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Video Production Business Plan

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Michael's Video Service

Executive summary executive summary is a brief introduction to your business plan. it describes your business, the problem that it solves, your target market, and financial highlights.">.

Michael’s Video Service uses the latest technology to provide video production services. This means that the services provided achieve a level of quality previously reserved for only the most expensive video production companies. 

Michael’s Video Service is a new company and as such, we will need to meet market acceptance. To that end, the company is working to determine trends in the industry, the needs of the customer, and how best to address the needs of the customer.   

Our services are geared for several markets, including television stations, companies, high schools, and families. We will initially target high schools with whom we can establish strategic alliances that will enable us to establish long term relationships with them. In our first year of operation, we believe we can capture 15 to 25% of the market, which translates into $100,000 – $130,000 in sales.

We believe that we can earn $149,000 in our first year, rising to $175,000 and $191,000 in our second and third years, respectively. Our market strategy will be to advertise and capitalize on the services that our competitors do not offer.

There are several companies with whom we will be competing. We have a competitive advantage, however, because our equipment is more aligned with the video production industry trends requiring digital technology, as opposed to analog devices.  

The company is seeking a loan in the amount of $300,000 which will be used to purchase the equipment and start-up expenses. The company’s revenue projections for the first three years are $149,000, $175,000, and $191,000, respectively. Michael’s Video Service expects to achieve profitability early on. 

Company Summary company overview ) is an overview of the most important points about your company—your history, management team, location, mission statement and legal structure.">

Legal Business Description

Michael’s Video Service was founded in May 1996 by Mr. Michael Morrison. Michael’s Video Service is a Limited Liability Company (LLC) with principal offices located in Denton, Ohio. 

2.1 Mission

Our mission is to become the leading freelance and video production company in state, utilizing the latest technology to shift market share from competitors to Michael’s Video Service. 

Michael’s Video Service is in business to cover events and special occasions on a freelance basis. What we will be providing is an alternative solution for video companies or out of town television stations. Instead of them sending a crew or taking time out of their busy schedules, they can hire us to do the filming for them. This gives them the opportunity to focus on their core competencies. 

We will attend any and every event that we will have to cover for our customer. Using our experience, we will find a strategic location from which we will film. Once the filming is complete, we will then deliver the tape to the customer.

Michael’s Video Service will contract video services to its target markets. Services are not only limited to the Denton, we are able to travel around the country. Our main goal is to contract our services to anyone who may need an event video taped.

3.1 Service Description

The operation begins with the customer contacting Michael’s Video Service with the intent of using our services. All the details of the event are gathered and all the relevant information pertaining the specific requirements, as well as the delivery of the tape. Thereafter, we attend the event and proceed to do the filming. Once the filming is completed, the next step is to deliver the tape to the customer.

3.2 Technology

Analog is the old technology and digital is the new. Analog communication systems involve the amplitude modulation of a radio signal. In other words, they transmit and receive information through a continuous flow of electromagnetic signals. An inherent weakness of the technology is that analog signals weaken over distances and require additional equipment to boost them as they travel.

Digital cameras are the future of television broadcasting as well as the future of consumer camcorders. The FCC has mandated that all television stations must transmit a digital signal to the homes of its viewers by 2002.

In keeping up with the trends in the industry, we plan to purchase the latest digital equipment on the market. We plan to use the following equipment:

• DLC Qualcomm 500
• Sanyo 2000 video equipment
• Sanyo 2000 wireless equipment

Strategy and Implementation Summary

We plan to initially market our products and services as an alternative solution for television networks and video companies.  These markets were selected because of their size, trends in technology, our experience with video production, our industry contacts, and an overall belief that they are most appropriate to initially target.

We aim to rapidly develop alliances with the major high schools to enable us to gain credibility as the best video production company. Our market strategy will be to advertise and capitalize on the products and services that our competitors do not have. 

4.1 Market Analysis Summary

We expect to compete as a freelance video production company in the broadcasting industry. Companies in the industry are involved in the creation and delivery of various types of programming to consumers. Much of that programming is recorded on film, tape, or disk, so that it can be seen or heard repeatedly by both new audiences and those that are familiar with it. Many of the events that are broadcast live are likely to be recorded, with some or all of such events to be rebroadcast at future times.

Within this national market, Michael’s Video Service will initially focus on supplying its services to the high school market market. We intend to be the only freelance video company in the city and state to offer our services to companies of any size. Our goal is to be on the freelance list for all the major television networks for news and sports coverage in the southeast region of the United States.

4.1.1 Market Segmentation

Our customer is defined as any individual or organization that has need for one of the services we provide. Our target customers are as follows.

4.1.2 Competition and Buying Patterns

Customers are expected to use our services based on traditional factors:

• Performance
• Flexibility

4.1.3 Distribution Strategy

4.1.4 Service Business Analysis

The major companies that compete in the market are:

• Synergy Productions
• Local Television Stations
• Video Production, Inc.
• Gene’s Video Productions
• Denton Video Service
• VIP Productions

All of our competitors specialize in one aspect of video production. We are a diversified company and we believe that there will be no down period for us. We are not seasonal based, our services are offered throughout the year. With our diversity, we will be able to attract the larger organizations that like to entrust one company to handle all of their affairs.

4.1.4.1 Possible Barriers to Entry

Michael’s Video Service will benefit from several significant barriers to entry which include:

• Strategic Alliances
• Experience in the field

4.1.5 Strategic Alliances

The company plans to form strategic alliances with clients who require a freelancer to cover various events for them. Michael’s Video Service will also develop strategic alliances with video production companies and work with them as a sub-contractor. 

4.1.6 Value Proposition

By using Michael’s Video Service to cover various events for them, companies will be able to save time. They can then use this time saved to focus on their core competencies and the things that they do best. We are in business to provide a service that is second to none. As such, we guarantee that our customers will receive first class service and a final product that is well worth the money invested. To that end, we guarantee a full refund in the event that a customer is not satisfied. At Michael’s Video Service, we take pride in our work and it is our aim to be the best at what we do. We will conduct our business in a professional manner from our methods and character to our standards and ethics.

4.2 Sales Forecast

The following table and chart show our planned sales.

4.2.1 Channels

Sales, Distribution, and Marketing Channels

In marketing our products and services, we will rely on a combination of the following channels:

• Direct approach
• Yellow pages
• Radio and television
• Word of mouth
• Trade shows

Alliances with video companies that have industry credibility, presence, and distribution are key to our strategy. In monitoring our services and market position, we will rely on feedback from customers with whom we have relationships. This will be done through direct sales. The message associated with our products and services is high quality for less money. Our promotional plan is diverse and will include a range of marketing communications.

4.2.2 Pricing Strategy

We plan to set our pricing based on market value. Our actual price will be based on whether our services are required on a daily or an hourly basis. It is anticipated that we will charge $300 per hour and $1,000 per day. For out of town travel, additional charges will be added for expenses.

Management Summary management summary will include information about who's on your team and why they're the right people for the job, as well as your future hiring plans.">

The company’s management philosophy will be based on responsibility and mutual respect. Michael Video Services will maintain an environment and structure that will encourage productivity and respect for customers and fellow employees. Additionally, the environment will encourage employees to have fun by allowing creative independence and providing challenges that are realistic and rewarding.

Michael’s Video Service’s management team is highly experienced and qualified. The management team is lead by Mr. Michael Morisson.

Financial Plan investor-ready personnel plan .">

We are requesting a loan of $300,000. The funds will be used to purchase video equipment and to cover initial operating expenses. 

Payback Strategy

Our repayment for this loan will come from cash in excess of profits, paid monthly. The increase in profits generated by business from television stations will provide funds to repay the loan in 10 years.

6.1 Important Assumptions

The table below highlights some assumptions that are key to the success of the company.

6.2 Break-even Analysis

For our Break-even Analysis, we assume running costs of approximately $9,000 per month, which includes gas, phone, and an estimation of other running costs. Variable costs mostly include video tapes. The chart and table below show our break-even point.

6.3 Projected Profit and Loss

The table below provides the projected income statements for Michael’s Video Service. The company is basing its revenue projections on anticipated sales of services, initially to the television networks and video companies, then to other markets such as high school events and weddings.

6.4 Financial Risks and Contingencies

The company recognizes that it is subject to both market and industry risks. We believe our risks are as follows, and we are addressing each as indicated. We face all the risks associated with being a start-up company. We feel that we can overcome these with our experience in the industry and by quickly establishing desired relationships. The economy in south Ohio is based on the oil and gas industry, which is very unstable. Having seen the oil bust in the 1980’s and its effects on the economy, we have diversified our efforts and will be going after markets that will not be affected by fluctuations in the oil and gas industry.

6.5 Projected Cash Flow

The following chart and table present the cash flow assumptions for the company.

6.6 Projected Balance Sheet

Projected balance sheets are provided below.

6.7 Business Ratios

The following table presents important business ratios from the motion picture production industry, as determined by the Standard Industry Classification (SIC) Index code 7812, Motion Picture and Video Production.

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How to Create a Production Company Business Plan [FREE Template]

H ighly successful video companies start with a strong production company business plan. Whether your company has been around for a while, or you’re a freelancer ready to take your services to the next level, this post will provide you with actionable strategies for success to compete more effectively right now.

It all beings with formulating the business plan that will get you where you want to go. If you don’t have a business plan, don’t worry. We provide a  free business plan template below and will walk you through it. 

Step by step.

• Production Company Business Plan
• The Executive Summary
• Perform a Video Company Self Assessment
• How to Get Started
• Financing a Video Production Company
• Marketing Plan
• Day to Day Operations

Freebie: Business Plan Template for Video Production

Download your FREE printable business plan template for your video production. Just enter your email address and we'll instantly send it to you!

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1. what is a production company business plan.

Essentially it's a tool for raising funds, creating a roadmap, or altering course and plotting out the next steps.

One purpose of any business plan to so convey to investors, or a bank, why they should put money into this business.

Think of creating a business plan you could bring to them

What does that mean?

It means you need this business plan for a production company to prove that you will make money. To prove it to you, but also to any investors.

After all, nobody invests to lose money. Or break even. So with that in mind, let's forge ahead into the actual writing of the business plan.

how to make a business plan

2. what is an executive summary.

Every business plan starts from the top down, with an executive summary.

What is that, exactly?

An executive summary is a short part of a larger proposal or report that summarizes the main points so the reader can become quickly educated on the whole document without having to read it all.

So it’s a detailed overview.

Of course, "executive summary" has a nice ring to it...

Your job here is to lay out the big picture of your plan. Some questions to ask yourself: Why do you want this business in the first place?

Similarly, what inspired you to start it? What's going to make it work?

Next, start to answer the questions your investors might have. Try getting into their head-space.

"Why would YOU invest in this business?"

You might want to write about the competition. The targeted demographic. Be specific here.

What need does your business fill? Which kinds of customers and clients are you targeting?

Think about your target market

Furthermore, what else sets you and your business apart?

Especially relevant is using concrete examples and not only ideas. Can you cite previous work you've done?  

This brings us to...

Your production companies competition

What does the rest of the field looks like. Your investor will want to know if they don't already.

What sets this company and this production company business plan apart from others?

Knowing the entire field of competitors you have is a good idea, even if it's a very long list.

Your production company business plan must factor in what else is being offered. That way you can adjust, and target a more specific niche.

Or, you can figure out what you can do better.

For example: what can you identify in your competitor's list of services that you know you can nail?

This is what your video company plan needs to convey.

Finally, remember to think of it from the investor's standpoint. How is this an opportunity for them?

how to create a business plan

3. why a video company self-assessment.

This step is easy to do, but hard to do well.

Can you take a good long look at your video production studio? With the intent to circle problems? Areas that need improvement?

The second part of this step might be easier. Find the areas where your video production studio can really shine.

In contrast, you don't want to elaborate on weaknesses in your video production company business plan. Rather, you want to identify them so you can find ways to address them.

You need to have answers to the questions these flaws might bring to the mind of your investors.

  You are not required to sing “Man in the Mirror” 

Then go beyond looking in the mirror.

Look back at the field before you.

This is a business plan for a production company. What opportunities exist for that?

Most of all, try and tailor this production house business plan to specific needs.

Here are a few methods of company self-analysis:

This is a way to identify changes in your industry, to target potential growth opportunities. The acronym stands for:

P olitical Factors

E conomic Factors

S ocial Factors

T echnological Factors

 P roduction company business plan would include a PEST

We've mentioned elements of SWOT:

W eaknesses

O pportunities

The one to focus in on here is threats. Don't assume everything will work out for the plan just the why you'd like it to.

Because it won't. Investors will know that. You should not only know it, you should expect it.

Most important of all: prove that you're prepared for whatever may happen.

Here's a cool way to approach your SWOT analysis. Try applying your strengths to your opportunities and see what kind of leverage you can create.

Then theoretically expose your weaknesses to your threats. Are you in trouble? Do you need to address something to better protect your company?

Think of this as planning for a battle. Therefore, you don't want to ignore cracks in the wall if your enemy is bringing a battering ram.

Business plan can benefit from SWOT

Strategy, structure, systems, style, shared values, staff, and skills.  The 7S model  was developed by business consultants  Robert H. Waterman Jr. and Tom Peters . It's also known as the McKinsey 7S framework.

