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-- [Newbie Question] comment les remixes sont faits ?
[Newbie Question] comment les remixes sont faits ?
Ben ou� je mes suis tjrs demand� comment les DJs se remixaient entre eux...
Bon deja ils doivent demander la permission � l'auteur original avant de remixer nan ?
Si c le cas l'auteur original leur passe tous les samples du morceaux et autres sources (voix, instru etc..) et ils peuvent remixer efficacement, c bien ca ?
Ou alors les DJs peuvent-ils remixer trankillou dans leur coin, et apres de proposer leur version remix finale � l'auteur original son accord pour la mettre sur un vinyl ?
Mais a ce moment la ils remixent � partir de koa ?
Juste � partir de la track originale ils peuvent extraire des samples et en rajouter etc et remixer le tout ??
Sinon c koa la diff�rence entre l'appelation 'mix' et 'remix' ? C pareil ou y a des diferences ?
Voila dsl pour toutes ces questions qui vont vous paraitre �videntes � vous les Trance Addicts, mais ca fait tres longtemps k je me les pose et j'aimerais bien y trouver quelques r�ponses 
Putain super thread :
C effectivement des questions que je me pose aussi...
Donc OK surement certains peuvent obtenir toutes les sources les diff�rents samples, parties d' une zik mais moi ce qui m' intrigue c ceux qui peuvent pas les obtenir(ex:la mix comp en cours a laquelle participent marco.v et night je crois), comment font pour s�parer, r�cup�rer, modifier tous les sons, les vocaux et tout et tout...
mix et remix, pareil --------------------------------------------->
Erf... apparement mes kestions etaient pas si �videntes k ca alors 
Pourtant tu es DJ(enfin DJ amateur 
) Stanymi non ?
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| Originally posted by Aghn�r Pourtant tu es DJ(enfin DJ amateur ) Stanymi non ? |
bon le gars ki fait son morceau demande a un autre de remixer et je suppose kil lui donne tout ce kil fo pour le faire correctement.
Apres y a les amateurs comme nous , on a pas de sortir un remix si le createur de l original n est pas d accord (�videmment) mais kand on fait le remix et kon l envoie au createur pour kil l ecoute , on a kan meme une chance d etre pris.
Maintenant le remixeur amateur ne dispose ke de tres faible moyen pour faire un remix correct (puisque le createur ne lui a donn� aucun sample car il n est pas au courant ke tu fais un remix) donc par exemple pour la remix comp 4 on utilise l accapella de the sound of goodbye et les notes de la melodie principale , c tout ce kon a a notre disposition.
La difference entre mix et remix:
mix: suit un adjectif en general (Original , Instrumental , Vocal etc...). un mix est realis� par l'auteur de l'original
remix: kelkun d autre vient toucher au morceau ou bien l'auteur de l'original realise un mix tellement different de ce dernier kil en sort un remix. Attention le terme remix implik un chamgement consequent dans le morceau original sinon c du re-edit$
voila j'espere ke ce ke je viens de vous dire est juste. c'est a verifier kan meme.
(ps: mon remix de perpetuous dreamer est bientot termin�)
Merci beaucoup Marco.V pour les explications
Donc 95% des remix sont faits a partir des "sources" du morceau original, ce ki veut dire k'a priori les remixeurs connaissent tres bien l'auteur original non ? (puisk il faut une authorisation)
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| Originally posted by marco.V remix: (...) ou bien l'auteur de l'original realise un mix tellement different de ce dernier kil en sort un remix. |
Extended c generalement une version allong� d un original mix ou radio mix, y a pas vraiment de diff�rence
Puisqu'on parle des remixes, les prix pour un remix peuvent varier de 750� � ... Il faut compter sur une base de 2500� pour un DJ connu.
PS: Ces montants viennent d'un tr�s bon reportage diffus� sur canal (Belgique) il y a quelques ann�es.
je rajouterais que normalement c'est pas l'auteur du morceau qui demande a un autre mec de le remixer mais il me semble que c'est la maison de disques qui s'en charge. A verifier
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| je rajouterais que normalement c'est pas l'auteur du morceau qui demande a un autre mec de le remixer |
| quote: |
| Originally posted by Aghn�r Ben c pas plutot dans l'autre sens k ca marche ??? C pas plutot le DJ ki veut remixer ki demande � l'auteur original via sa maison de disk ? |
Waaah !!! Ben je trouve pas ca tres logique ! Faut bien k le mec ki remixe soit un minimum int�r�ss� kan meme, non ?
