Showing posts with label Big-N-Mage Publishing. Show all posts
Showing posts with label Big-N-Mage Publishing. Show all posts
Thursday, May 16, 2024
🚫 Sony opts out of Gen AI firms using its music
Tuesday, July 26, 2022
Rah Rage
Monday, June 13, 2022
Friday, March 25, 2022
Future of Marketing
GLOBAL
3 traits digital leaders have in common Karalee Close, Hrishi Hrishikesh
March 2022
Share Karalee Close is a senior partner and managing director at
Boston Consulting Group (BCG), where she is also the global leader of its
Technology Advantage practice. Hrishi Hrishikesh is a partner and director at
BCG and a core member of Technology Advantage. Recently, they partnered with
Google to study how global companies successfully approach digital
transformation. They share their key findings here. A woman of color examines a
bar graph, while a white man makes adjustments to a growth chart. Senior
business leaders are keenly aware we’re in a new era of digital consumption, one
that’s been rapidly accelerated by COVID-19.
If the past few years have shown us
anything, it’s that companies must be ready to move quickly to stay ahead of the
pace of change. This has familiarized many marketing teams with a new
catchphrase: digital transformation. A company’s ability to quickly scale
digital solutions allows it to realize value from digital transformation. Since
2018, we’ve been partnering with Google to explore digital transformation, as
it’s evolved from a relatively nascent concept to a business imperative. Most
recently, we teamed up to better understand why some companies are able to
generate significant value from digital solutions — and why so many others still
lag behind. Our approach was to study the digital proficiency and maturity of
2,000 global companies, and we found that the value companies get from their
digital solutions is inextricably linked to their ability to scale those
solutions at speed. Achieving scale is what transforms digital pilot programs
from interesting experiments into drivers of significant value. Companies that
are able to do this faster than the rest of the market hold a considerable
advantage.
This became an important factor for our study; it differentiated the
“digital leaders” — roughly 30% of companies generating significant value from
digital — from the others. Our research showed that digital leaders achieve
three times higher revenue growth and cost savings, and have an accelerated
time-to-market twice as high as companies unable to gain value from digital.1 By
taking a deeper look at the digital leaders, we were able to identify three key
factors that allowed them to successfully scale their digital solutions. Here’s
what you need to know. Three people icons in a huddle, a hex nut, and a slider
control:
1. C-suite alignment.
2. Build capabilities.
3. Always-on mindset.
1.
C-suite alignment Becoming a digital leader begins at the top. Companies are
successful when digital transformation isn’t just the remit of one executive,
but when the entire C-suite aligns on a common strategy and road map. Once
they’ve set the North Star, CxOs must work together to galvanize the entire
organization to execute the vision from the top down. According to our research,
72% of digital leaders say that consistent C-level collaboration is essential,2
and a full 82% claim to align across the executive suite on digital vision,
investment, and other resources to drive the agenda forward together.3 A laptop
screen shows a growth chart. 82% of digital leaders align across the executive
suite on digital vision, investment, and other resources.
Think with Google
Source: BCG, Global, The Keys to Scaling Digital Value, a study commissioned by
Google, March 2022. Share To do this successfully, leaders must embrace agile
ways of working. They can’t work in silos if they plan to cascade strategies and
targets down to local business units. Flexible planning and budgeting processes
are critical, and the whole C-suite must be more involved in tech, data privacy,
and analytics to follow a successful digital road map.
2. Build capabilities
With C-suite alignment in place, digital leaders next invest in whatever helps
their businesses gain value from digital. To effectively understand this
question, companies need to take advantage of first-party data, from their
customers and themselves. Gathering insights from data requires access to the
same high-quality data throughout the organization. More than 90% of digital
leaders have gained the ability to connect digital solutions to their tech
stacks by using APIs and microservices.
An emphasis on proper data governance
procedures paves the way for a continuous supply of high-quality data that teams
use appropriately and consistently. A cloud contains a microchip. 90% of digital
leaders have gained the ability to connect digital solutions to their tech
stacks by using APIs and microservices. Think with Google Source: BCG, Global,
The Keys to Scaling Digital Value, a study commissioned by Google, March 2022.
Share Digital leaders also focus on creating agile working environments, powered
by productivity apps and AI analytics, which appeal to high-performing employees
and aid in recruitment. Fostering a competent workforce — and a more inclusive
and diverse workplace — also enables digital leaders to build more resilient
business models for the long term.
