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You do it!

100 things to do!
$1000
  • Keeping your website updated.
  • Shooting, editing and putting videos on your website is essential for potential customers understanding what you offer.
  • You have many products and services that people need to see your website.
  • Giving the history of the company.
  • Having a blog and testimonials on your website.
  • Having a brochure that people can print out at their convenience.
  • Having an emailing system for potential and past clients.
  • Having a sign-up form and a counter on your website.
  • Having logos of your vendors as it pertains to your product.
  • Getting your commercial on TV and other outlets.
  • Bringing potential consumers to your website and into your stores.
  • Getting your brand awareness by social media and in the market.

We do it.

We have the contact and the know how.
$600
  • Executive Summary.
  • Objectives
  • Keys to Success.
  • Situation Analysis.
  •  Start-Up Summary.
  •  Start-Up Expenses: Chart.
  •  Market Analysis Summary.
  •  Target Market Forecast.
  •  Service Business Analysis.
  •  SWOT Analysis.
  •  Financial Plan & Estimates.
  •  Conclusion.

Industry Standards.

The cost to be the boss.
$10,000
    2. The value of the music recording is plunging, and has been for more than a decade. Across the board, artists are experiencing serious problems monetizing their audio releases.
  •  
    2. A decade-long decline in recording revenues has dismantled the label system, once the most reliable form of artist financing. That includes both independent and major labels, once the core of the music industry ecosystem.
  •  
    2. That introduces fan-funding platforms like Kickstarter, Pledgemusic, and Patreon, all of whom have admirably filled some of that lost financing but have not come close to matching the overall funding source. Moreover, crowd funding success stories like Amanda Palmer are sometimes viewed as anomalies, especially given the initial investment in her career by a major label.
  •  
    2. Streaming continues to explode, but not enough to compensate for broader declines in physical CDs and paid downloads. The overall result is a music industry revenue decline.
  •  
    2. Even worse, the technological evolution of formats keeps pushing the value of the recording downward.With every subsequent format, monetization deteriorates: streaming pays less than downloads; downloads paid less than CDs.
  •  
    2. There is little evidence to suggest that this downfall is being made up by touring, merchandising, or other non-recording activities like ‘experiences’ (see below). In fact, many argue that artists are being forced into unsustainably long tours, or touring virtually non-stop just to survive.
  •  
    2. Other attempts to make up the lost revenue have fallen short. BandPage, a pioneer in trying to monetize artist ‘experiences’ to help make up for lost recording revenues, was unable to scale that alternate revenue source substantially enough. After many years and considerable investment, BandPage was sold at a heavy loss to YouTube.
  •  
    2. That introduces a number of problems, including artist burnout and an increased risk of accidents while on the road. According to NYU songwriting professor Mike Errico, the artist injury list is soaring, with Dave Grohl, Sam Smith, Miranda Lambert, Steve Aoki, Little Big Town, Meghan Trainor, Nickelback, the Black Keys and Kelly Clarkson all suffering physical, tour-related setbacks.
  •  
    2. Streaming is rapidly becoming the dominant form of music consumption, though it is now widely viewed as a cashless loss-leader for artists and songwriters.
  •  
    2. A big part of the problem is that most consumers now attribute very little value to the recording itself, and most consumption (through YouTube, ad-supported piracy, or BitTorrent) happens at little-to-zero cost to the listener.

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