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| Originally posted by Aghn�r Waaah !!! Ben je trouve pas ca tres logique ! Faut bien k le mec ki remixe soit un minimum int�r�ss� kan meme, non ? |
Ben apparemment en ce qui concerne les remix qui pourraient �tre qualifi� d'amateur les groupes chopent eux-m�mes les �l�ments pour faire le remix (vocaux, ...)
(cf. par ex. TbO & Vega sur mp3.com) ils chopent eux-m�mes ce que filent les auteurs (sur des forums par ex.)
sinon en ce qui concerne les remix "officiels" c'est sur que les maisons de disques sont � l'origine de tel ou tel remix, mais c'est quand m�me possible que certains bossent sur un remix qui apr�s est publi� (je pense par ex. � toute la liste des remix d'Energy 52...)
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| Originally posted by No-s Puisqu'on parle des remixes, les prix pour un remix peuvent varier de 750� � ... Il faut compter sur une base de 2500� pour un DJ connu. PS: Ces montants viennent d'un tr�s bon reportage diffus� sur canal (Belgique) il y a quelques ann�es. |
Allez parce que je vous aime bien ;)
La production d�mystifi�e j'avais lu �a il y a quelques mois (TA c'est quand m�me une foutue r�f�rence quand tu cherches un peu, c'est une mine d'or ce forum)
English Spoken only...
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| Originally posted by Peter Campbell The basics Record companies are in business - that is, they want to make money. It's a tough business and the temptation to take unfair advantage is great, especially when they're given a great tune by a naive producer. This section of the Aquasonic website is designed to stop you from being naive, tell you about some of your rights, what to look out for in contracts and in dealing with labels, and how to join the various organisations that are there to help you. I'll also tell you the various ways that royalties are collected and how radio plays, club plays, and records manufactured should all be earning you money before even one record is sold. Getting your music heard If you've got access to basic decent equipment like samplers, mixing desk, effects, and or a decent computer, you may be able to turn out tunes to a high enough standard to be cut and played out. If so, get them on to DAT or burn CDs and make sure they're well labelled with contact details etc. then go clubbing. DnB scenes tend to be quite small, and it's not hard to approach DJs with your tunes. If your tunes are good enough, the DJ might like it enough to go and get a dub plate cut. A dub plate is basically like a record, but it's a one-off made from soft vinyl and doesn't last all that long before it wears down and sounds distorted and eventually unplayable. In the UK there is a kind of pecking order among DJs, with people like Fabio, Grooverider, Jumping Jack Frost, Andy C, Hype and so on at the top. If you've never produced before, it may be better to approach more local and less well -known DJs, and get their response to your tunes first. Once you're getting good response there, consider approaching a more 'famous' name. Don't forget, that first tune will determine what that DJ thinks of you, so don't waste the opportunity if it's not good enough. Getting club plays with dub plates is really the best way to land a deal, because labels will often be asking around and will get in touch with you if they can find you. Of course, if you're getting decent plays, there's nothing stopping you from getting in touch with your favourite labels yourself. Tell them about your tune and where it's getting played, ask if they've heard it, and offer to send them a copy if they're interested. I don't know if the scene is the same around the world, but basically my advice is, if you've got good tunes, get them to the DJs first. You can mail them (remembering to label them clearly and putting some copyright notice on them) to British DJs or hand them out when they hit your town. Incidentally, your music is always copyright to you as soon as you've written it - the difficulty is proving it if someone does decide to do the dirty and put it out or copy it without your consent. Mailing a copy to yourself by registered post and not opening it is a cheap and reasonably effective way of proving when you wrote it - get someone to witness you sealing it too if you want to be really careful If you haven't yet got the gear to make a tune that sounds good enough, but you've got great tunes that need to be mastered in a better studio, then your main concern is to get that to happen. A lot of this is about who you meet and get to know. If you can play your tunes to people who have got the gear, and they like them, there may be a way that you can get help. Always be clear however, what they expect to get out of it themselves. I know of cases where small labels offer to let you have studio time to complete a tune, but in return they expect to be able to put that tune out themselves. This is actually quite reasonable, but sometimes they then want to charge you extortionate money for the studio time when they start to recoup from the release. As covered below, a lot of deals are profit shares, and if the studio time is considered an expense that comes out of profits, you can end up with little or no money from a release, and there's nothing you can do about it legally if you've signed that deal without realising. Some labels also think they own you from there on - I know of one case where a producer did a couple of tracks in a label's studio. Nothing came of them, but the producer made another track elsewhere a year later which was signed to another label. For this the boss of the earlier label threatened them physically! So, it's best for everyone to be clear from the start what's expected, and always where possible you should get agreements down in writing. Deals There are various types of deals that you may be offered by a