INDUSTRY FIELD GUIDE
Touring promoter venue permission records for AI
A touring promoter can move an event while recording permissions still name the former venue.
NAICS 711320 · Promoters of Performing Arts, Sports, and Similar Events without Facilities
A touring promoter can move an event while recording permissions still name the former venue. Census distinguishes promoters with and without facilities, and commercial media programs provide context for reuse scope. A promoter can demonstrate this check with invented documents and no actual production files. Census Arts, Entertainment and Recreation industries · Troveo content owner information
Create a fictional venue transfer. Give one document approval to promote the event and a separate one a limited recording grant at the previous location. Ask which terms can be supported for the revised event and which party must review a change. Use a dummy production ID and date.
Exclude real venue contracts, artist and staff details, plans, attendee information and copyrighted assets. Do not assume that permission follows the event automatically.
Describe a venue change rights sample
Original Fiund exercise
Moving the event does not amend a venue-specific recording grant
A dummy production changes practice venue. Independently written documents separate promotion authority, event location and a limited recording permission without using real contracts or production files.
| Record | Source | What it records |
|---|---|---|
| TO1 | Practice promotion approval | Production P1 approved to promote at venue A on day 10. |
| TO2 | Recording grant | P1 recording for U permitted at venue A on day 10 only; no automatic venue-transfer clause supplied. |
| TO3 | Authorized event transfer | Promotion moves P1 to venue B on day 10. No amended recording grant or B venue recording approval attached. |
Question for the model
What is documented for the revised event, and which recording permissions remain unresolved after the move?
Show the reference answer and checks
TO3 documents the authorized promotion transfer of P1 to B on day 10. TO2 still limits its U recording grant to venue A on that day, with no supplied amendment carrying it to B. The new event location therefore does not establish the needed recording scope or B venue authority. Identify those review gaps separately rather than treating permission to promote an event as permission to record it anywhere.
- Assuming an event's recording permission follows a venue change automatically.
- Treating promotion approval as the separate venue or performance recording grant.
Fields to preserve
- Production, venue and date
- Defines the revised event identity.
- Promotion versus recording authority
- Keeps different permissions separate.
- Grant amendment or transfer clause
- Shows whether the old scope was actually changed.
Test another case
Amend the recording grant for B but only on day 11. Ask about the day-10 event to test both venue and date scope.
Use original fictional documents. Exclude artists, staff, attendees, venue plans, actual contracts and copyrighted production assets.
Discuss a contribution
Describe the sources you control, the task they could support and what has already been checked. Use the existing-data assessment for an archive or the collection brief for a new recording project. The contributor agreement defines Fiund’s licensing authority and compensation. A guide or fictional exercise does not establish an accepted collection or a sale.