3. Always-on mindset Rather than viewing
digital transformation as a one-time project, digital leaders steer with an
adaptive, always-on mindset to improve and scale pilots as the landscape changes
and they prove their ROI. Just as technology, markets, and consumer behaviors
constantly evolve, so too will your approach to digital transformation. A
cultural reset is required to get comfortable with constant pivots. Digital
leaders continually test and learn, invest in flexible planning and budgeting,
and develop cross-functional teams, starting with the C-suite. It’s also clear
from our research that digital leaders have embedded these behaviors into their
company culture.
As C-levels align to invest in a digital foundation, they
become adept at using internal data as a decision-making tool for operational
challenges. A settings wheel inside moving arrows. An adaptive, always-on
mindset increases businesses’ ability to reimagine customer experiences. This
adaptive, always-on mindset also increases businesses’ ability to reimagine
customer experiences. By working cross-functionally, digital leaders are better
able to determine which customer-centric opportunities to quickly scale and
which unsuccessful or slow-moving initiatives to cut. It’s clear that digital
transformation delivers outsize value to digital leaders. All companies can
expect to realize similar value if they are willing to commit to change. By
embracing necessary success factors — an aligned C-suite, capabilities-driven
investment, and an always-on approach — any organization can become a digital
leader.
Further your business’s transformation by exploring the full BCG
research report.
Explore related content Digital Transformation Global Karalee
Close Karalee Close Managing Director and Senior Partner; Global Leader,
Technology Advantage Boston Consulting Group Hrishi Hrishikesh Hrishi Hrishikesh
Partner and Director Boston Consulting Group
Antoniotopcat@gmail.com
Wednesday, February 10, 2021
Tuesday, March 10, 2020
Sunday, December 10, 2017
FL "$1,000 Bands"
The ATL ("FL") are an American Southern Hip Hop duo from Atlanta GA. Comprising members Stand Out and Alveo Da Great (ADG).
FL "U & I"
The ATL ("FL") are an American Southern Hip Hop duo from Atlanta GA. Comprising members Stand Out and Alveo Da Great (ADG).
STANDOUT-------- ALVEO--------ROD C
ROD C----------STANDOUT---------- ALVEO
Tuesday, June 6, 2017
Jarius Lovett a/k/a "Standout" | F L
Jarius Lovett, better known by his stage name "Standout", derived from his mannerisms and unique style of dress, is an American hip hop recording artist and native of Atlanta Georgia's infamous "Zone 3." Although born into a city known for the "glitz and glamour" and the "good life," Standout's upbringings were the complete opposite of this over the top perception, and resemble nothing short of a hard knock life. Standout encountered several rough patches during his childhood from witnessing his mother's drug addiction and victimization to domestic violence, to battling the struggle of having an estranged father.
However, Standout's roughest encounter was the passing of his mother a few short years after giving birth to his younger sibling, which marked the beginning of a downward spiral. After refusing to cope with the loss of his mother, Standout dropped out of school, and turned to alcohol as a mechanism to fill the void, and to shield feelings of pain and resentment. Knowing that he couldn't continue to live his life in sadness, pain, and loneliness, Standout decided to take a turn toward greatness and utilize music as an outlet to tell his story, and as an avenue toward rehabilitation.
Standout's dreams and passion for music began at the age of 17 when his natural talent as a rapper became more apparent. Standout's ability to creatively freestyle, and effortlessly compose unique and catchy hooks and lyrics is something that he credits greatly to his family, and musical influences including "King of the South" rap legend T.I., and Billboard Music Award Nominee, Future. Standout recently had the opportunity to work alongside Future on his original track, "Money in DA Air."
Music is something that has always been and will remain a passion of Standout's. Although intrigued by the fame and money, Standout is a firm believer that his passion and love for music will always overpower anything that life may throw his way. Standout is truly an artist that stands out!
Email: info@famlife.us
Rod 404-379-7549
TC 618-799-3583
F L (Fam Life) are an American Southern Hip Hop duo from Atlanta GA.
Comprising members Stand Out and Alveo Da Great (ADG).
Alveo Deshawn Seabrooks | F L
Alveo Deshawn Seabrooks, is an American hip hop recording artist and native of eastside Atlanta’s, Decatur “Where it’s Greater”. Alveo’s upbringings mirrored a distant dream to many youth of today’s society: Two parent household, adequate housing, and steady income. From the outside looking in, it appeared Alveo had it all, and the likelihood of becoming another statistic by either disenfranchisement or death was practically impossible.