The idea here is that your business needs these elements to be aligned and "mutually reinforcing". Let's go over each "S".

Strategy: How does this business plan to gain an advantage.

Structure: How do you divide the various operations of the company.

Systems: Procedure for measurement, reward and resource allocation.

Skills: the companies core and distinctive capabilities.

Staff: Human resources.

Style: Behavior patterns of the key groups like managers.

Shared values are in the middle of them all on the diagram. It's somewhat self-explanatory.

In theory, using these methods of self-analysis will help you a great deal. Due to them you'll know, and decide, all sorts of things about your production company.

The 7 S model of analysis

Start putting these ideas onto paper now! If you haven’t already…

Gentlemen, start your engines

4. how to get started.

A business plan for a production company must lay out how you will get started. This is also referred to as a "roll out plan".

How you engineer your beginning is critical to your cash flow. What do you need to get started?

And can you start at a sustainable level?

Will you open a physical office space right off the bat?

Overhead is a major cost. If this is more of a production house business plan then you’ll want to factor that in.

Do you have existing clients?

Equipment or gear already in place?

A video production business plan suggests that your focus will be on video production. Things like equipment will be critical.

In addition to considering this an entertainment production company business plan you may also want to focus on creative development.

How you want to focus effects how you want to phrase things. And it matters almost immediately.

START FEES YOU CAN AVOID

It's a good idea to propose that you start small.

There are two reasons for this.

The first is that you will scare away investors if you ask for too much up front, almost without fail they can tell if you are asking for more than it seems like you need.

It also throws into question how serious you are about sustaining success.

Which leads to the second reason.

It'll be much harder for you to sustain success if you ask for big upfront funding that you aren't sure you can earn back plus profit.

Let's say because you know of a few jobs you'll have early on, that you ask for less up front.

You'll be able to get rolling right away, earning back the initial investments and then some.

Above all you want to start off with easy wins.

Or as close to easy wins as you can get when launching or re-launching a video production business plan.

Seems like it would somewhat obvious not to ask for more than you can earn back...

Rather, it's a mistake people make all the time.

Speaking of which...

do have the capital?

5. financing a company.

Any business needs capital. As a result, you need a section where you lay out the cash flow for the production house business plan.

What kind of money do you expect to have coming in, and how much do you expect to be spending?

Make the budget, while also estimating how you'll be earning.

If you can't demonstrate this, then you need to go back to the drawing board.

Just pose like this and you’ll reassure any investor

You will want to get involved with an accountant at some point soon.

But remember, this is a business plan for a production company. So you may have a lot of costs coming at you early just to get started.

What is a marketing plan?

Your video production business plan is almost complete. Another section worth including would be one on marketing.

Here is a good additional resource on small business accounting .

You want to prove that business will be coming in, and not assume it will on faith alone.

Building a strong portfolio is a must. Consider again what niche you may be able to serve best. Find a solid "bread and butter" to start with.

Remember, good businesses expand when they need to. They don't bite off more than they can chew right out of the gate.

INVEST IN A GOOD WEBSITE

Do some research on how you’ll be building the best website for your product.

Get your production company a few social media accounts, and start trying to create a presence there. You'll need to find many ways to attract clients, and show your work.

Do some additional research on how to market a production company.

All this needs to find its way into the marketing section of your production company business plan.

what's your daily workflow?

7. day to day operations.

The day to day operations are a critical part of the plan. Have you visualized what the daily workflow will be?

Now is the time to do that. Who is going to be on your team, and how will it grow and change over time?

Determine what tasks will take priority each day, and how to best utilize your resources and finances.

This will be a key step in determining if your production company business plan is sustainable.

Ask yourself a few of the following questions:

How much time per day will you spend building your client base? What elements of each job will you tackle in-house? Which tasks might you outsource?

What equipment and gear do you own?

When will it need to be replaced and/or upgraded?

Are you going to hire anyone to start? Will they be full-time employees?

Will you hire independent contractors per project? How many, roughly?

As mentioned in the finance section, you need to know how you'll plan your reporting for taxes and your bookkeeping process.

These questions will help you start to determine what each "day at the office" will look like.

The clearer a picture you can paint here, the better.

Write a Business Plan

Get as specific as possible in each section of your entertainment company business plan. The more you know... right?

Now, let's get a little more advanced. In our next post we'll dive into writing a 4 part business plan. 

Up Next: Write a 4-Part Business Plan →

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Recording Studio Business Plan Template

Written by Dave Lavinsky

Recording Studio Business Plan

Over the past 20+ years, we have helped over 500 entrepreneurs and business owners create business plans to start and grow their recording studios.

If you’re unfamiliar with creating a recording studio business plan, you may think creating one will be a time-consuming and frustrating process. For most entrepreneurs it is, but for you, it won’t be since we’re here to help. We have the experience, resources, and knowledge to help you create a great business plan.

In this article, you will learn some background information on why business planning is important. Then, you will learn how to write a recording studio business plan step-by-step so you can create your plan today.

Download our Ultimate Business Plan Template here >

What is a Recording Studio Business Plan?

A business plan provides a snapshot of your recording studio as it stands today, and lays out your growth plan for the next five years. It explains your business goals and your strategies for reaching them. It also includes market research to support your plans.

Why You Need a Business Plan for a Recording Studio

If you’re looking to start a recording studio or grow your existing recording studio company, you need a business plan. A business plan will help you raise funding, if needed, and plan out the growth of your recording studio to improve your chances of success. Your recording studio business plan is a living document that should be updated annually as your company grows and changes.

Sources of Funding for Recording Studios

With regards to funding, the main sources of funding for a recording studio are personal savings, credit cards, bank loans, and angel investors. When it comes to bank loans, banks will want to review your business plan and gain confidence that you will be able to repay your loan and interest. To acquire this confidence, the loan officer will not only want to ensure that your financials are reasonable, but they will also want to see a professional plan. Such a plan will give them the confidence that you can successfully and professionally operate a business. Personal savings and bank loans are the most common funding paths for recording studios.

Finish Your Business Plan Today!

How to write a business plan for a recording studio.

If you want to start a recording studio or expand your current one, you need a business plan. The guide below details the necessary information for how to write each essential component of your recording studio business plan.

Executive Summary

Your executive summary provides an introduction to your business plan, but it is normally the last section you write because it provides a summary of each key section of your plan.

The goal of your executive summary is to quickly engage the reader. Explain to them the kind of recording studio you are running and the status. For example, are you a startup, do you have a recording studio that you would like to grow, or are you operating an established recording studio that you would like to sell?

Next, provide an overview of each of the subsequent sections of your plan.

• Give a brief overview of the recording studio industry.
• Discuss the type of recording studio you are operating.
• Detail your direct competitors. Give an overview of your target customers.
• Provide a snapshot of your marketing strategy. Identify the key members of your team.
• Offer an overview of your financial plan.

Company Overview

In your company overview, you will detail the type of recording studio you are operating.

For example, you might specialize in one of the following types of recording studios:

• High-end studio: This type of recording studio provides a full suite of recording options and targets professional artists and people looking to spend premium prices on high quality acoustics, equipment, and personnel.
• Project studio: This type of recording studio is often less expensive than a high-end studio, but may still have high-end equipment and personnel. Project studios are commonly used for non-commercial recording projects, specific musical sound projects, and recording voice overs.
• Home studio: This type of recording studio is a small, privately owned, home-based recording operation that typically uses inexpensive equipment and personnel for people who want to record on a budget.

In addition to explaining the type of recording studio you will operate, the company overview needs to provide background on the business.

Include answers to questions such as:

• When and why did you start the business?
• What milestones have you achieved to date? Milestones could include the number of clients served, the number of projects completed, and reaching $X amount in revenue, etc.
• Your legal business Are you incorporated as an S-Corp? An LLC? A sole proprietorship? Explain your legal structure here.

Industry Analysis

In your industry or market analysis, you need to provide an overview of the recording studio industry.

While this may seem unnecessary, it serves multiple purposes.

First, researching the recording studio industry educates you. It helps you understand the market in which you are operating.

Secondly, market research can improve your marketing strategy, particularly if your analysis identifies market trends

The third reason is to prove to readers that you are an expert in your industry. By conducting the research and presenting it in your plan, you achieve just that.

The following questions should be answered in the industry analysis section of your recording studio business plan:

• How big is the recording studio industry (in dollars)?
• Is the market declining or increasing?
• Who are the key competitors in the market?
• Who are the key suppliers in the market?
• What trends are affecting the industry?
• What is the industry’s growth forecast over the next 5 – 10 years?
• What is the relevant market size? That is, how big is the potential target market for your recording studio? You can extrapolate such a figure by assessing the size of the market in the entire country and then applying that figure to your local population.

Customer Analysis

The customer analysis section of your recording studio business plan must detail the customers you serve and/or expect to serve.

The following are examples of customer segments: individuals, schools, families, and corporations.

As you can imagine, the customer segment(s) you choose will have a great impact on the type of recording studio you operate. Clearly, individuals would respond to different marketing promotions than corporations, for example.

Try to break out your target customers in terms of their demographic and psychographic profiles. With regards to demographics, including a discussion of the ages, genders, locations, and income levels of the potential customers you seek to serve.

Psychographic profiles explain the wants and needs of your target customers. The more you can recognize and define these needs, the better you will do in attracting and retaining your customers.

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Competitive Analysis

Your competitive analysis should identify the indirect and direct competitors your business faces and then focus on the latter.

Direct competitors are other recording studios.

Indirect competitors are other options that customers have to purchase from that aren’t directly competing with your product or service. This includes other types of recording studios, retailers of recording equipment, and do-it-yourself recording tutorials. You need to mention such competition as well.

For each such competitor, provide an overview of their business and document their strengths and weaknesses. Unless you once worked at your competitors’ businesses, it will be impossible to know everything about them. But you should be able to find out key things about them such as

• What types of customers do they serve?
• What type of recording studio are they?
• What is their pricing (premium, low, etc.)?
• What are they good at?
• What are their weaknesses?

With regards to the last two questions, think about your answers from the customers’ perspective. And don’t be afraid to ask your competitors’ customers what they like most and least about them.

The final part of your competitive analysis section is to document your areas of competitive advantage. For example:

• Will you make it easier for customers to acquire your services?
• Will you offer products or services that your competition doesn’t?
• Will you provide better customer service?
• Will you offer better pricing?

Think about ways you will outperform your competition and document them in this section of your plan.  

Marketing Plan

Traditionally, a marketing plan includes the four P’s: Product, Price, Place, and Promotion. For a recording studio business plan, your marketing strategy should include the following:

Product : In the product section, you should reiterate the type of recording studio company that you documented in your company overview. Then, detail the specific products or services you will be offering. For example, will you provide mixing and mastering services, sound design services, composition services, or video recording services?

Price : Document the prices you will offer and how they compare to your competitors. Essentially in the product and price sub-sections of your plan, you are presenting the products and/or services you offer and their prices.

Place : Place refers to the site of your recording studio company. Document where your company is situated and mention how the site will impact your success. For example, is your recording studio located in a busy retail district, a business district, a standalone office, or a home-based studio? Discuss how your site might be the ideal location for your customers.

Promotions : The final part of your recording studio marketing plan is where you will document how you will drive potential customers to your location(s). The following are some promotional methods you might consider:

• Advertise in local papers, radio stations and/or magazines
• Reach out to websites
• Distribute flyers
• Engage in email marketing
• Advertise on social media platforms
• Improve the SEO (search engine optimization) on your website for targeted keywords

Operations Plan

While the earlier sections of your business plan explained your goals, your operations plan describes how you will meet them. Your operations plan should have two distinct sections as follows.

Everyday short-term processes include all of the tasks involved in running your recording studio, including answering calls, planning and providing recording sessions, billing clients and collecting payments, etc.

Long-term goals are the milestones you hope to achieve. These could include the dates when you expect to book your Xth client, or when you hope to reach $X in revenue. It could also be when you expect to expand your recording studio to a new city.  

Management Team

To demonstrate your recording studio’s potential to succeed, a strong management team is essential. Highlight your key players’ backgrounds, emphasizing those skills and experiences that prove their ability to grow a company.

Ideally, you and/or your team members have direct experience in managing recording studios. If so, highlight this experience and expertise. But also highlight any experience that you think will help your business succeed.

If your team is lacking, consider assembling an advisory board. An advisory board would include 2 to 8 individuals who would act as mentors to your business. They would help answer questions and provide strategic guidance. If needed, look for advisory board members with experience in managing a recording studio.  

Financial Plan

Your financial plan should include your 5-year financial statement broken out both monthly or quarterly for the first year and then annually. Your financial statements include your income statement, balance sheet, and cash flow statements.

Income Statement

An income statement is more commonly called a Profit and Loss statement or P&L. It shows your revenue and then subtracts your costs to show whether you turned a profit or not.

In developing your income statement, you need to devise assumptions. For example, will you charge by the hour or by the day? And will sales grow by 2% or 10% per year? As you can imagine, your choice of assumptions will greatly impact the financial forecasts for your business. As much as possible, conduct research to try to root your assumptions in reality.

