. Those in the 17-25 age group may not have those constraints. Late night start times may not impact their day schedule as much. They also may not be as concerned with seating or a non-smoking environment.

Time

- If late night production starts impact you and your ability to be at your best, certain venues may be wrong for you. If your audience is more of the 8pm crowd, they just won't be there for the second show starting at midnight. If there is such demand, do a second night rather than two shows on the same night. Perhaps schedule a matinee or early evening show and then a 8pm show later the same day.

Types of Room

- Are your potential customers accustomed to standing for a show or sitting? If your potential customers are used to sitting for shows and people know that a particular venue never provides seats, your audience won't appreciate seeing your show there and ticket sales will slump. If, in your attempt to play a bigger, hip venue, but your audience is not used to seeing your type of show in that type of venue, you may also lose sales.

As the promoter you must understand your chosen act's audience.

I will not do hip hop or rap.

Knowing your audience can influence the type of venue in which you chose to promote any show. I will use pollstar.com to check my venue data, and my Radio Station Guide to pinpoint the station to contact for advertising.

If your audience is of the soft-seat theater variety, you must use a similar tactic of selecting the right theaters.

2. Where do you want to promote?

You must determine the best space to present the music you're permoting according to your goals and comfort level. This pre-determination helps eliminate a lot of unnecessary phone calls, then you can concentrate on the appropriate venues according to your goals, your audience and your preferences.

Details to consider:

1. Capacity

- are you ready for the room? Is the room too large or too small? Have you ever sold out a room that size? Prior to calling a venue, research the venues by using some of the available directories such as Pollstar's Concert Directory or Club Directory; Musician's Atlas; Billboard's Musician's Guide to Touring and Promotion or many of the online gig directories.

Each of these directories will list the venue, address, phone, email, contact, capacity, type of music presented and submission policies. By evaluating each venue before calling, you may determine which ones will suite your acts and which ones are just not right.

2. Stage Size

- Often this may not matter. In some instances, knowing this information when you begin discussions with the booking person may help you decide if you can fit your entire six piece group with drum kit, keyboards and all the other players comfortably on stage or not. If you can't fit your act, and the stage configuration is not flexible, then this venue may be wrong for you. Always keep in mind that you want a situation to showcase your act at its best. Move on to another venue when you run into an insurmountable obstacle. Try not to compromise the integrity of the performance.

3. Technical Requirements

- If you bring your own sound, lights and engineer and the venue will accommodate you, then you are set in most rooms. If, however, you require sound and lights to be provided for you, checking the specifications offered by the venue can also be an important qualifying factor. If the venue does not have most or all of your required equipment, will they rent what's necessary at their expense?

4. Budget and Fee

- I believe you understand the fact that known acts get better fees and unknown acts have to build a track record of ticket sales in order to have more leverage to command higher guarantees and more advantageous percentages.

5. Box Office and Ticket Outlets

- Is there a box office where one may purchase tickets in advance. Does the venue use outside ticket venders? If the venue uses local business to sell their tickets, are these familiar and easily accessible to your audience. Are phone reservations possible? Knowing this will give you some advance indication of how the show is selling. This can give you some sense of how the advance promotion is going and you can work with the venue to increase the promotion when advance ticket sales are slow.

6. Door Sales

- When there are no box office sales, then tickets are usually sold at the door. Who collects the money? Does the venue provide a door person to collect the money or can you provide your own person?

In many situations, having someone working for you at the door that you trust can mean a great difference in the amount of money you make. You get to determine who is a guest and who is not. If you are unable to insist on your own door person, make sure you can have your own person at the door checking the count.

7. Advertising and Promotion

- What kinds of advertising does the venue do? What is the advertising budget for each act or for your show(s)? Many rooms only place strip ads in the local papers in the entertainment section that comes out once a week. Will your act get enough attention by this means of advertising? Is the venue willing to do more? What other forms of promotion can you expect?

When you approach your bookings with this method of evaluating each venue, you are once again making your determination by using facts rather than feelings, research rather than impetuousness.

Just as each venue booking person will attempt to qualify you and determine whether you are right to perform in their room, the same will go for any auditorium, conference room or stadium.

You now have some tools to equalize the process and be pro-active rather than reactive. Qualifying each venue will save you time, effort and money and boost your career to the next desired level. GOOD LUCK.

Michael Burton Sr.

"Let's Take It To The Stage"

"A PERSONAL MESSAGE"

 

Lets close this out with this personal message:

If you've attended concerts over the years, and possibly imagined what these thousands of people paying this money added up to, you're about to find out. I've been in this business a very long time, and because of paying customers I've enjoyed all these 45 years in the "BUSINESS". THANK YOU ALL.

I am also well known because of My Team & My Productions.

Consequently, as a responsible Promoter, I operate a strict policy. It is for that reason that I am closing with this message...

If you are genuinely interested in making money from the doing Concerts, this overview of how it is done might solidify your opinion and help you find what you're looking for.

I will be using this as a theme as we travel together into the world of Concert Productions.

This UNIQUE opportunity may, indeed, be right for you, which is why I'd like offer you a chance to find out more.

This is not a whole new concept; promoters have been doing it for years. Not only that - a majority of them are filthy rich.

With very little effort, you can jump into overdrive and take the giant leap forward that you've been searching for.

That's not hype - it's Fact!

And in addition, you'll be getting a chance to see and travel the whole of the United States doing Concert Productions.

No puff. No smoke. No mirrors! Just Hi-Way.

Sincerely;

Michael Burton Sr.

"GET ON BOARD"

 

"LETS TAKE IT TO THE STAGE"

1991 40ft GOLDEN EAGLE ENTERTAINER - TURBO DIESEL BUS"

"It Feels Good"

 

What would a Michael Burton Production look like?

 

What would a Michael Burton Production look like?

 

How would it be produced?

I would suggest an outside event with sponsorships from vendors, i.e., radio, food, community based organizations, homeless shelters, banks, realtors, and many more in any venue city.

How many bands?

8000 – 12,000 seats - up to four acts.

6000 – 8000 seats - two to three acts.

Who?

We have many acts we can choose from, however, who ever we choose must have the potential to sell that show out.

Michael Burton Sr.

"Let's Take It To The Stage"

Michael Burton Productions Video Conference Website

Michael Burton Productions has taken Michael Burton Sr., CEO & Founder around the World, doing pre & post productions since 1974.

Traveling and meeting with potential investors and angel investors that also included performers across the Country while creating Live Concerts Productions. Rewarding in itself as well as having its disappointments and setbacks, and leaving little time for loved ones (family & friends), their had to be another means of resolving this for his time on the road with all the traveling and their was.

Finally, "Video Conferencing and Webcams". Interactive video conferencing, that allows you to see and hear people at multiple sites in real time. Indeed, this was the way of bringing everything and everyone together, cutting expenses to less than half the cost.

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