However, there was one thing that was missing in Alveo's life which ultimately led him down a coarse path…time. Alveo’s were parents ideal, however, demanding work schedules resulted in large periods of time away from the household, which forced Alveo to conduct his life in a manner in which he pleased. Alveo made the decision to pursue the “street life” in an area infamous for violence and gang culture, and consequently experienced life’s most trying and hardest situations associated with a “street” lifestyle.
Alveo was faced with a plethora of unimaginable learning curves, trials, and tribulations when he decided to travel life’s hardest roads. Alveo soon decided it was time to make a significant and positive change in life, and shifted his focus toward his inner talent and love, music. Alveo began nurturing and molding his craft at the age of 13, when his exceptional writing abilities and wordplay became more transparent. Alveo has made appearances at a variety of showcases, and continues to earn support and positive feedback from his peers. Alveo far from the typical “swag rapper” flooding today’s industry, and prefers to top the rap game with his unequalled wordplay and crucial abilities. Alveo credits his growth as an artist some of the industry's most talented and greatest musical influences including, but not limited to: Lil Wayne, Andre 3000, Jeezy, 2 Chainz, Gucci Mane, 2pac, Eazy E, and Ice Cube.
Although Alveo chose to take the road less traveled, it has made all of the difference in his life. Alveo is now focused on his daughter, providing a more secure and desired life for his family, and not falling victim to the “street life.”
F L (Fam Life) are an American Southern Hip Hop duo from Atlanta GA.
Comprising members Stand Out and Alveo Da Great (ADG).
Monday, December 23, 2013
H A P P Y H O L I D A Y S ! ! !
H A P P Y H O L I D A Y S ! ! !:
I am dreaming of a snowy white Christmas, with every Christmas card I write, May your days be merry, dazzling and May all your Christmas be bright.
M E R R Y C H R I S T M A S
https://plus.google.com/111878589245354695381/posts/DH9g6uaRDGK Christmas Wishes I am dreaming of a snowy white Christmas, with ever... TopcaT@PeachTreeMusicGroup.Com
https://plus.google.com/111878589245354695381/posts/DH9g6uaRDGK
Christmas Wishes
I am dreaming of a snowy white Christmas, with every Christmas card I write, May your days be merry, dazzling and May all your Christmas be bright.M E R R Y C H R I S T M A S
https://plus.google.com/111878589245354695381/posts/DH9g6uaRDGK Christmas Wishes I am dreaming of a snowy white Christmas, with ever... TopcaT@PeachTreeMusicGroup.Com
https://plus.google.com/111878589245354695381/posts/DH9g6uaRDGK
Wednesday, December 11, 2013
Music - Split Sheet Percentages
Music Producer Collaborations and Songwriting: Split Sheet Percentages
As the music world continues to evolve, the distinctions between music genres are beginning to blur. Producers are collaborating with artists in different music genres to appeal to a more diverse audience so that the potential for success increases. Unless you are a super producer like Pharrell or Timberland producing for Justin Timberlake, this means that producer deals for these collaborations will follow the customary terms of the artist’s genre, particularly when it comes to determining a producer’s copyright ownership share of the musical composition, or the song. This determination could be an unpleasant surprise if you are an Urban producer who is crossing over to Rock, Country, or any other music genre so it is important to know beforehand what to expect.
The following are the important issues for producers to consider regarding copyright ownership in a song and my observations over the years of genre specific industry standards so that you can make an informed decision when presented with a collaboration opportunity in another music genre.
What Exactly Is Publishing?
First of all, let’s start with a brief description of how copyright ownership relates to the frequently-used term, “publishing.” This topic alone could be an entire article by itself because it is routinely misunderstood. Publishing is a non-legal term that is used to refer to a collaborator’s copyright ownership in a song. The copyright in a song actually consists of two halves, a writer’s share and a publisher’s share, but some people casually use the word to represent both shares. A copyright owner is free to do whatever he or she wants with their portion of the song, such as assign it to a publisher independently of the other copyright owners. The purpose is to earn royalties and other income from album sales, radio play, and licensing, which is why determining the division of a song is so important. The bottom line is that if you do not understand the details of publishing make sure you hire someone who does or you could be generating only half the income that you otherwise are entitled.