Balance Sheets

Balance sheets show your assets and liabilities. While balance sheets can include much information, try to simplify them to the key items you need to know about. For instance, if you spend $50,000 on building out your recording studio, this will not give you immediate profits. Rather it is an asset that will hopefully help you generate profits for years to come. Likewise, if a lender writes you a check for $50,000, you don’t need to pay it back immediately. Rather, that is a liability you will pay back over time.

Cash Flow Statement

Your cash flow statement will help determine how much money you need to start or grow your business, and ensure you never run out of money. What most entrepreneurs and business owners don’t realize is that you can turn a profit but run out of money and go bankrupt.

When creating your Income Statement and Balance Sheets be sure to include several of the key costs needed in starting or growing a recording studio:

• Cost of recording equipment and supplies
• Payroll or salaries paid to staff
• Business insurance
• Other start-up expenses (if you’re a new business) like legal expenses, permits, computer software, and equipment

Attach your full financial projections in the appendix of your plan along with any supporting documents that make your plan more compelling. For example, you might include your studio location lease or a list of award-winning completed projects recorded in your studio.  

Writing a business plan for your recording studio is a worthwhile endeavor. If you follow the template above, by the time you are done, you will truly be an expert. You will understand the recording studio industry, your competition, and your customers. You will develop a marketing strategy and will understand what it takes to launch and grow a successful recording studio.  

Recording Studio Business Plan FAQs

What is the easiest way to complete my recording studio business plan.

Growthink's Ultimate Business Plan Template allows you to quickly and easily write your recording studio business plan.

How Do You Start a Recording Studio Business?

Starting a recording studio business is easy with these 14 steps:

• Choose the Name for Your Recording Studio Business
• Create Your Recording Studio Business Plan
• Choose the Legal Structure for Your Recording Studio Business
• Secure Startup Funding for Recording Studio Business (If Needed)
• Secure a Location for Your Business
• Register Your Recording Studio Business with the IRS
• Open a Business Bank Account
• Get a Business Credit Card
• Get the Required Business Licenses and Permits
• Get Business Insurance for Your Recording Studio Business
• Buy or Lease the Right Recording Studio Business Equipment
• Develop Your Recording Studio Business Marketing Materials
• Purchase and Setup the Software Needed to Run Your Recording Studio Business
• Open for Business

Learn more about   how to start your own recording studio business .

Don’t you wish there was a faster, easier way to finish your Recording Studio business plan?

OR, Let Us Develop Your Plan For You

Since 1999, Growthink has developed business plans for thousands of companies who have gone on to achieve tremendous success.   Click here to see how a Growthink business plan consultant can create your business plan for you.

Other Helpful Business Plan Articles & Templates

If you want to grow your audio visual business, you have to invest in it. That’s a fact. There are two issues with that. No. 1, most company owners and executives are slow to acknowledge that they have enough cash flow to start investing.

No. 2, it’s extremely difficult to come up with a smart game plan for investing in your company’s growth.

Tackling No. 1 is easy. Whether you think you have a lot of extra capital or not, chances are the economy may force you to invest in your audio visual business sooner than later.

Our State of the Industry Report shows a 9.5 percent growth rate for the average integrator in 2019…but the problem is that — despite high demand for integration work — gross profits for integrators aren’t particularly high compared to overhead costs.

In other words: you’re probably making less per job, and you need to combat that in case of an economic downturn.

We’re not intentionally trying to scare you with that last line, but if you read our State of the Industry, you’ll notice that one of our sources says 2020 may not be a great economic year.

Regardless of the economy, you shouldn’t let your firm’s ability to turn a profit fall prey to higher overhead. If you have extra money that you can safely and responsibly invest in your business, it may now be time to do so.Now, let’s tackle No. 2.

How to Invest in Your Audio Visual Business

Here’s an important disclaimer:  The point of this article is to get you thinking about what’s right for YOUR business. We can’t do that for you, but we can offer what other professionals say works for them. Your job after reading this is to think critically about if it will work for you, too.

That said, we’d love to be able to say “large firms seeking to expand should spend their money  here; ” or “small firms seeking to grow should do  this. ”

But the problem is that each AV business reaches success in its own particular way under very particular circumstances. We can’t therefore make broad claims about what firms in these distinct positions can do, but we can provide a different kind of framework.

“Four Circles” of AV Businesses

Chuck Wilson — our friend at the National Systems Contractor’s Association and regular CI resource — says that firms seeking to improve themselves should start with a day-to-day framework revolving around “four circles.”

Chuck says you should envision yourself walking into the office each day and seeing these circles on a chart near your desk… So we took it upon ourselves to make the mock-up you see below. Go ahead, print it out, learn it, and live it.

Click for full size

People We Employ

One of the most strategic parts of your company is the people who operate it. So it is incredibly important to think about employees’ skill sets today, but more importantly, what they should be three years from now.

If you or your company hires someone today, are they going to be relevant and will their employment be sustainable in three years?

Asking this question regularly will help you monitor your organizational structure and make better hiring decisions in-the-moment.

Clients We Serve

So much audio visual business is based on clients predisposed to hire you if you have the lowest bid.

But you need customers who truly value you for what you do for them; clients who want an ongoing business relationship.

Some firms have to remove clients from their lists because of continually driven-down margins and wasted time — so if that’s happening to you, don’t be afraid to politely refrain from those small, fruitless jobs.

Go To Market Strategy

Again, this circle isn’t so much about what’s happening today as much as what’s happening in the future. What trends are truly impacting the markets you serve? How are you reacting to those, if at all?

Your strategy should always include a section that focuses solely on what you can do to respond to future market needs — which, coincidentally often coincides with the “People We Hire” circle. If potential employees can’t see future innovation at your firm before their first day begins, where will your customers see innovation?

Business Requirements

This is perhaps the most important part of any business’s plan to invest because it runs counter to the idea of spending to grow: simply put, what could be cut from the company?

Think “lean,” and be honest with yourself. Where are your inefficiencies? Do you have  any  form of KPI measurement? Every company has bottlenecks. What are yours?

The important thing under this circle is that you don’t  immediately  start to build extra costs into your budget once you start seeing successful outcomes. Investments, like every other part of your audio visual business, should be measured.

Hopefully, you’ll start to think about how each of these four circles interconnect and affect each other.

What To Avoid

Look, there are many ways to drop money on your business ( which, I promise, we will cover below!) , but it is more important to caution you against the approaches many have taken, and failed.

Opening offices in new places too soon

Medium AV firms who want to expand tend to underestimate just how challenging that is. Chuck Wilson says it is foolhardy to open up an office in a new region without fully understanding the regulations, licensing, and legislation that will impact your business there.

“When we go into a location and underestimate the local nature of the trade jurisdiction climate or the licensure arena… That’s been a huge problem even more so in this last year, where we’re seeing licensing changes and jurisdiction issues galore. It’s never been as bad as it is right now,” Wilson says.

Poaching from other companies

Chuck says integrators also often underestimate the loyalty of the people they employ.

“If we’re a company trying to grow rapidly and we use a recruitment technique known as ‘poaching,’ we see a growing longevity issue happening where they will come to work for a shorter time,” he says.

That’s not great if you’ve invested time and money into training them. So you’ve really got to focus on hiring people whose vision seems complementary to company goals. If it feels like you’re “poaching” someone, that may be a bad sign. Here are some hiring resources for audio visual businesses.

A “my-way-or-the-highway” approach to acquisition

There’s nothing more socially excruciating and inefficient than trying to simply insert your work methods into other peoples’ lives. You’re not going to win over new employees gained from acquisitions if you simply assume that they’ll bend to your will.

Do everything you possibly can to make your employees  know  you’re going above and beyond to help make the transition smooth.

Parlay with the other side — the sellers — to make sure they’re treating their handed-over employees with respect. If the “new boss” shows they care right off the bat, new employees will be more likely to be excited, rather than concerned with, their new station.

[eh_quiz id=”54214″]

Thinking Global? What to Do

You may very likely be focused on tackling global markets if you’ve already established a solid presence in one or more regions. This could be a good idea for your firm — but, again, only if you thoroughly comprehend the different legal & regulatory considerations impacting a given area.

We’re not about to go on about the many steps involved in a global expansion process — we’ll save that for another day. But what if you’re just getting your feet wet in another market?

If you’re seriously considering global expansion but haven’t done anything about it yet, start by going to Integrated Systems Europe .

The industry’s largest trade show is also a great place to make contacts in other markets and study up on which ones could be right for you.

If You’re Smaller & Want to Change That

So your audio visual business isn’t big enough to even have the global market on your radar? Congrats, most firms are like you…But, also, yikes!  Most firms are like you!  How are you standing out?!

You’ll stand out if you invest in your employees

By putting your technicians through extra training, you’re investing in your firm’s ability to change with the ever-evolving technological landscape. You’re also providing them valuable tip-off opportunities when they network at these events.  Here’s everything you need to know about AV training.

You’ll stand out if your company culture inspires employees

Right about here is where you’d expect to see corporate, mind-numbing phrases like “self-directed leadership” … and, ok, we admit to using these words before. But they all mean something, and your challenge now is to figure out if they mean something positive to you.

Here are some different audio visual business approaches to company culture:

Buying Out the Competition

It is very, very difficult to take one company with one set of standards and workflows and insert it into another, different company. Whenever an acquisition is considered, its impact on company culture must be at the top of the list.

That isn’t to say that acquisitions are something your audio visual business should avoid, however.

Look for under-performing companies that don’t seem motivated to take the next step towards growth.

If your company culture and business practices are solid enough to put you in a position to acquire, it can be beneficial to both sides if you consider seeking out companies who could really use your help. Become their  opportunity , especially if they are in a strategic position for you.

Again, this  only  works if you already have time-tested on-boarding processes, company culture, and training standards.

Posted in: Insights , News

Tagged with: Managed Service , Managed Services , Recurring Monthly Revenue , Recurring Revenue , RMR

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Business Plan Template for Audio Engineers

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Creating a successful audio engineering business requires careful planning and strategic decision-making. That's where ClickUp's Business Plan Template for Audio Engineers comes in handy!

With this template, audio engineers can:

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• Establish realistic financial projections to maintain profitability and growth

Whether you're starting a new audio production business or fine-tuning your existing one, ClickUp's Business Plan Template for Audio Engineers provides the roadmap you need for long-term success. Start planning your way to a thriving audio engineering business today!

Business Plan Template for Audio Engineers Benefits

A business plan template for audio engineers can provide numerous benefits for your audio production business, including:

• Streamlining the process of outlining your company's goals and objectives
• Helping you define your target markets and identify potential clients
• Assisting in the development of effective marketing strategies to attract new customers
• Guiding you in allocating resources efficiently to maximize productivity and profitability
• Enabling you to establish realistic financial projections and monitor your business's financial health
• Providing a comprehensive roadmap for success and a clear direction for growth in the audio engineering industry.

Main Elements of Audio Engineers Business Plan Template

To help audio engineers in the audio production business, ClickUp's Business Plan Template for Audio Engineers provides the following key elements:

• Custom Statuses: Keep track of the progress of each section of your business plan with statuses like Complete, In Progress, Needs Revision, and To Do.
• Custom Fields: Use custom fields like Reference, Approved, and Section to add additional details and categorize different aspects of your business plan.
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• Project Management: Enhance your business plan with ClickUp's project management features, including task dependencies, time tracking, document collaboration with Docs, and integrations with other tools to streamline your audio engineering business.

How To Use Business Plan Template for Audio Engineers

If you're an audio engineer looking to create a solid business plan, follow these four steps using the Business Plan Template in ClickUp:

1. Define your business goals

Start by clearly defining your business goals as an audio engineer. Are you looking to start your own recording studio, provide live sound services, or offer mixing and mastering services? Identifying your specific objectives will help you create a targeted plan.

Use the Goals feature in ClickUp to set and track your business goals for each quarter or year.

2. Conduct market research

Before diving into your business plan, conduct thorough market research to understand your target audience, competition, and industry trends. Identify your ideal clients, assess their needs, and determine how you can differentiate yourself from competitors.

Use the Table view in ClickUp to organize your market research findings and track important data points.

3. Outline your services and pricing

Next, outline the services you plan to offer as an audio engineer. This could include recording, mixing, mastering, sound design, or equipment rental. Determine your pricing structure based on factors like experience, location, and market demand.

Create custom fields in ClickUp to track your services and pricing options, making it easy to adjust and update as needed.

4. Develop a marketing and sales strategy

To attract clients and grow your business, you'll need a solid marketing and sales strategy. Identify the most effective marketing channels for reaching your target audience, such as social media, networking events, or partnerships. Develop a sales strategy that outlines how you'll convert leads into paying clients.

Use the Automations feature in ClickUp to streamline your marketing and sales processes, such as sending automated follow-up emails or tracking leads.

By following these steps and utilizing ClickUp's Business Plan Template, you'll be well on your way to creating a comprehensive and effective business plan for your audio engineering business.

Get Started with ClickUp’s Business Plan Template for Audio Engineers

Audio engineers can use the Business Plan Template for Audio Engineers in ClickUp to create a comprehensive plan for their audio production businesses.

First, hit “Add Template” to sign up for ClickUp and add the template to your Workspace. Make sure you designate which Space or location in your Workspace you’d like this template applied.

Next, invite relevant members or guests to your Workspace to start collaborating.