label. In DnB the one you should generally go for is the one-off single agreement which signs two tunes for release and is either a profit share or a standard royalty agreement. You may be asked to sign an agreement for two or three singles - you should be more wary of these, as it hooks you into a situation that you may later wish to get out of and can't. If it's your first deal, you should think very carefully and get good advice before signing such a deal. If you're being asked to sign a deal for some singles and an album, get professional advice from a music lawyer, and unless the label is offering you a substantial advance (realistically many thousands of pounds) then you should not sign. Finally and worst of all is the artist deal, where you sign to the label as an exclusive artist for a set period of years. Once again unless the label is offering a very big advance, this is a no-no, and you should NEVER EVER sign a deal like this without taking proper expert advice. Some labels will look at the advice I'm giving you and say something like "this is all well and good if you're dealing with EMI, but we just haven't got the money to pay you huge advances, and all we're trying to do is to protect our interests. We don't want to spend loads of time and money promoting you and then you go off and sign to someone else who reaps the benefit of all our hard work". Sounds very plausible doesn't it? I can even see their point, but basically if you're happy with the way that label treats you and if they pay up on time, then there would be no reason not to keep giving them your tunes. And quite often, the promotion a label does for you (if at all!) is first and foremost promotion for the label, so they're not actually losing out at all. And what if you write tunes in several different styles? Maybe you write something that just doesn't suit that label and would sell better on a different one - is it fair that you can't release it? The other classic is - "well it's our standard agreement, and everyone else signs it, and anyway, we won't really hold you to it if you're not happy" - err, don't believe it! If it's in writing and you've signed it, then they can and probably will hold you to it. Bear in mind also, that if you're serious about making any sort of living in dnb, you must think of releasing at least a dozen tunes a year, and no one label is going to be able to provide you with that output. So unless they're prepared to give you a living wage for exclusivity, I'm afraid in the real world they just can't expect to own you! Watch out also, for a little phrase ' first refusal', which means that you can't give a tune to any other label without playing it to them first and giving them the right to sign it. This seems reasonable at first, but what if they're slow in paying, or you're not happy with their promotion or even if there's a personality clash going on - do you really want to be held to this - I don't think so! One final horror story demonstrates another contract clause to watch out for- don't ever sign away the name of your act. You must retain the right to release on other labels under the same artist name. I know of one well known dnb act who signed an artist agreement with an extremely well-known dnb label. They have been very unhappy with their treatment over several years and are owed lots of money. They have decided to stop writing for that label anymore, but it isn't that simple. The label owns their name, and what's more, relations have broken down to the extent that the label has warned the major British distribution companies that if they release any product bearing that artist name they will be sued. The artists concerned have been well and truly f***ed over. And I'm talking big names here (though obviously I can't actually publish them, and please don't ask)! Royalties, profit share or buy out deals Financially, there are commonly three types of deal. The first is an old fashioned royalty deal, where you are simply paid a percentage of the dealer price for every record sold. The label is allowed to make deductions for things like promo copies, special packaging, potential returned records, and various other things. Average percentages for this sort of deal are 15 to 18% of the Published Price to Dealer, (which on a 12" will work out around 40 to 50 pence per record). Don't forget any advance you get is taken out of this, so if you get an advance of �500, you will need to sell at least 1000 copies before you start making any more money. Watch out in these deals for those deductions though. I've seen deals where there are deductions for things like overheads and admin, but the whole point of the deal should be that the label pays for all that out of its share, not out of your royalty! The second type of deal, probably the most common in the DnB scene, is the profit share. Here, you enter into a kind of loose partnership with the label, where they put up the money to manufacture and promote the tune, and then at the end of the day any profit made is shared with you. The standard ratio in these deals is commonly 50/50. If they want more in their favour, be very wary, unless it's justified by them giving you truly free studio time or something like that. Again the things to watch out for are what they take out of the equation before they add up the profits. All manufacturing costs, shipping and delivery and of course the advance are standard and OK. Promotion and marketing costs are OK, but you should have a say on this if they intend to spend more than a specified amount, and you should watch out that they are really promoting you and not their labels with that money (although obviously that overlaps to some degree). Also watch out for photography costs if they suggest a photo shoot. It's a good idea to agree the basis beforehand, and can be cheaper to get your own photos done separately - you get more control