What Are Split Sheets And Why Are They Important? (Song Split Sheet Percentages)
A “split sheet” is an agreement that identifies each contributor to a song and sets forth each person’s copyright ownership percentage. The split sheet should include other pertinent information as well, such as the contributors’ performing rights organization (ASCAP, BMI, SESAC), the specific contribution of each person (i.e., beats, melody, core lyrics, hook), and the start and completion dates of the specific contribution. Also, it should indicate whether different versions of the song were created. These details may not seem important in the early stages of creating a song, but a split sheet serves as each contributor’s evidence of copyright ownership and will assure a third party, such as a potential publisher, of your undisputed interest. For clarity purposes, do not mistake a split sheet with registering your copyright interest with the U.S. Copyright Office. A split sheet and a federal copyright registration together will give you solid proof of your copyright interest in a song.
The biggest mistake that collaborating songwriters and producers make is failing to complete a split sheet. This is a problem because if the song becomes successful, which is the intent of all collaborations, then there is a risk that one of the songwriters, or more likely his or her publisher, will claim that he or she should own a larger percentage of the song than originally assumed. Also, under U.S. Copyright Law, if no agreement exists between the contributors, the default assumption is that all of the contributors jointly own an undivided equal share of a song. This division may be acceptable in situations where the actual work was equal among the contributors, but the default would also apply where one person makes only a minimum contribution, such as a sound engineer that never signed a work-for-hire agreement. The easy way to alleviate this potential problem is to have the song contributors fill out a split sheet prior to getting too far into the creative process. The excuse I frequently hear is that nobody wanted to “rock the boat” during the creative session, which is a valid concern, but my recommendation is to have the collaborators meet at a time and place outside a creative session to discuss business and sign a split sheet.
A split sheet is also important because your administrator or accountant can use it to collect your royalties from record companies and your performing rights organization. This is important because a distributing record company will withhold all mechanical royalties generated by singles and albums that embody a song where the ownership percentages are not correct. Likewise, the performing rights societies will withhold all performance royalties until any split disputes are resolved.
How Are Splits Typically Determined?
In concept, splits should be allocated according to a collaborator’s contribution to a song. Unfortunately, this is not a bright line concept because a contributor may believe that his or her contribution is more valuable to the final result than the other contributors may view it to be. For example, if a song is divided up based on quantifiable measures, such as the lines of lyrics or music written, then a contributor who only wrote the hook to a song would only be entitled to about ten percent of the overall song. The contributor who wrote the hook might not believe this method to be fair if the hook is frequently looped in the song and clearly raises the quality of the entire song, which is typical in rap. There are countless examples like this so the bottom line is that all of the contributors need to come to an agreement and sign a split sheet.
What Split Should I Receive As The Producer Of A Song?
The true answer to this question is the same answer that applies to all terms in music contracts, “it depends on the situation,” but since that typical attorney answer is probably going to result in a blank stare on your face and make you question why you are even reading this article, let me offer some insight according to my experience. Each genre of music has its own “standards” when it comes to dividing up copyright ownership to the contributors of a song. In Urban music (Hip-Hop/Rhythm & Blues), a producer is typically going to receive a minimum of fifty percent (50%) of the song, less any portion allocated to existing samples, because the music significantly contributes to the success of a song. To warrant such a large share an Urban producer is expected to not only deliver a finished master, as opposed to just beats, but to also manage the project and sometimes mentor the artist. In the Rock and Pop genres a producer typically receives an equal share of all of the contributors based on the notion that the music and lyrics are equally important to the end result. Rock and Pop producers are also expected to help make the song successful by using their connections with industry professionals. In Country, a producer typically does not share in copyright ownership unless the producer also contributes lyrics. I have done deals where a producer receives a fee that is intended to compensate the producer for his or her efforts and buy out any rights, but I have noticed that Nashville publishers are not interested in dealing with producer contributors. Lastly, in the jazz and classical genres, producers rarely receive any copyright ownership in a song. As you can see, if you are an urban producer you may not be interested in collaborating with certain other genres unless there is an ancillary benefit.
Are Industry “Standard” Splits Set In Stone?
There are no absolute deal terms in the music industry but unless you have some kind of leverage and a good attorney, you will probably not be able to receive deal terms more favorable than the industry standards set forth above.
The term “leverage” is basically a strategic or tactical advantage over a contracting party, or you have something that the other person wants so they want to be down with you. This could be a connection that you have with a company or person, an attractive upcoming project that could be used to cross-market, or something else that is desirable. If you have leverage then the most effective way to use it is to have an experienced professional, such as a manager or attorney, maximize your deal terms. If strategically done, you will not offend the other party and end up with a great deal.