Now you can take advantage of the full potential of this template to create a solid business plan:

• Use the Topics View to outline and organize different sections of your business plan, such as goals, target markets, marketing strategies, and financial projections.
• The Status View will help you track the progress of each section of your business plan, with statuses like Complete, In Progress, Needs Revision, and To Do.
• The Timeline View will give you a visual representation of the deadlines and milestones for your business plan.
• The Business Plan View will provide a comprehensive overview of your entire business plan, allowing you to easily navigate and review different sections.
• Use the Getting Started Guide View to create a step-by-step guide on how to execute your business plan.
• Utilize custom fields like Reference, Approved, and Section to add additional information and categorize different aspects of your business plan.
• Collaborate with team members and stakeholders to gather input and feedback on your business plan.
• Monitor and analyze the progress of your business plan to ensure you're on track to meet your goals and objectives.
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Audio Production Service

BUSINESS PLAN

JACK CORNWALL PRODUCTIONS

58305 South 20th St. Kellogg, ID 83837

March 31, 1995

Jack Cornwall Productions is a business founded and run using the latest high-tech sound and recording equipment. By taking advantage of the latest equipment, Cornwall can maximize quality and profits, while decreasing the amount of time spent per project. Cornwall's business plan describes how the business will take advantage of the latest and greatest in technology to grow the business and become a leader, both regionally and nationally.

EXECUTIVE SUMMARY

Product & service descriptions, marketing plan, operations plan, competitors, competitive advantages, financial data, effects of loan, targeting new markets.

Jack Cornwall has been doing freelance audio production in the Northwest since the mid-1970s, usually while involved with specific broadcast stations. Jack has also had a high interest in consumer and professional electronics since the early '60s. The two areas have interwoven well over the years…and now it's time to take that interaction to a higher level.

Area One: Productions & Narrations

• Radio & television commercial audio
• Sales, training & industrial narrations

Area Two: Business Holding Message Services

• Custom production of message-on-hold messages, with possible expansion into message system hardware

Area Three: Audio Archiving

• Transfer of irreplaceable audio from analog media (cassette and open-reel) to compact disc (CD).

Jack Cornwall Productions is an audio production service business, providing audio for radio and television commercials with both industrial and sales narrations, audio and/or video training tapes and telephone holding message services.

Jack Cornwall Productions operated as an in-home, part-time venture for just under a year. Beginning with a minimum investment in selected new and used studio equipment (financed through personal credit), the operation recouped start-up costs within 9 months. Since February, 1995, Jack Cornwall Productions has become more formal, with the filing of an Assumed Business Name, acquisition of a Federal Employer Identification Number, a business banking account and Merchant Services Agreement with Bank of America to accept VISA and MasterCard for telephone/mail orders. Jack Cornwall Productions has also been granted a Home Occupation Certificate by the city of Kellogg. The business is operated as a sole proprietorship.

There are three basic areas Jack Cornwall Productions intends to expand upon and/or venture into:

Productions and Narrations

Although radio & television stations, advertising agencies, video production houses and individual businesses have contacted Jack Cornwall Productions to provide voice-overs and narrations, so far Jack Cornwall Productions has never committed time or funds to promote these services to others. If word-of-mouth is good ($3000-$4000 per year in gross income), an active promotional effort, targeted to specific users in underserved markets, should be great ($15,000-$18,000 per year).

Growth opportunities exist in providing quality voice-over services to small and medium market producers. This is simply an expansion of present operations, combined with identifying and contacting new users of produced audio and selling them on the idea of major-market quality with fast turnaround and efficient delivery.

Prior experience indicates atypical radio or television voice-over production job requires about two hours work and bills $75.00 in total charges at present rates.

Normal radio-television production experiences some seasonal swings. They are mostly oriented toward holidays and are not a major factor here.

A sample of the Jack Cornwall Productions brochure and demo cassette are available upon request.

Holding Message Service

Study shows there is very little organized marketing to the small businesses around the country that have the capability of using Holding Messages. Jack Cornwall Productions has already begun reaching into that market.

A reader of Message or Techno-Speak magazines can order the Holding Messages Kit for $7.95. The kit is shipped Priority Mail, and includes an audio cassette with music and voice samples, a self-help page detailing How to Develop a Message Script, a sample script and an order form. The $7.95 is refundable on the first order and the charge for the message is $50.00, plus shipping. VISA and MasterCard are accepted.

A typical Holding Message order will total $65.00 and require about an hour to complete. The Holding Message kit offers the customer a choice of three other voices. Message announcers are paid talent fees as needed.

It is expected that most Holding Message customers will want to seasonalize their messages. Because of this, after-sale marketing will focus on the April-May and October-November time frames. The Fall promotions will push new year images, while the Summer copy changes will remind customers about upcoming Fall holidays.

If sufficient demand is realized, Jack Cornwall Productions may offer Holding Message hardware. Distributorships are available. Samples of the Holding Message Kit are also available upon request.

Audio Archiving

Thousands of people have made family history recordings. In the '50s they were recorded on bulky tube-type open-reel tape recorders. In the '60s, many people switched to the smaller machines with the 3-inch reels. We sent tapes to loved ones in Vietnam, Korea and Europe, and they sent back their living letters. In the 70s and into the '90s, people are still recording their family history on audio cassette. While the cassette player is everywhere, most of those old open reel decks, if they still exist in the back corner of the basement, probably don't work anymore.

Today's emphasis is on digital and permanent recordings. The technology is available to transfer from the orphan format of analog open-reel and cassette tape to compact disc (CD).

Jack Cornwall Productions has access to machines that will still play many of the old orphan tape formats, as well as, the technical expertise to keep them running. Through using modern equalization software and a compact disc recorder Jack Cornwall Productions can transfer these recordings from tape to CD, and clean up the background hiss in the process.

Jack Cornwall Productions Audio Archive Service would:

• Market using 800 number advertisements in selected magazines.
• Charge a per-hour fee plus media costs.
• Return originals and new discs Mailspeed Next Day Service.

It's anticipated that there will be very little seasonally to this endeavor, except for the desire for holiday gifts. That, coupled with the natural seasonality of radio & TV production and Holding Message will make November and December very busy months at Jack Cornwall Productions.

Since this is a new endeavor, there is no definition of a "typical" job, but it is anticipated that an order for 4 hours of audio transfer, plus target media and shipping, should be approximately $ 100.00 and would take about 5 hours.

To accomplish these three goals, Jack Cornwall Productions needs $ 15,000.00, which will be used to finance working capital, equipment purchases, and the time and effort to fully market all three areas.

• Keep up-to-date on advances in audio and video production techniques in order to provide the best service to existing customers.
• Discover new uses for new and existing technologies.
• Expand facilities and staff as volume dictates.
• Update studio tools to streamline production and decrease turnaround.
• Expand services offered - Real Estate/Travelers' Radio systems, etc.
• Expand marketing area.
• Use CD recorder for telephone Holding Messages to eliminate expensive hardware at end-user location.

Productions & Narrations

Jack Cornwall's ability to create straightforward audio production is well known to just a handful of advertising agencies, broadcast and cable operators, and businesses in the inland Northwest. Active marketing of Cornwall's capabilities and services throughout the region has been hampered by the need to work full time elsewhere.

A cursory check of the Phone Pages for Sand Point, Priest River, Wallace, St. Maries and Kellogg shows:

• 42 advertising agencies
• 49 video and cable production facilities
• 32 telephone system resellers

Dozens more in other small to medium Northwest markets.

An infusion of capital would allow Jack Cornwall Productions to:

• Actively contact these facilities to determine their audio needs.
• Produce and ship demo tapes to the decision-makers for presentation to their clients.

Holding Message Services

The marketing of this service has already begun. Depending on the results achieved with Phone Center and Connect, other areas may be explored. These may include other magazines, direct mail, participation in a card deck mailing, or other areas. Serious re-marketing to Holding Message customers for seasonal repeats is also planned.

This a brand new service. Sharing the concept with others has brought a favorable reaction. It's expected the first few months' jobs would be turned locally. Increasing to a regional or possibly national customer base would be accomplished by:

Placing classified ads in publications like Parks in the NW, Outdoor Today, Modern Mankind and Trailer Expo.

Evaluating the demographic and sociographic background of those leads and targeting the advertising appropriately.

Modern high-quality, high-tech systems give Jack Cornwall Productions the capabilities to:

• receive a script by fax
• consult on the script by telephone if necessary
• record the job
• preview the job with the customer by telephone
• deliver the finished product (tape) by courier (local, regional or national) the next business day.

Technology exists today to deliver finished audio productions on computer disk or by modem. However, many stations, agencies and production facilities are not yet equipped to support this type of transfer. Modem delivery would shift delivery costs from supplier to customer.

Holding Message marketing is targeted at the small-to-medium independent business.

• Potential customer responds to marketing with check or money order for $7.95 and is shipped the Holding Messages kit.
• Customer information is entered in database for follow-up marketing.
• Customer sends script and order information.
• Script is produced as written and return-shipped ASAP by method chosen (Jack Cornwall Productions brochure is included in package)

A prospect responds to classified ad by calling for details. Determination is made as to whether transfer is possible:

• Source format
• Age and quality of source material
• Length of source material
• Non-binding estimate is given, based on above criteria. Charges include new media, hourly transfer charge and return shipment. Customer ships source materials (prepaid & insured) via U. S. Postal, Mailspeed, Quick D, etc.
• Material is transferred, with one-pass equalization to remove baseband hiss, to media chosen (CD, DAT, analog cassette)
• Call to customer to advise of outcome (play before/after sample if available)
• Return shipment by customer chosen method

There are several audio production facilities in the inland Northwest. They are all part of a video service and do not employ full-time announcers.

The only competition at this time comes from radio announcers working as free-lance, using either their employers studio or working with one of the above independent production facilities.

This service is provided by one or two national telephone equipment manufacturers and by a few local telephone equipment resellers. Most businesses that want such service contact their local disk-jockey.

Recent issues of Dial It showed only two classified ads for this service, none mentioned price and only one offered a demo tape.

There are no known organizations actively marketing such a service in this region.

The distinctive competitive advantages which Jack Cornwall Productions brings to these enterprises are:

• Experience in this market. Jack Cornwall has over 20 years of hands-on experience in writing and producing radio and television voiceovers and narrations.
• Sophistication in distribution. Using today's (and tomorrow's) technologies to receive, produce and deliver finished product is a major advantage. This results in being the quick turnaround supplier in many time sensitive yet somewhat isolated markets.
• High quality, low price - Jack Cornwall Productions' rates are below others in the market, while the quality and service exceeds expectations.

By keeping overhead low, Jack Cornwall Productions will be able to funnel profits back into operations thus avoiding high debt or lost sales opportunities.

Three Year Cash Flow Projection Assumptions

Our projections are for industries that have never been reached. Therefore they are based upon present real buying conditions and our own experience. Should sales not be up to projections, adjustments will be made in marketing, and long term commitments decreased or postponed.

The money loaned to Jack Cornwall Productions will be used for the following purposes:

• Purchase of Simmons TX7D Portable DAT recorder for remote recording - ($700.00)
• Working capital and initial marketing costs - ($6,000)
• Purchase of Hollowitz Compact Disc Recorder - (est. $4,500.00)
• Purchase of PC-Based audio editing and equalization workstation - ($2,800)
• Misc. Startup costs - Accountant, technical consultant, misc. furnishings-($1,000)

These outlays will enable Jack Cornwall Productions to function as a full-time productions & narrations facility, continue marketing of Holding Messages and expand into Audio Archiving, and meet our conservative sales goals for the first year. This will also allow us to purchase these items rather than finance or lease them.

The world of audio and video is changing constantly. The spoken word alone, and spoken words with pictures will always be apart of life. Five years ago, few people were thinking of narrations on multimedia CD-ROM. Today, major companies are using pre-programmed "live" talent for on-hold system advisories. Tomorrow's audio applications might include interactive television or real-time audio transfer by internet. Jack Cornwall Productions wants to be poised for these coming technologies.

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What is Audio Visual Production?

If you ask most people what audio visual production is, they can probably give you a reasonably accurate answer- it’s in the name, right? The work that’s done to create and execute a plan for the audio, visual, and lighting components of an event may seem basic, but it’s actually typically the single factor most affecting the success of an event. If people can’t see and hear what’s going on, they can’t stay engaged and they won’t value their experience. That’s why hiring the right production company is so essential. We are able to work with clients throughout the planning process to provide specialized solutions and professional support, ensuring that events are produced smoothly and at the highest standard.

Understanding audio visual production

The basic production requirements for any event typically include many of the same elements. There is a need for a quality, dependable sound system including speakers, microphones, a sound board, and other components. A projector, screens, and other types of displays are often required, as are stage, lobby, and venue lighting. Of course none of this is helpful if it doesn’t come with an experienced, efficient production team that makes sure everything is set up and runs as it’s meant to.

Equipment for A/V production

Event planners sometimes have the option of using a venue’s “in-house” AV setup. This can work, but there are significant limitations, see our article with more details here. The equipment options are narrow and often dated or unreliable, and there may not be adequate production staff to handle any issues beyond basic setup. Despite this, the per-equipment costs can be higher than what production companies charge. A production company’s job is not to make easy additional money for the venue, but to serve the client directly with a customized audio visual plan.

