Musicians in South Africa are upbeat about the public broadcaster's decision to enforce a 90% local music quota at its 18 radio stations. But without the necessary understanding of how to make that situation work in their favour, they may not be in a position to benefit properly.Jazz singer Lindiwe Maxolo says the corporate event circuit sustains her and many other acts, rather than a circuit of local clubs and venues."Live performance is definitely where I get most of the money I make. At least twice a month or so I get to do a gig that pays good money."As an independent artist without the backing of a major label, Maxolo sells her CDs at gigs, which she looks at as a bonus on top of performances.story_article_left1"I play at venues like The Orbit in Johannesburg, but it's difficult with most small venues because you really have to market yourself. The Orbit does some marketing, but you have to do a lot yourself, which costs money - all the posters, spending time on social media, sending out e-mails."Despite the competition for lucrative corporate events, Maxolo says her corporate work is increasing. "It's the best way to go. You can get nice money out of that."The SABC decision does change things for her, she says. "I'm considered a jazz musician, so I might get played once on a Sunday on one station. In the wake of this change, it's great, I believe my music might be played once a day."Reaping the royalty benefits hasn't been a problem for Maxolo, who says that because she recorded her debut album relatively late in her performing career, her experience with the local industry has led her to do all the necessary homework. "I've never had any struggles or delays with being paid royalties I was owed.I knew everything that happens around registering with the right organisations for royalties and I knew I had to do everything myself as an independent artist. I had to get it right."If South African artists don't get played on local radio, chances are slim they will get airtime in any other country.Maxolo says marketing herself overseas can be difficult without referrals from an international label, but with the help of fellow acts such as McCoy Mrubata, a sharing of contacts has helped her break into territories such as Europe for performances.block_quotes_start The money will feed back to producers, songwriters, musicians and ultimately create a better quality of product block_quotes_end"Right now I'm headed for the Netherlands and France. Europe is the best target for my music. Also, it helps to be paid in euros."The Parlotones frontman and solo artist Kahn Morbee agrees that live performance is where local artists make their money and that the duplication of their music for broadcast or sale is simply a bonus."Our performances are split across a range of events like corporates and festivals, but from our perspective where we make most of our money is on tours that we arrange. We can't rely on events and invitations."Morbee says that since the band started in 1998, there has been a definite attrition in the number of live music venues. "Fortunately we have a brand we can leverage, more than a band starting out, which has to rely on venues. We can use or create spaces for tour dates and hire sound gear from companies. We don't have to play conventional clubs."full_story_image_hright1He echoes Maxolo's sentiments about hitting Europe, and says The Parlotones have learnt about the different circuits at various levels to be played."Getting there is the biggest hurdle because of costs and visa issues and so on. Once you've done that, you can start to build a fan base - there is a clear route. You know that if you tour Germany at a certain level, those are the clubs you go to. There's one in each city."Morbee says he is delighted to know the pool of royalty money, which is substantial, will be channelled to the local industry instead of mostly heading to the US - a market that "doesn't need" the money in the same way as locals."I don't know which types of genres or acts will be preferred at the SABC, but in principle it will keep local musicians in the industry a little longer, so they don't have to seek alternative employment or give up entirely, which happens a lot.story_article_right2"The money will feed back to producers, songwriters, musicians and ultimately create a better quality of product. We've seen the model work in France, where language issues mean there aren't a lot of countries that might play French bands. They have a vibrant local market because of their system."Ultimately, Morbee says, local artists should try as much as possible to understand the way the industry works to benefit fully."It's very complicated, and most artists just want to make music while a partner - a label, manager or publisher - takes away the administration side of things. My advice is don't do that. Rather pay your dues up front - go see a lawyer, an accountant, and be aware of what you're getting into. It may not be pretty, but most people can handle bad news better than a surprise."The problem at the moment is that nobody in our local industry is winning - not artists or labels. The deals and models don't suit anyone because the internet came along and changed everything. We're all dreamers, but understand the business and don't leave it completely in someone else's hands."peacockb@sundaytimes.co.za..