What if a Producer is part of a group or band?
With respect to groups that include a producer member, it is important to enter into a group agreement so that there are no misunderstandings. I have worked with groups that decide to divide all copyright ownerships equally regardless of the group member’s contribution and I have worked with groups that assign the copyright ownership to a jointly owned publishing company and determine on a song-by-song basis how each contributor will share in the income. The agreement is whatever works for the group but what you do not want is to create songs with no agreement in place and allow the opportunity for a dispute to arise after the fact. Despite the fact that, legally, a co-owner of a copyright can grant certain non-exclusive rights, a company or person in the music industry is not likely to offer an opportunity for a song that is in dispute.
The following are the important issues for producers to consider regarding copyright ownership in a song and my observations over the years of genre specific industry standards so that you can make an informed decision when presented with a collaboration opportunity in another music genre.
What Exactly Is Publishing?
First of all, let’s start with a brief description of how copyright ownership relates to the frequently-used term, “publishing.” This topic alone could be an entire article by itself because it is routinely misunderstood. Publishing is a non-legal term that is used to refer to a collaborator’s copyright ownership in a song. The copyright in a song actually consists of two halves, a writer’s share and a publisher’s share, but some people casually use the word to represent both shares. A copyright owner is free to do whatever he or she wants with their portion of the song, such as assign it to a publisher independently of the other copyright owners. The purpose is to earn royalties and other income from album sales, radio play, and licensing, which is why determining the division of a song is so important. The bottom line is that if you do not understand the details of publishing make sure you hire someone who does or you could be generating only half the income that you otherwise are entitled.
What Are Split Sheets And Why Are They Important? (Song Split Sheet Percentages)
A “split sheet” is an agreement that identifies each contributor to a song and sets forth each person’s copyright ownership percentage. The split sheet should include other pertinent information as well, such as the contributors’ performing rights organization (ASCAP, BMI, SESAC), the specific contribution of each person (i.e., beats, melody, core lyrics, hook), and the start and completion dates of the specific contribution. Also, it should indicate whether different versions of the song were created. These details may not seem important in the early stages of creating a song, but a split sheet serves as each contributor’s evidence of copyright ownership and will assure a third party, such as a potential publisher, of your undisputed interest. For clarity purposes, do not mistake a split sheet with registering your copyright interest with the U.S. Copyright Office. A split sheet and a federal copyright registration together will give you solid proof of your copyright interest in a song.
The biggest mistake that collaborating songwriters and producers make is failing to complete a split sheet. This is a problem because if the song becomes successful, which is the intent of all collaborations, then there is a risk that one of the songwriters, or more likely his or her publisher, will claim that he or she should own a larger percentage of the song than originally assumed. Also, under U.S. Copyright Law, if no agreement exists between the contributors, the default assumption is that all of the contributors jointly own an undivided equal share of a song. This division may be acceptable in situations where the actual work was equal among the contributors, but the default would also apply where one person makes only a minimum contribution, such as a sound engineer that never signed a work-for-hire agreement. The easy way to alleviate this potential problem is to have the song contributors fill out a split sheet prior to getting too far into the creative process. The excuse I frequently hear is that nobody wanted to “rock the boat” during the creative session, which is a valid concern, but my recommendation is to have the collaborators meet at a time and place outside a creative session to discuss business and sign a split sheet.
A split sheet is also important because your administrator or accountant can use it to collect your royalties from record companies and your performing rights organization. This is important because a distributing record company will withhold all mechanical royalties generated by singles and albums that embody a song where the ownership percentages are not correct. Likewise, the performing rights societies will withhold all performance royalties until any split disputes are resolved.
How Are Splits Typically Determined?
In concept, splits should be allocated according to a collaborator’s contribution to a song. Unfortunately, this is not a bright line concept because a contributor may believe that his or her contribution is more valuable to the final result than the other contributors may view it to be. For example, if a song is divided up based on quantifiable measures, such as the lines of lyrics or music written, then a contributor who only wrote the hook to a song would only be entitled to about ten percent of the overall song. The contributor who wrote the hook might not believe this method to be fair if the hook is frequently looped in the song and clearly raises the quality of the entire song, which is typical in rap. There are countless examples like this so the bottom line is that all of the contributors need to come to an agreement and sign a split sheet.
What Split Should I Receive As The Producer Of A Song?