Applications of A/V production

In addition to the typical AV services, avad3 offers a wide range of other options to make events effective and memorable. We can work with clients from the first day of planning, assisting with concept and set design, graphics, and creative services. We produce hybrid and virtual events and have streaming and video production capabilities. Our extensive experience allows us to present our clients with innovative and varied ways to enhance their events, always with the confidence that the production will be flawless.

A/V production as a business

Our process with clients is one way we ensure success. We begin as soon as we’re brought on board, meeting with planners to understand the vision and goals for an event. We are then able to customize a plan for the event based on achieving those goals while maximizing the budget. We communicate regularly, run rehearsals as needed, and create a detailed plan. Our setup is a thing to behold- we prioritize a load in process that is astonishing in its efficiency. Our production staff is one step ahead of every moment so there are no disasters. Dependability is essential and we provide it every time. We have a post-event meeting with our clients to discuss the outcome and make notes for next time. Our clients’ event success is our success.

We’ve been creating A/V production, and loving what we do, for years. Take a look at some recent examples of our work:

Walmart Seller’s Summit Asa Hutchinson Campaign America Strong and Free

Get in touch to see how we can help you with your next event!

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How to Start a Profitable Music Production Business [11 Steps]

By Nick Cotter Updated Feb 02, 2024

Business Steps:

1. perform market analysis., 2. draft a music production business plan., 3. develop a music production brand., 4. formalize your business registration., 5. acquire necessary licenses and permits for music production., 6. open a business bank account and secure funding as needed., 7. set pricing for music production services., 8. acquire music production equipment and supplies., 9. obtain business insurance for music production, if required., 10. begin marketing your music production services., 11. expand your music production business..

Starting a music production business requires a keen understanding of the current market dynamics. An in-depth market analysis can help you identify trends, understand your competition, and pinpoint your target audience. Here's how to go about it:

• Analyze the music genres that are trending and determine which you are best suited to produce. Look into sales charts, streaming services, and social media for popular music trends.
• Research potential competitors, including their services, pricing, and market share. Understand their strengths and weaknesses to find gaps in the market you can fill.
• Identify your target audience's demographics, preferences, and habits. Use surveys, focus groups, and online analytics tools to gather information on potential customers.
• Assess the scale of the market, both locally and globally, to set realistic goals for your business. Consider factors such as the number of active consumers and the volume of music production in your niche.
• Stay updated on technological advancements and industry innovations that could impact music production, from new software to emerging distribution channels.
• Review economic factors that can affect your business, such as funding opportunities, grants, and changes in consumer spending behavior in the music industry.

Are Music Production businesses profitable?

Yes, depending on the type of services offered, music production businesses can be quite profitable. Many music production businesses specialize in creating music for films, television shows, and other media, which can be quite lucrative. Other types of music production services, such as recording and mixing, can also generate a good income.

Embarking on the journey of starting a music production business requires a well-structured plan to guide your decisions and strategy. A comprehensive business plan is essential for securing funding, understanding your market, and setting clear objectives. Here is a summary of the key elements you should include in your music production business plan:

• Executive Summary: Provide a concise overview of your business, including your mission statement, services offered, and your unique selling proposition.
• Company Description: Detail the nature of your business, the demand for your services, and the markets you intend to serve.
• Market Analysis: Research and analyze your target market, including customer demographics, market size, and competition.
• Organization and Management: Outline your business structure, ownership details, and the profiles of your management team.
• Services Offered: Describe the music production services you plan to offer and how they stand out from the competition.
• Marketing Plan: Detail your strategies for branding, promoting, and selling your services.
• Operational Plan: Explain your process for delivering services, including any equipment or facilities needed.
• Financial Plan: Present financial projections, funding requirements, and revenue models to illustrate the financial viability of your business.

How does a Music Production business make money?

Music production businesses typically make money by charging for their services, such as recording, mixing, mastering, and production. They may also charge for use of their equipment or studio time, or for additional services such as music lessons, artist management, or distribution. Additionally, some music production businesses may offer royalty and publishing deals for their work.

Developing a strong brand is essential for standing out in the competitive music production industry. It's not just about your logo or name; it's about the entire experience your clients have with your business. Here are some key points to consider when developing your music production brand:

• Define Your Brand Identity: Determine the core values, mission, and unique selling points of your brand. Consider what emotions and messages you want to evoke through your brand.
• Create a Visual Identity: Design a memorable logo, choose a color scheme, and develop a consistent visual style that reflects your brand's identity. This will be used across all marketing materials.
• Establish an Online Presence: Build a professional website and maintain active social media profiles. Showcase your portfolio, client testimonials, and provide an insight into your production process.
• Develop a Brand Voice: Decide on the tone and style of communication that reflects your brand's personality. This should be consistent in all written and verbal interactions.
• Network and Collaborate: Partner with artists and other brands that align with your brand identity. This can enhance your brand's visibility and credibility.

How to come up with a name for your Music Production business?

Brainstorming is essential when coming up with a name for your music production business. Consider words that evoke the feeling you want customers to associate with your business and words that reflect the type of music you’ll be producing. Take a look at competitor’s names to get an idea of what works and what doesn’t. Finally, do an online search to make sure the name isn’t already taken and if you’re happy with it, go ahead and register it.

Once you've laid out the foundation for your music production business, it's time to make it official by completing the business registration process. This crucial step legitimizes your company and ensures compliance with local laws and regulations. Follow these guidelines to formalize your business:

• Choose a business structure (e.g., Sole Proprietorship, LLC, Corporation) that best suits your needs for liability protection and tax considerations.
• Register your business name with the appropriate state agency, ensuring it's unique and adheres to state-specific naming requirements.
• Obtain an Employer Identification Number (EIN) from the IRS for tax purposes, even if you don't plan to have employees immediately.
• Apply for any required business licenses or permits specific to music production or business operation within your city or county.
• Register for state and local taxes to ensure you can legally operate and are set up to collect sales tax if required.
• Consider consulting with a business attorney or accountant to ensure all legal and financial aspects of your registration are handled correctly.

Resources to help get you started:

Explore vital resources specifically designed for music production entrepreneurs to gain insights into market trends, operational best practices, and strategic growth advice:

• Sound on Sound Magazine: Offers in-depth reviews of music production equipment, software, and techniques. - https://www.soundonsound.com
• Music Business Worldwide: Provides global music industry news and analyses, focusing on trends, deal-making, and behind-the-scenes insights. - https://www.musicbusinessworldwide.com
• Produce Like A Pro: An extensive online resource offering tutorials, tips, and interviews with industry professionals to help producers improve their skills. - https://www.producelikeapro.com
• The Mastering Show Podcast: A resource for advanced production and mastering discussions, hosted by mastering engineer Ian Shepherd. - http://themasteringshow.com
• Splice Insights: Offers trends and statistical analysis on the music industry, particularly useful for beatmakers and electronic music producers. - https://splice.com
• Music Tech Magazine: Covers the latest in music technology, digital music production workshops, and software reviews. - https://www.musictech.net

Launching a music production business involves obtaining licenses and permits related to copyright, business operations, and possibly a studio space. Ensuring legal compliance is crucial for protecting your work and your artists. Key considerations include:

• Business License: Register your music production business with local authorities.
• Copyright Registration: Protect your music and productions by registering copyrights as needed.
• Zoning Permits: If operating a studio, ensure your location complies with local zoning laws for commercial use.

What licenses and permits are needed to run a music production business?

Depending on the type of music production business you are running, you may need various licenses and permits such as an occupational license, a business license, a sound production license, a mechanical rights license, and/or a performance rights (copyright) license. Additionally, depending on the location you plan to conduct your business activities in, you may also need to obtain any required county or city permits.

Having a dedicated business bank account is crucial for managing your music production business's finances, and securing funding can help cover startup costs and keep operations running smoothly. Here's how to approach these important steps:

• Research banks and credit unions: Compare fees, services, and any benefits specific to small businesses or those in the creative industry.
• Choose the right type of account: Decide between checking, savings, or a combination of accounts to suit your business's cash flow needs.
• Prepare the necessary documents: Collect your business registration papers, EIN, and personal identification to open your account.
• Explore funding options: Look into small business loans, grants, investor opportunities, or crowdfunding specific to the music industry.
• Consider credit options: A business credit card or line of credit can be useful for managing expenses and building credit.
• Create a budget: Estimate startup costs, ongoing expenses, and potential income to understand how much funding you'll need.
• Develop a pitch: If seeking investors, prepare a compelling pitch that outlines your business plan, market potential, and financial projections.

Setting the right price for your music production services is crucial to attracting clients while ensuring you're fairly compensated for your time and skills. It's a delicate balance that can determine your business's success. Here are some guidelines to help you establish competitive and sustainable pricing:

• Analyze the Market: Research what other music producers are charging and understand the going rates for various services like mixing, mastering, and beat making.
• Know Your Costs: Tally up your overhead costs, including studio time, equipment, software, and any additional staff, to ensure your rates cover these expenses.
• Value Your Experience: If you have a strong portfolio and years of experience, price your services higher than someone just starting out.
• Offer Packages: Create tiered pricing with bundled services to provide options for different budgets and needs.
• Be Flexible: Be willing to negotiate and adjust prices for larger projects or repeat clients to build long-term relationships.
• Clear Communication: Ensure your pricing is transparent to avoid misunderstandings. Clearly outline what is included in each service package.
• Review Regularly: Reassess your pricing periodically to keep up with changes in the market, your growing expertise, and inflation.

What does it cost to start a Music Production business?

Initiating a music production business can involve substantial financial commitment, the scale of which is significantly influenced by factors such as geographical location, market dynamics, and operational expenses, among others. Nonetheless, our extensive research and hands-on experience have revealed an estimated starting cost of approximately $24000 for launching such an business. Please note, not all of these costs may be necessary to start up your music production business.

Starting a music production business requires not just talent and creativity, but also the right equipment and supplies. Your gear will be the backbone of your operations, capturing, manipulating, and polishing sounds to produce high-quality audio. Here's what you'll need to acquire:

• Computer: A reliable and fast computer is essential for running music production software.
• DAW (Digital Audio Workstation): Choose a DAW that suits your workflow, whether it's Pro Tools, Ableton Live, Logic Pro, or another.
• Audio Interface: Invest in a high-quality audio interface to ensure clear sound input and output.
• Studio Monitors: Accurate monitoring is crucial, so select studio monitors that provide a true representation of sound.
• Headphones: A good pair of closed-back headphones will be essential for detailed listening and mixing.
• Microphones: Depending on your needs, you might require various types of microphones, such as condenser, dynamic, and ribbon mics.
• MIDI Controller: A MIDI keyboard or pad controller will be useful for programming instruments and beats.
• Cables and Stands: Ensure you have all the necessary cables for your equipment, as well as mic stands and monitor stands.
• Acoustic Treatment: Proper acoustic panels and bass traps will help control room reflections and provide accurate sound.
• External Storage: High-capacity hard drives or SSDs are important for backing up projects and storing samples and recordings.

List of Software, Tools and Supplies Needed to Start a Music Production Business:

• Music Production Software
• Digital Audio Workstation (DAW)
• Audio/MIDI Interface
• MIDI Controllers
• Synthesizers/Samplers
• Microphones
• Studio Monitors
• Mixing Console/Mixer
• Recording Media
• Computer/Laptop
• External Hard Drives

Ensuring that your music production business is protected against potential risks is crucial for its longevity and success. Business insurance can safeguard against unforeseen events that could otherwise be financially devastating. Here are some key steps to obtain the right business insurance:

• Assess Your Risks: Identify the types of risks your music production business could face, such as property damage, theft of equipment, or legal liabilities.
• Research Insurance Providers: Look for insurance companies with experience in the entertainment or music industry. Compare their coverage options, premiums, and customer reviews.
• Choose the Right Coverage: Common insurance policies for music production businesses include general liability, professional liability, and property insurance. You may also need workers' compensation if you have employees.
• Consult with an Expert: Speak with an insurance broker or legal advisor who specializes in the music industry to ensure you're getting appropriate coverage for your specific needs.
• Review and Update Regularly: As your business grows and changes, your insurance needs may evolve. Make sure to review and update your policies accordingly to maintain adequate protection.

Now that you've honed your skills and set up your music production business, it's time to attract clients. Marketing your services effectively is crucial to building your brand and establishing a client base. Here are some strategies to get the word out and start generating business:

• Develop a Strong Online Presence: Create a professional website showcasing your portfolio, services, and contact information. Utilize social media platforms to engage with potential clients and share your work.
• Networking: Attend industry events, join music production forums, and connect with artists and other professionals on platforms like LinkedIn. Word-of-mouth can be a powerful tool.
• Create Content: Produce tutorial videos, write blog posts, or start a podcast to share your expertise and attract attention from potential clients interested in learning more about music production.
• Offer Promotions: Consider offering introductory rates or package deals to new clients to encourage them to try your services.
• Collaborate: Work with established artists or producers and ask for referrals. Collaborations can also lead to shared audiences and increased visibility.
• Paid Advertising: Invest in targeted online advertisements on platforms like Google, Facebook, or Instagram to reach potential clients actively searching for music production services.

