Music Business Mindmap
Five branches. Open one to see its nodes; each node is a role or concept with a two-line description of how it works in practice.
Writes, records and performs. Also, by default, their own first manager, marketer and accountant.
Runs the career day to day: bookings, deals, team. Typically paid 15–20% of artist income.
Funds recording and marketing in exchange for a share of master rights or revenue.
Administers the song (composition) and collects royalties when it is used anywhere.
Sells live shows to venues and festivals; usually 10% of the fee.
Shapes the recording. Paid a fee, points on the master, or both.
Per-stream payouts split between master and publishing sides; a volume business.
Fees or door splits. Still the largest income line for most working artists in Asia.
Licensing a recording and song to film, TV, ads and games. Often the biggest single payments.
Physical goods sold at shows and online; high margin when the artist controls production.
Paid partnerships and endorsements; usually negotiated by management.
Lessons, workshops and online courses; steady income between release cycles.
The recording. Owned by whoever paid for it unless agreed otherwise.
The song itself: melody and lyrics. Owned by the writers, administered by publishers.
Performer and producer royalties from broadcast and public performance of recordings.
Organisations that license on behalf of rightsholders and distribute royalties, one per country.
Spotify, Apple Music, YouTube Music, Zing MP3 and regional platforms that deliver to listeners.
Services that place independent releases on DSPs for a fee or percentage.
CD, vinyl and cassette; small but meaningful at merch tables.
Editorial and algorithmic placement that drives discovery; pitched through DSP tools.
Still central in several Asian markets; airplay generates performance royalties.
Clips on TikTok, Reels and Shorts that drive first listens; sounds matter more than videos.
Press, blogs and interviews that build the story around a release.
Mailing lists, group chats and memberships; the channel the artist owns.
Sequencing singles, pre-saves and timing against the market calendar.
Shows as marketing: every date is a reason for local press and content.