The true answer to this question is the same answer that applies to all terms in music contracts, “it depends on the situation,” but since that typical attorney answer is probably going to result in a blank stare on your face and make you question why you are even reading this article, let me offer some insight according to my experience. Each genre of music has its own “standards” when it comes to dividing up copyright ownership to the contributors of a song. In Urban music (Hip-Hop/Rhythm & Blues), a producer is typically going to receive a minimum of fifty percent (50%) of the song, less any portion allocated to existing samples, because the music significantly contributes to the success of a song. To warrant such a large share an Urban producer is expected to not only deliver a finished master, as opposed to just beats, but to also manage the project and sometimes mentor the artist. In the Rock and Pop genres a producer typically receives an equal share of all of the contributors based on the notion that the music and lyrics are equally important to the end result. Rock and Pop producers are also expected to help make the song successful by using their connections with industry professionals. In Country, a producer typically does not share in copyright ownership unless the producer also contributes lyrics. I have done deals where a producer receives a fee that is intended to compensate the producer for his or her efforts and buy out any rights, but I have noticed that Nashville publishers are not interested in dealing with producer contributors. Lastly, in the jazz and classical genres, producers rarely receive any copyright ownership in a song. As you can see, if you are an urban producer you may not be interested in collaborating with certain other genres unless there is an ancillary benefit.
Are Industry “Standard” Splits Set In Stone?
There are no absolute deal terms in the music industry but unless you have some kind of leverage and a good attorney, you will probably not be able to receive deal terms more favorable than the industry standards set forth above.
The term “leverage” is basically a strategic or tactical advantage over a contracting party, or you have something that the other person wants so they want to be down with you. This could be a connection that you have with a company or person, an attractive upcoming project that could be used to cross-market, or something else that is desirable. If you have leverage then the most effective way to use it is to have an experienced professional, such as a manager or attorney, maximize your deal terms. If strategically done, you will not offend the other party and end up with a great deal.
What if a Producer is part of a group or band?
With respect to groups that include a producer member, it is important to enter into a group agreement so that there are no misunderstandings. I have worked with groups that decide to divide all copyright ownerships equally regardless of the group member’s contribution and I have worked with groups that assign the copyright ownership to a jointly owned publishing company and determine on a song-by-song basis how each contributor will share in the income. The agreement is whatever works for the group but what you do not want is to create songs with no agreement in place and allow the opportunity for a dispute to arise after the fact. Despite the fact that, legally, a co-owner of a copyright can grant certain non-exclusive rights, a company or person in the music industry is not likely to offer an opportunity for a song that is in dispute.
Saturday, March 23, 2013
PeachTree Publishing
PeachTree Publishing is a Music, Film and Book Publishing Company
https://s3.amazonaws.
Sunday, March 17, 2013
(PTMG) "You're Only As Strong As Your Roots"
I guess rather than offer the conventional biography that would normally accompany a presentation of this nature. I think I will provide information and music in a more simplistic manner so that you can get to know me in a professional manner.
PeachTree Music Group capitalizes on the growing entertainment market across the world since 2006 through the production and promotion of high quality production and entertainment. Located in Atlanta, Georgia.
The strength of PeachTree Music Group management team is derived from the blend of experience, creativity, savvy and energy. The following individuals who occupy key positions within PTMG are dedicated and prepared to ensure success.
The talented group of individuals such as Antonio TopcaT Randolph, Mr. Horne, Daimeial Michel who have united to form this innovative company, combined with industry affiliations and a highly esteemed Board of Directors, will catapult PeachTree Music Group into the future as one of the industry's leading entertainment companies.
Song Writer’s and Producer’s
PeachTree Music Group is a seasoned and talented production camp under the PeachTree Music Group umbrella. We can easily be a very valuable addition to any record label basically from our productive presence alone. PTMG has added our company name to a legacy of musical masterminds and those who would rather be behind the scenes. We used our time in the industry not to seek fame and fortune but rather to learn the trade from the best in the business.
The production company is all in one the perfect asset for an upcoming company or venture. Unlike most, we have the ears like true executives, producers, and engineers.
Is a multimedia entertainment company that will supply profitable, positive, audio and visual entertainment to a diverse, international consumer group. PTMG is committed to wholesome entertainment across the board and firmly believes that quality and palatable entertainment can be realized without compromising commercial appeal.
ENJOY!
PTMG
Thursday, December 27, 2012
Bosnia and Herzegovina
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