Once you've established your music production business and have a solid workflow and client base, it's time to think about expansion. Growing your business can take many forms, from increasing your client list to offering new services. Here are some strategies to consider for expanding your music production business:

• Network and Collaborate: Build relationships with more artists, producers, and industry professionals to expand your reach and opportunities.
• Enhance Online Presence: Invest in a professional website, SEO, and social media marketing to attract a wider audience.
• Expand Services: Offer additional services such as songwriting, mixing, mastering, or sound design to become a one-stop-shop for clients.
• Invest in Education: Keep up with industry trends and new technology by attending workshops, courses, or obtaining certifications.
• Upgrade Equipment: Invest in higher quality or additional equipment to improve the production value and attract more clients.
• Hire Talent: Bring on additional producers, engineers, or administrative staff to handle increased workload and bring in fresh ideas.
• Seek Partnerships: Form partnerships with labels, studios, or media companies to secure a steady stream of projects.
• Diversify Income: Look into passive income streams like selling sample packs, beats, or offering online courses.

Proposal Templates > Audio Visual Proposal Template

Audio Visual Proposal Template

There’s a lot that goes into running an AV company. Managing your technicians, keeping all of your equipment in shape, managing client expectations, and dealing with the liability that comes from your employees having to work in risky environments. We’ve made it easy to impress prospective clients with our free and fillable audio visual proposal template. Customize it to your needs in minutes then send off for approval with our built in eSigning capabilities. 

Best proposal software ever! 

I’ve tried soooo many proposal softwares and I’ll never try another one after Proposable. It’s so easy to use and it looks good, which all the others don’t.

Account Executive , Grow.com

Smart, reliable, and constantly improving.

Proposable just works. I can make visually interesting sales presentations, dynamically insert content, and execute agreements. Proposable powers our entire sales process.

CEO , Periodic

Proposal writing is not so different from script writing. Script writing is the process of drafting a script for a video proposal. Because the video itself serves as the proposal, you would essentially be writing an audio visual proposal in script form.

Becoming a better script writer takes some practice and an understanding of how the spoken word may be accepted differently than written words. A template can also make writing a script much easier and more of an organized process.

Proposable has some excellent script templates and blank script templates to choose from. Whether you need a script template pdf file or an audio visual script template that is highly detailed, we’ve got you covered.

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Focused On Service

In today’s world, technology plays a very important role in how business is conducted. Audio and Visual Presentation Systems as well as Video Conferencing Systems are just some of the business tools that are used by almost everyone in business today. When these business tools fail, it is crucial to get it up and running as soon as possible. Here at The Audio Visual Company, we understand the challenges that businesses face during today’s tough and competitive economy.

Service Advantage Plan Programs

Whenever service is provided, the charge for services, parts and outer island travel expenses (plus applicable tax) will be deducted from your balance. Hourly charges deducted from your balance will be done in 30 minute increments. A report showing your balance will be sent to you for your records. By purchasing a Service Advantage or a Service Advantage “PLUS” Plan, you can minimize the inconvenience of waiting for a purchase order or an approval of funding for a service call. Please contact our service department and ask about our Service Advantage Plan programs.

For Location:

Availability:.

Monday - Friday (excluding company holidays). 8:00 AM to 4:30 PM (contract hours). Outside contract hours will be 1.5 times the usual rate.

Response Time (Service Advantage Plan):

Call back to customer within 2 hours following receipt of a service call.

Response Time (Service Advantage "PLUS" Plan):

Call back to customer within 1 hour following receipt of a service call.

Parts Coverage:

Replacement parts for your repair may be purchased by using your Service Advantage Plan.

Billing Increments:

There is a minimum charge of 1 hour per technician sent out on each service call. After the first hour of each service call, charges will be applied in 30 minute increments.

Time of Coverage:

Assigned Plan level remains valid until eligible funds are depleted.

General Warranty

The Audio Visual Company (AVCO) is committed in providing prompt, courteous and responsible service to all of our clients. We provide a one-year limited warranty on all products that we sell. Onsite service repairs are also provided on all equipment that was purchased and installed by AVCO for a period of ONE (1) year from, (i) the original date of purchase or (ii) completion date of installation or (iii) the starting date of beneficial use, whichever occurs first.

Limited Warranty

All equipment purchased from AVCO is warranted to be free in material and workmanship for a period of ONE (1) Year from the original date of purchase. AVCO will, at its option, (i) repair the product using new or refurbished parts or (ii) replace the product with a new or refurbished product.

Limited warranty does not cover consumable items such as lamps, filters, plasma panels and burn-ins, batteries, etc. and other items. This also includes damage caused by misuse, abuse, accident, disaster, fire, flood, water, wind lightning, and Acts of God. In addition, operator error and items designed to fail in order to protect the equipment, such as power and/or lightning suppressors, are also not covered.

To obtain warranty service, you must deliver the product, freight prepaid, in either its original packaging or packaging affording an equal degree of protection to The Audio Visual Company.

In cases where the equipment is still covered under the manufacture’s warranty but extends past AVCO’s ONE (1) Year coverage period, AND Manufacture Factory repair is required, customer would be responsible for all associated freight and insurance charges.

Limitations

AVCO SHALL NOT BE LIABLE FOR ANY INCIDENTAL OR CONSEQUENTIAL DAMAGES FOR BREACH OF ANY EXPRESS OR IMPLIED WARRANTY ON THIS PRODUCT.

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Audio Visual Companies

Use our AV company directory and find an experienced  audio visual and event technology company to meet all your needs!

How can you find the right event services supplier?

You can browse the list of audio visual experts grouped by services , just select an item from the category list below.

Please take a look at our interactive map if you want to see our global network of audio visual companies by location .

Audio · Event design · Exhibit construction · IT / Communications · Lighting · Logistics ·  Permanent installations / system integration · Project Management · Rigging · Simultaneous interpretation · Staging · Studio Live Stream · Video

Buenos Aires | Argentina

ACROPRO Inc.

Taipei, Kaohsiung | Taiwan

Linköping | Sweden

Advanced Staging Productions

Philadelphia, PA | USA

AICO Servicios Audiovisuales

Mallorca | Spain

Astana | Kazakhstan

Audio Visual Dynamics

Melbourne | Australia

AV Concepts

Tempe, AZ | USA

AV MEDIA EVENTS

Prague | Czech Republic

Gothenburg | Sweden

Boston, MA | USA

Brussels | Belgium

Cayman Islands

Dubai | United Arab Emirates

Brill AV Media

Warsaw | Poland

Cantuman Wawasan

Kuala Lumpur | Malaysia

Capital Production Group

Raleigh, NC | USA

Cleveland, OH | USA

Conference Services

Dublin | Ireland

CONGRESS RENTAL

Bariloche | Argentina

Congress Rental L.t.d.

Belgrade | Serbia

Ankara | Turkey

CPR MultiMedia Solutions

Gaithersburg, MD | USA

Creative Rock

Bangkok | Thailand, Seoul | South Korea

Crescent Event Productions

Charlotte, NC | USA

Crossview Audiovisual 360

Lisbon | Portugal

Barcelona | Spain

Dorier Asia

Geneva | Switzerland

London | United Kingdom

Eleven Producciones SAS

Bogotá | Colombia, Panama City | Panamá

ES:ME Entertainment Services

Doha | Qatar

Eventi-x Group srl

Rome | Italy

Borgaro Torinese | Italy

Five’s International

Bucharest | Romania

Gearhouse South Africa (Pty) Ltd

Cape Town, Johannesburg, Durban | South Africa

Habegger AG

Zurich | Switzerland

Habegger Austria

Vienna | Austria

Brasilia | Brazil

Innovation Production (HK) Company Limited

INSPIRE Solutions

Cancún | Mexico

King Cole Audio Visual Service, Inc.

New York City, NY | USA

Konsertsystemer LLB AS

Oslo, Bergen | Norway

Les Productions Expert’Ease

Montréal | Canada

Limelight Veranstaltungstechnik GmbH

Munich | Germany

Live Productions Australia

Sydney | Australia

Orlando, Nashville, Las Vegas | USA

Reykjavik | Iceland

Rio de Janeiro, Sao Paulo | Brazil

Media Stage

Miami, FL | USA, San Juan | Puerto Rico

Michael Andrews Audio Visual Services

South Hackensack, NJ | USA

MoSound Events Ltd.

Nairobi | Kenya

Shanghai | China

Neumann&Müller Veranstaltungstechnik

Stuttgart | Germany

Niza Producciones

Mexico City | Mexico

Nordic Rentals AS

Løsning | Denmark

Adelaide | Australia

ON Services

Atlanta, GA | USA

P.C. Podimatas Audiovisual

Athens | Greece

Pixl Evolution

PM Blue GmbH

Hamburg | Germany

Powerhouse Ltd – Audiovisuals & Events

Marsa | Malta

Proshow Audiovisual

Calgary | Canada

Birmingham | United Kingdom

Reynold’s Sound and Lighting Services

Bengaluru | India

Riverview Systems Group, Inc.

Milpitas, CA | USA

Santiago | Chile

Rwanda Events Group Ltd.

Kigali | Rwanda

satis&fy

Karben, Berlin | Germany, Hilversum | Netherlands, Hillsboro, OR | USA

Sofia | Bulgaria

Minneapolis, MN | USA

sld mediatec GmbH

Nuremberg | Germany

Smart Choice

Porto | Portugal

Mumbai | India

Special Effects Ltd.

Budapest | Hungary

Spectrum Event Technologies

Istanbul, Izmir, Antalya | Turkey

Stage Right, Inc.

Chicago, IL | US

Stagevision Inc.

Mississauga, Vancouver | Canada

Moscow | Russia

Tokyo, Osaka | Japan

Edinburgh | United Kingdom

VA 361° Productions

Madrid, Marbella | Spain

Anaheim, CA | USA

Paris, Cannes, Toulouse | France

Zamar Group Companies Limited

Nassau | Bahamas

Here is how we can help you find the AV and event technology provider best suited for your needs!

1. If you know your exact event location, you can take a look at our map to see which AV Alliance member company is located the closest geographically.

2. Alternatively, you use the search bar at the top of the page to filter our list of member companies by location (e.g. city, state, country, region, continent etc.) among our members. You can also use the search function to find an AV provider by name, service, or keyword!

3. To inquire about a member’s services or ask for a price quote, type your message into the contact form and send it directly to the person who is responsible for handling such project requests.

4. Be as specific as you can regarding the details of your event (e.g. date, location, venue, type and purpose of the event, number of expected attendees, dates of set-up and tear-down, types of services needed, any specifications for equipment, deadline for a quotation, etc.)! Don’t forget to also specify whether it will be a live, hybrid, or fully virtual event.

5. In case you are missing key information about your event, or you are not quite sure what you are looking for in terms of services, just let our member know and they will work with you to come up with ideas and solutions together.

6. Do not be afraid to rely on the creativity and flexibility of our members when it comes to planning your dream event!

7. Should you have any trouble with finding solution provider for your event’s location, or you need recommendation from us, don’t hesitate to get in touch via [email protected] . We are happy to help you identify the AV company best suited for your needs!

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Moscow, ID Audio Visual Rentals

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Corporate NY party for IT company

Ambient marketing campaign for Prada

Marketing project for Seiko

Amazing Gala dinner with awards ceremony

Private event for media - launch of new urban SUVs

Hostesses and promo staff for Hisense sponsorship pavilions at Fan Parks during World Cup

Football match broadcasting between Uruguay and Portugal

Annual conference of Decathlon's country leaders in Moscow

Arranging FAW participation at Comtrans 2017

Street entertainment activities for Confederations Cup 2017 in Moscow

Snowed car installations in Moscow, Prague and Frankfurt

Mobile installation of Elbphilharmonie in Hermitage

Event agency in Russia

Who are we? And, what do we do? Proekta is a communication agency based in Moscow, and we solve company’s business problems. The recipe for our success is our close-knit team of enthusiasts. Our event management agency in Moscow is comprised of individuals that are able to meet any challenge. In 2018, we opened our third event agency branch in St Petersburg, after making the strategic decision to expand our operations in Northern part of Russia. Company’s experience consist of hundreds of projects spanning over all of the continents, each one being unique and unforgettable. We believe that a vital criterion of a successful project are lasting memories and impressions and that efficiency can be estimated in terms of sales and profit. No matter the location of your project place, know that our team is the best event planning company in Russia.

Having the right partner is half the battle

• Corporate events
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Not just event supplier in Moscow, we handle all the details around it

There are cases when, in the context of a project, it’s necessary to provide non-standard services; in these situations, many event organizers suggest using individual contractors. This is the core of our business. Our main priority, as an best event planning agency, is client's comfort. To us, this means that if we don’t know something, then we’ll thoroughly research the requested service and provide it. We have the best event specialists and designers to run any project in Moscow or Saint Petersburg, and they consider these projects, not only as their work but also, as their labor of love - whether it be a new product presentation, dealer conference, participation in an exhibition abroad, team building event, or corporate occasion.

