Let's Make A Deal!

Let’s Make a Deal!

In the event that you should ever have to negotiate with an opposing party for any reason, it is important to remember that there are guidelines that are typically followed. These guidelines vary from time to time, but are mostly comprised of a unique system. This system is designed to facilitate the negotiation process between two or more parties so that both parties can achieve the maximum amount of the benefit as possible. It’s not likely that both parties will always get everything that they want, but at least in most cases they can try to be as fair as possible. Often times we assume that it would be easy to simply write down what we need and maybe expect to sacrifice a little of our autonomy from some form of responsibility or obligation of some sort. In some cases this may be true, but in most negotiations some form of objective criteria is used.

After taking a trip down to Miami, FL to a few of the local recording studios, I had a chance to speak to a few of the industry professionals that work and are affiliated with entertainment groups such as Atlantic Records, Island Def Jam, and Sony BMG. I figure I would interview these individuals to become more familiar with the business environment. One of these pioneers I had visited had his own studio called Area 52 Recording Studios. We talked about the local business environment. We also discussed the market value of production and things of that matter. The studio manager encouraged me to increase the price of my instrumentals. He also mentioned that he could write up a contract to sell my production for twice the price and keep half the take. That’s a great deal… right?

He had also talked about other things, which may include what to some is known as a BATNA. This is used to decide the result of not negotiating some form a deal. In this case it would be the rates needed to complete an audio project. Competing with low prices for recording audio can be a competitive process. The studio manger explained that in most cases people who want the cheapest price for beats but the highest return on tracks. Reminding artists that good productions will enhance their career is a method used to change the playing field and get clients to negotiate with producers. This concept is especially reinforced when clients become unwilling to pay more for complex production.

Understanding status in today’s world of negotiation is also another important factor in getting clients to negotiate. Although I had a chance to speak with several individuals, this studio manager himself had other things he was involved in through the local scene, within a chain of other studios. I thought it to be nice that he had given me an opportunity to use the equipment that he had given the fact he didn’t know me very well. I found it to be nice based on his list of clients he said he was currently working with. He produces Hop-Hop for Kobe Bryant’s artist too. I myself understand that the financial risk involved with an artist being back by a person such as Bryant has lots of money involved. It is understood that a person in charge of the production for that artist must have a great reputation. Based of my assumption of Kobe’s expert knowledge of audio engineers, I do feel he my have when to a more proven studio to increase the chances of the artist success. What do you think?