Over the years, we have gained unique experience of working in different countries, with various formats, and for different clients. We held events in both deserts and megalopolises, built camps in the woods, and improvised events on the roofs of conference halls. We dealt with celebrities, financial geniuses, and politicians. Still, after all these years of working in event planning, we haven’t lost our passion; we still have a fire in our eyes when we are before a new challenge because it gives us a new chance to create something breathtaking once again, proving to ourselves and everyone that nothing is impossible. As leading event agency in Moscow, we are open-minded and multilingual, so be assured that we can find a way to communicate with anyone.

Moscow, Butyrskaya Street 62

+7 (499) 653-65-25 (Mon-Fri 10:00-18:00)

[email protected]

facebook.com/proekta

Saint Petersburg, St. Lva Tolstogo 1-3

[email protected]

Rostov-on-Don, St. Koroleva 5b

+7 (863) 333-21-96 (Mon-Fri 10:00-18:00)

[email protected]

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Boeing tells federal regulators how it plans to fix aircraft safety and quality problems

Boeing has told federal regulators how it plans to fix the safety and quality problems that have plagued its aircraft-manufacturing work in recent years.

FAA Administrator Mike Whitaker speaks at a news conference at FAA headquarters in Washington, Thursday, May 30, 2024. Boeing has told federal regulators how it plans to fix the safety and quality problems that have plagued its aircraft-manufacturing work in recent years. (AP Photo/Jose Luis Magana)

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FILE - A Boeing ecoDemonstrator Explorer, a 787-10 Dreamliner, sits on the tarmac at their campus in North Charleston, S.C., May 30, 2023. The Federal Aviation Administration said Monday, May 6, 2024, that it has opened an investigation into Boeing after the beleaguered company reported that workers at a South Carolina plant falsified inspection records on certain 787 planes. Boeing said its engineers have determined that misconduct did not create “an immediate safety of flight issue.” (Gavin McIntyre/The Post And Courier via AP, Pool, File)

FILE - The logo for Boeing appears on a screen above a trading post on the floor of the New York Stock Exchange, July 13, 2021. Boeing is due to tell federal regulators Thursday, May 30, 2024, how it plans to fix the safety and quality problems that have plagued its aircraft-manufacturing work in recent years. (AP Photo/Richard Drew, File)

Boeing officials explained their plan to improve manufacturing quality and safety during a three-hour meeting Thursday with federal officials, who will continue restrictions they placed on the company after one of its jetliners suffered a blowout of a fuselage panel in January.

Federal Aviation Administration chief Mike Whitaker said the plan is comprehensive and includes encouraging Boeing employees to speak up about safety concerns.

“This is a guide for a new way for Boeing to do business.” Whitaker told reporters after the meeting. ”Boeing has laid out their road map, and now they need to execute.”

Boeing released an 11-page summary of its “Product Safety and Quality Plan,” which described steps the company is taking, including increased inspections and tighter controls over suppliers. It also says how Boeing will measure its improvement.

AP AUDIO: Boeing tells federal regulators how it plans to fix aircraft safety and quality problems

AP Washington correspondent Sagar Meghani reports Boeing has laid out its plans for correcting aircraft safety and quality problems.

CEO David Calhoun, who announced after the Jan. 5 blowout during an Alaska Airlines flight that he would step down at the end of the year, said the document was crafted from comments by employees, the FAA, airlines and independent experts.

“Many of these actions are underway, and our team is committed to executing on each element of the plan,” Calhoun said in a statement. “It is through this continuous learning and improvement process that our industry has made commercial aviation the safest mode of transportation. The actions we are taking today will further strengthen that foundation.”

Stephanie Pope, a possible successor to Calhoun who was recently promoted to chief operating officer and chief executive of Boeing’s commercial airplanes division, said the plan was designed to improve employee training, simplify manufacturing, “eliminate defects at the source, and elevate our safety and quality culture.”

Nobody was hurt during the Jan. 5 blowout of a door plug on a relatively new Alaska Airlines Boeing 737 Max 9 as it flew above Oregon. Accident investigators determined that bolts used to help secure the panel were missing after a repair job in a Boeing factory.

The mishap further battered Boeing’s reputation, led to multiple civil and criminal investigations , and prompted Whitaker to order the report that Boeing delivered Thursday.

Whitaker said he wanted Boeing to develop a comprehensive, detailed plan that improves manufacturing process, quality and safety management, and encourages employees to raise concerns about safety.

“Those are all elements of the plan,” Whitaker said. He added that Boeing had accepted all the safety recommendations made earlier this year by a panel of independent safety experts.

Still, Whitaker said, the FAA will continue to cap production of the 737 Max, Boeing’s best-selling plane, and to insist on approving each plane that comes off the assembly line. He said the FAA also will maintain a “significant increase” in safety inspectors at plants run by Boeing and its key supplier, Spirit AeroSystems.

Boeing’s recent problems could expose it to criminal prosecution related to the deadly crashes of two Max jetliners in 2018 and 2019. The Justice Department said two weeks ago that Boeing violated terms of a 2021 settlement that allowed it to avoid prosecution for fraud. The charge was based on the company allegedly deceiving regulators about a flight-control system that was implicated in the crashes.

Whistleblowers have accused the company of taking shortcuts that endanger passengers, a claim that Boeing disputes . A panel convened by the FAA prior to the blowout found shortcomings in the aircraft maker’s safety culture .

Most of the recent problems have been related to the Max, however Boeing and Spirit AeroSystems have also struggled with manufacturing flaws on a larger plane, the 787 Dreamliner. Boeing has suffered setbacks on other programs including its Starliner space capsule , a military refueling tanker, and new Air Force One presidential jets.

Boeing officials have vowed to regain the trust of regulators and the flying public. Boeing has fallen behind rival Airbus, and production setbacks have hurt the company’s ability to generate cash.

The company says it is promoting a positive safety culture, improving worker training, reducing “traveled work” — assembly tasks that are done out of their proper chronological order — and keeping closer tabs on Spirit AeroSystems, including preventing the supplier from shipping defective fuselages to Boeing.

The plane that suffered the door-plug blowout was being repaired because it had damaged rivets when it arrived at a Boeing factory from Spirit.

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The Government Takes On Ticketmaster

Explaining a case that could reshape the multibillion-dollar live entertainment industry..

This transcript was created using speech recognition software. While it has been reviewed by human transcribers, it may contain errors. Please review the episode audio before quoting from this transcript and email [email protected] with any questions.

Hi, everybody, it’s Sabrina. Before we start today, we wanted to invite you to something special. The Tribeca Festival is starting a brand new annual gala to celebrate excellence in audio. For this, the inaugural year, they’ve chosen to celebrate “The Daily.” We know you, our incredible audience, live all over the world, but we’d like to invite you to join us.

The gala is in New York, on June 9, at 5:00 pm. You can get all the details and buy tickets at tribecafil.com/thedaily. That’s tribecafilm.com/thedaily. I’ll be there, Michael too, along with a bunch of us from the show. Mo Rocca is going to host it. So if you’re in the area or you’re visiting, we’d love to see you there. OK, on with today’s show. From “The New York Times,” I’m Sabrina Tavernise. And this is “The Daily.”

I have got a bone to pick, as usual, with Ticketmaster.

The biggest problem that I have right now is not getting tickets to the Era Tour.

Loading, loading, loading. Want them so bad. Want them so bad. Want them so bad. Nope.

I looked at my account and the tickets are gone.

Over the past few years, few companies have provoked as much anger —

I cannot afford $1,500 tickets.

— among music fans.

Oh, my god.

— as Ticketmaster.

I literally hate Ticketmaster. Like, there is no company I think I hate more than Ticketmaster.

Ticketmaster ought to look in the mirror and say, I’m the problem. It’s me.

Last week, the Department of Justice announced it was taking the company to court. Today, my colleague David McCabe, on how the government’s case could reshape America’s multi-billion dollar live music industry.

It’s Thursday, May 30.

So, David, good to have you back. You have become a beloved guest at “The Daily,” because the government keeps bringing these huge antitrust cases and we keep turning to you to explain them.

Well, it’s a pleasure to be back. And today I have a question for you, which is, what was the first concert you ever went to?

Oh, my gosh. The first concert I ever went to? Oh, my god, I think it was Van Halen in the 1980s, which maybe is before you were born.

You know, no comment, but that’s a pretty good first concert.

And the case that we’re here to talk about today is actually all about shows like a Van Halen concert in 1980.

OK, I’m ready. So let’s get into it. This case, as you and I both know, is about Ticketmaster. So tell us about this case.

So anyone who attends concerts regularly or even irregularly probably knows about Ticketmaster. It’s kind of the ubiquitous digital box office. And those people are probably also familiar with the ubiquitous fan complaints about Ticketmaster — that the company puts high fees that they don’t entirely explain onto tickets, that tickets will sell out really fast during these sort of frantic pre-sales for tours, and that the website doesn’t always work very well.

And probably the most infamous Ticketmaster incident in recent memory was a couple of years ago when the pre-sale began for Taylor Swift’s massive Eras Tour. And fans got locked out, couldn’t get tickets and were absolutely furious. And it really put in the spotlight the power of this company over the ability to buy a ticket to a live music event.

So the DOJ is pointing the finger at this company for all this consumer angst at Ticketmaster.

Well, and when you say this company, it’s not just Ticketmaster. It’s the company that owns Ticketmaster, a company called Live Nation Entertainment. We’ll say Live Nation for short. And it’s a giant company. And to think about just how gigantic and how expansive Live Nation is, I think it’s helpful to think about the fan experience of going to a concert.

[MUSIC PLAYING]

It starts with buying a ticket. And maybe you buy a group of tickets for you and your friends. And then one of your friends can’t make it. They’ve got other plans. You resell their tickets so you can make your money back. And then the day of the show you go, it’s this big production. It’s at a venue. Someone has booked the artist to appear. You go, you buy a beer, you have a good time.

Live Nation is involved in many parts of that process, and that starts with being a major concert promoter. They’re the one putting it on, arranging the event. They’re also selling the tickets through Ticketmaster. Sometimes they’re also involved in reselling the tickets when your friend can’t make it.

And not only that, they actually sometimes manage the artists. And they own or operate the venues where the show is happening. So even down to that beer you’re drinking to enjoy with the show, they might be involved in picking the person who sells that beer to you.

So, basically, they’re everywhere.

They’re everywhere. And the Justice Department says that’s a big part of the problem, that its power is bad for fans.

Good morning. Earlier today, the Department of Justice —

And we really heard that come through at the press conference last week that the Justice Department held to announce this case —

People always remember the first time that they were transformed by live music.

— where Merrick Garland, the Attorney General, really personalized this issue.

I still remember, as a senior in college, going to a Bonnie Raitt concert and seeing a —

He told this story about going to a Bonnie Raitt concert in college.

Merrick Garland did?

Yeah, Merrick Garland did.

I don’t think of Merrick Garland and Bonnie Raitt together in the same sentence.

Well, apparently, in college he attended a Bonnie Raitt show. And the thing he highlighted was that the opener was a young Bruce Springsteen.

We all knew that we had just seen the future of rock and roll.

And in that story, the attorney general seems to be getting at two important threads of this case. The first is that concerts are formative for the people who attend them. And the second is that concerts are an important way that artists reach their fans. That young Bruce Springsteen went on to now be one of the biggest touring artists in the world.

The Justice Department filed this lawsuit on behalf of fans who should be able to go to concerts without a monopoly standing in their way. We have filed this lawsuit on behalf of artists who should be able —

And so the Justice Department is responding here to a feeling that Live Nation, this giant company, has become a gatekeeper for both artists and fans. And that has allowed it to pay artists less sometimes, but also charge fans those fees that they’re so mad about.

It is time for fans and artists to stop paying the price for Live Nation’s monopoly. Thank you.

So help us understand how things have gotten to this point, where Live Nation is so powerful that the DOJ feels the need to sue them.

Well, this company has a long history of tangling with the Justice Department. And that really starts in 2009, when Live Nation and Ticketmaster announced that they were going to merge. And this merger, this big corporate deal, will marry Live Nation’s concert promotion business, the business of putting on shows, with Ticketmaster’s experience as an online ticketing platform.

And the Justice Department — a big part of its job is looking at corporate mergers to figure out if they will substantially lessen competition in the economy. So the Justice Department reviews this merger, and in 2010 decides we will let this merger go through. But we do have some concerns that it might reduce competition in the industry of ticketing. And so we’re going to reach a legal settlement with Live Nation and Ticketmaster that puts conditions on the deal, that requires the company to sell some assets to kind of lessen its footprint. And so the merger goes through. And that creates the sort of modern day Live Nation, Ticketmaster combination.

So the government ultimately actually just lets it happen.

That’s right. They put conditions on the merger, but ultimately they let it go through. And the company continues to tangle with the Justice Department over the next 15 or so years. But mostly they keep getting bigger. They keep growing their footprint across this ecosystem that creates some of the biggest concert tours in the country.

So just how big has the company actually become? Give me some numbers.

Well, let’s start here. Every year, they sell about 600 million tickets.

600 million tickets? That’s more than the number of people in the United States of America.

Yeah. And that is a global number, but it’s a lot of tickets. Right? The Department of Justice estimates that in the United states, Live Nation controls about percent of ticketing to major venue concerts.

So that’s a big percentage. They also own or control, like, in excess of 250 venues, including a big percentage, the Justice Department says, of major amphitheaters, the kind of big outdoor concert venues that are ultimately kind of in between a nightclub and the size of a big football stadium. And they manage hundreds of artists. They have this direct relationship with artists. And so this company is wide and it is deep into this industry.

So ultimately, the Justice Department says that — and I’m going to quote here — it’s the, quote, “gatekeeper for delivery of nearly all live music in America today.”

OK, it’s big. But as we know from other DOJ cases — and this is something that you have taught me, David — the cases against Apple and Google, just being big is not in and of itself a problem.

That’s right. Where companies run afoul of the law is when they use their power as a monopoly against their competitors in order to stay powerful or get more powerful.

And the Justice Department says that Live Nation has built a complex machine to do just that.

We’ll be right back.

So what does the DOJ say that Live Nation is able to do because it is so big? How does it use its bigness?

So the most prominent allegation is that Live Nation uses its power as a concert promoter to entrench its power in ticketing. As a reminder, when you put together a concert, a promoter works with an artist to book the show. They book the show at a venue. And that venue, for all of its shows, has to choose a ticketing provider, a digital box office where people can buy their way into the shows.

And what the Justice Department is arguing here is that Live Nation is able to wield its big artists, the tours that it promotes, as a cudgel to force venues to use Ticketmaster, its ticketing service. So the Justice Department says that in an instance in which a venue switched away from using Ticketmaster, that Live Nation routed tours around that venue, which of course means less money for that venue and a problem for their business.

Interesting. So basically, Live Nation is saying, look, if you want Taylor Swift in your little amphitheater over there, you’re going to have to use Ticketmaster. It’s Ticketmaster or no Taylor Swift.

That is effectively the behavior the Justice Department is arguing has happened here. They’re saying that Live Nation does this in veiled ways and that, more importantly, it’s really understood by venues throughout the industry that if you don’t use Ticketmaster, that you really risk out on losing important Live Nation managed tours. And then once these venues do choose Ticketmaster, Live Nation locks them into these long, exclusive ticketing contracts, which can last for as long as 14 years.

14 years? That’s pretty long. What else is DOJ alleging that Live Nation has done?

Another thing the Justice Department says that Live Nation does is use its power as an owner of venues to get away with paying artists less money for their tours.

So how does that work?

Basically, the argument is that because Live Nation controls so many of certain types of venues, that there are instances in which an artist’s tour might largely be dominated by Live Nation owned venues. And the Justice Department is saying that Live Nation knows that artists don’t have a lot of other options for where to play their concerts and, as a result, is able to pay those artists less. Because there’s not competitive pressure when they’re booking those tours.

That seems pretty unfair to artists who would really benefit from other venues owned by other people competing for them.

And that’s exactly what the Justice Department is saying, that artists lose out, not just fans. And there’s a striking story in the complaint that I think crystallizes how the Justice Department sees these streams of power coming together.

And it concerns a concert, which the lawsuit doesn’t name, in 2021. My colleague Ben Sisario has reported that it was a Kanye West concert featuring Drake. It was a benefit show, and it was taking place at the LA Coliseum in Los Angeles.

One of the companies involved in putting on this show was a firm called TEG. They do promotion and ticketing of the kind that Live Nation does. And the government says that Live Nation saw this as a threat, that they saw this company TEG involved in this show, and they were worried about what it would mean for them, and that they then undertook steps to put pressure on TEG and make their life difficult in a couple of ways.

The first was that TEG had reached a deal to sell some tickets, according to the complaint, through StubHub. StubHub is a secondary resale market. You can buy tickets to shows when people aren’t going to use them.

Right, and competitor to Ticketmaster, right?

And competitor to Ticketmaster. And the Justice Department says that Live Nation found out about that and said, well, we have the exclusive ticketing contract for this venue. And so we will make sure that if you bought your ticket on StubHub, you won’t be allowed to come in to this show.

Really? Like, they couldn’t come into the concert?

Well, and ultimately, the complaint says that StubHub had to work with Ticketmaster to fulfill the tickets that had already been sold, that they stopped selling new tickets, and that hundreds of people who bought their tickets on StubHub didn’t get into the show.

That seems very unfair. Like, they bought a ticket.

Well, and according to the Justice Department, it didn’t stop there, that Live Nation used its industry connections to pressure an investor in TEG, this company that it viewed as a threat, and that it pushed that investor to pull back from its relationship with TEG, which obviously would have weakened this potential competitor.

So these are very strong armed tactics. What is the DOJ saying is the result of all of this? What does all of this amount to?

It says that all of this adds up to higher fees for consumers and a worse product, a worse quality ticketing experience when fans go to buy. Because Live Nation doesn’t have to compete with anyone. It doesn’t have to innovate in response to competitors. So, among other things, the Justice Department wants to break this company up, at the very least by separating Ticketmaster, the ticketing unit, the box office unit, from the rest of Live Nation that does all these other things — promotes concerts, owns venues, et cetera.

So in other words, go back to the way it was in the beginning.

Yeah, or as much as you can.

And why does that fix the problem?

Well, the Justice Department doesn’t say a lot on this point. But it’s clear that what they want to do with this lawsuit is disrupt this cycle where Live Nation’s power reinforces itself again, and again, and again.

And what does Live Nation say in response? I imagine they disagree with all of this.

They do. They’ve said a lot. And they start out by saying something that will be familiar to you, because other companies that have been accused of antitrust violations say it as well, which is that they don’t fit the profile of a monopoly, that their overall profit margins are lower than those of companies like Meta, or Apple, or Google, and that even if you look at Ticketmaster specifically, they take a smaller percentage of every sale than a lot of other digital platforms. So they say basically the numbers show that we don’t have the kind of power you would normally associate with a monopoly.

And then they say, listen, we know that there are things that fans don’t like about the ticketing experience. There may be fixes to those. But largely, it’s not Live Nation’s fault, they say. They say that artists generally set the prices they want people to pay for tickets.

Really? So artists themselves do it.

Right, that artists sign off on how much a ticket will cost to their shows.

And they also say that demand sometimes drives ticket prices up. If there are more people who want to see a show than there are seats or standing room to see that show, the prices will be higher. And finally, they say that there’s this kind of pernicious outside force of scalpers, people who resell tickets, that use bots to hoover up way more tickets than they could possibly use and then resell them at a higher price. And so they say that all of these things may contribute to a fan experience that people don’t like, but that it’s not necessarily Live Nation’s fault.

I mean, to me, this makes certain sense. I guess if you think of a Taylor Swift show and lots of people trying to buy tickets, one reason why those tickets are expensive is not necessarily because there’s something nefarious going on, but because lots of people want to buy tickets. And there’s a market, and supply and demand has a role here.

Well, and a clear question here that I have, that other people have asked, is how much does the Justice Department think ticket prices have gone up because of this alleged Live Nation monopoly? And the Justice Department hasn’t answered that question.

They haven’t disentangled it with all of the other stuff that’s around — market forces, everything?

That’s right. And there’s another element of Live Nation’s response that we should mention, which is that the company basically says this lawsuit is politically motivated, that this administration, the Biden administration, is bringing lawsuits that don’t hold a lot of water but are anti-business. That’s what Live Nation is saying.

I mean, it does sort of ring true in some sense. Right? This has been the tilt of this administration toward cracking down on big companies. The DOJ has changed in this respect. They’re filing a lawsuit to break up a merger that a previous DOJ had actually approved.

Well, you’re right. This Department of Justice, this administration more broadly, has a different view about antitrust. They think that antitrust law can be a more expansive tool to address problems in the economy. And they’ve put that into practice. They’ve sued Google for violating anti-monopoly laws. They’ve sued Apple for violating anti-monopoly laws.

But I think ultimately what they believe is that they’re responding to a change in the economy, that these companies have gotten much bigger, that they have gotten more powerful. And they are responding to the way the companies broke the law on their way to becoming that big.

So, David, when you and I talked about Google and Apple — you referenced them here — you know, we talked about how there were broad repercussions for the future on American society. What would you say the implications are in this case?

This case ultimately, for the Justice Department, is about the market for culture and creativity. You know, a few years ago, the Justice Department successfully blocked Penguin Random House, a big publisher, from buying Simon and Schuster, another publisher. And they said that one problem with this merger was that it would reduce how much authors got paid, and that it would create a market where fewer books and fewer types of stories broke through.

This Justice Department is embracing an idea that the more concentrated the economy gets, the more it stifles creative expression, the ability of artists to make art and get it to the public and the ability of the public to consume it. And that, they say, is a central question of democracy. Because things like music are how we talk about big social issues or big political issues. So that is, they say, what’s at the heart of this case, that it is not just about the fees, it’s not just about how much an artist gets paid. But it’s about whether or not there is a fair marketplace for ideas, and whether or not consumers are able to access it.

David, thank you.

Thank you. [MUSIC PLAYING]

Here’s what else you should know today. On Wednesday, Supreme Court Justice Samuel Alito declined to recuse himself from two cases arising from the January 6, 2021, attack on the Capitol after “The Times” reported that flags displayed outside his houses appeared to support the Stop the Steal movement. In letters to Democratic members of Congress who had demanded his recusal, Justice Alito said that the flags, at his home in Virginia and a beach house in New Jersey, were flown by his wife, Martha Ann, and that he had had nothing to do with it.

And a group of 12 New York jurors deliberated for more than four hours in the final stretch of the criminal trial of Donald Trump, in which the former president is accused of falsifying business records. The jurors asked for portions of the testimony from two witnesses to be read back to them, as well as the judge’s instructions. They were then dismissed for the day and will resume deliberations today.

Today’s episode was produced by Will Reid, Rob Szypko and Rachelle Bonja. It was edited by Michael Benoit and Brendan Klinkenberg, contains original music by Marion Lozano, Dan Powell, and Will Reid, and was engineered by Alyssa Moxley. Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly.

That’s it for “The Daily.” I’m Sabrina Tavernise. See you tomorrow.

• June 6, 2024   •   23:38 The Fight Over the Next Pandemic
• June 5, 2024   •   30:42 Biden’s Push to End the War in Gaza
• June 4, 2024   •   29:17 A Conversation With President Zelensky
• June 3, 2024   •   32:07 How Trump’s Conviction Could Reshape the Election
• May 31, 2024   •   31:29 Guilty
• May 30, 2024   •   25:21 The Government Takes On Ticketmaster
• May 29, 2024   •   29:46 The Closing Arguments in the Trump Trial
• May 28, 2024   •   25:56 The Alitos and Their Flags
• May 24, 2024   •   25:18 Whales Have an Alphabet
• May 23, 2024   •   34:24 I.C.C. Prosecutor Requests Warrants for Israeli and Hamas Leaders
• May 22, 2024   •   23:20 Biden’s Open War on Hidden Fees
• May 21, 2024   •   24:14 The Crypto Comeback

Hosted by Sabrina Tavernise

Featuring David McCabe

Produced by Will Reid ,  Rob Szypko and Rachelle Bonja

Edited by Brendan Klinkenberg and Michael Benoist

Original music by Marion Lozano ,  Dan Powell and Will Reid

Engineered by Alyssa Moxley

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Over recent years, few companies have provoked more anger among music fans than Ticketmaster. Last week, the Department of Justice announced it was taking the business to court.

David McCabe, who covers technology policy for The Times, explains how the case could reshape America’s multibillion-dollar live music industry.

On today’s episode

David McCabe , a technology policy correspondent for The New York Times.

Background reading

The government is accusing Ticketmaster’s corporate parent, Live Nation Entertainment, of violating antitrust laws .

Here’s a guide to the emails at the heart of the government’s case .

There are a lot of ways to listen to The Daily. Here’s how.

We aim to make transcripts available the next workday after an episode’s publication. You can find them at the top of the page.

The Daily is made by Rachel Quester, Lynsea Garrison, Clare Toeniskoetter, Paige Cowett, Michael Simon Johnson, Brad Fisher, Chris Wood, Jessica Cheung, Stella Tan, Alexandra Leigh Young, Lisa Chow, Eric Krupke, Marc Georges, Luke Vander Ploeg, M.J. Davis Lin, Dan Powell, Sydney Harper, Mike Benoist, Liz O. Baylen, Asthaa Chaturvedi, Rachelle Bonja, Diana Nguyen, Marion Lozano, Corey Schreppel, Rob Szypko, Elisheba Ittoop, Mooj Zadie, Patricia Willens, Rowan Niemisto, Jody Becker, Rikki Novetsky, John Ketchum, Nina Feldman, Will Reid, Carlos Prieto, Ben Calhoun, Susan Lee, Lexie Diao, Mary Wilson, Alex Stern, Sophia Lanman, Shannon Lin, Diane Wong, Devon Taylor, Alyssa Moxley, Summer Thomad, Olivia Natt, Daniel Ramirez and Brendan Klinkenberg.

Our theme music is by Jim Brunberg and Ben Landsverk of Wonderly. Special thanks to Sam Dolnick, Paula Szuchman, Lisa Tobin, Larissa Anderson, Julia Simon, Sofia Milan, Mahima Chablani, Elizabeth Davis-Moorer, Jeffrey Miranda, Renan Borelli, Maddy Masiello, Isabella Anderson, Nina Lassam and Nick Pitman.

David McCabe covers tech policy. He joined The Times from Axios in 2019. More about David McCabe

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