over your image that way too, and don't end up paying some friend of theirs with a camera out of your earnings! Studio and recording costs could be tricky, and if you are using their studio, you must agree beforehand what the rates are - it's too easy for them to claim any amount in their accounts after the event. The third type of deal is a buy-out. In the DnB scene at present, these are not always a terrible idea, although a lot of music lawyers may advise you strongly against them. The things to weigh up are the likelihood of your tune crossing over to mainstream sales, or getting used on a film or commercial etc. On average DnB sales, if you're offered in the region of a �1000 or so for two tunes comprising a 12" release, or a similar amount for one tune on a compilation, then you might consider taking the money and running. Royalties are unlikely to exceed these amounts by very much unless its a big tune, and at least you've got the money upfront in your pocket (to buy the next bit of gear that's going to improve your production and help you negotiate better deals in the future). The big danger is, that if the tune does go big in some way, then you watch the label grow rich while you've already spent the money. Oh well, it's a risk you have to weigh up yourself. One thing though - don't let them include licensing in the buy out - that should still be a 50/50 or at the most 60/40 split on any monies. (Licensing is where you've done a 12" and the label has sold on the rights to another label, perhaps abroad, or for a compilation release). On all the types of deals there are several other areas you should be aware of. First is to double check that the advance is recoupable but NOT recoverable. The difference is that if the advance is recoupable, it means that it will be taken out of your earnings. This is perfectly fair, as in effect the label is basically lending you some of your earnings before you've earnt them. This is of course in return for them making some money out of you later! Recoverable means that if they don't make money out of the release, they can come to you and ask for their advance back. This is NOT alright and you should not sign a deal that includes a recoverable advance. Another thing you should be aware of as a producer, is a clause that appears in a lot of contracts that holds you responsible for the legality of the music and indemnifies the label from any costs, legal actions etc. arising from your use of copyright material. In English, this means that if you use some vocals from a famous tune as a sample in your own work, you could be in deep doo-doo if the original copyright owner spots it and decides to take action. Obviously, sampling is rife in dnb, and with the low level of sales that tunes generally generate (1000-5000), it's not normally worth anyone going to court. Be aware though, that if you use some Abba vocal on your tune and it's very succesful, when Abba's publishers get to hear about it and take your label to court, the label will be able to sue you for their legal costs as well as any fines and compensation they end up paying. There should be a clause in the deal that tells you when you are going to get any monies owed and also what sort of statement you'll get. Commonly you will be accounted for each six month period, and within 90 days of that period. This is pretty standard although it's not very good - but it helps the label with its cash flow which is always a big problem for small labels. What it means, is that by the end of September of 2002 you should get money made in January to June 2002. It should be accompanied by a reasonably detailed breakdown of income and expenditure. There should also be a right for you to appoint an accountant to go and look through the label's books. In practice this seldom happens, but with the threat there, it could help stop the temptation for a bit of dodgy creativity on your statement. By the way, if your label does owe you money and it's dragging on, and all other attempts at persuasion fail, write to them stating that if you don't receive it within say fourteen days, you will "instigate proceedings in the local County Court under the small claims procedure, whereby they will have to pay costs as well as the amount owed". Tell them also that you will "apply for interest under The Late Payment of Commercial Debts (Interest) Act 1998 at 8% above the bank base rate". If all that jargon doesn't scare them into paying, then look in the phone book for your local County Court, and ask them to send the info on Small Claims. It's actually a pretty straightforward procedure and you can do it yourself, but I'd really recommend you to get help from the Musician's Union. You have joined haven't you? One last thing is the subject of mechanical royalties. I'll deal with this in more detail in the section on MCPS, but basically a lot of dnb labels don't pay these royalties. If your contract doesn't state that you waive mechanical royalties, then the label should pay these, and you can ask MCPS to chase them. If your contract does have a waiver, then you should ask yourself whether you want the industry to continue doing these sort of deals. In the end it's up to you if you do allow the waiver, but it means that you won't be able to collect performance royalties (that's �15 per minute on Radio One) unless you get published and give away a big chunk of them. This is because PRS is affiliated with MCPS and if you join, you as a member are not allowed to waive the royalties. It's about solidarity in the end. If you're happy for musicians to keep getting ripped off, then you do your own thing and don't cry when you get rolled over. If you want a better deal for all musicians, then you join PRS, MCPS and ideally the MU too, and then you follow their rules so that everyone benefits. It'll mean you can't sign deals with some of the (even very well known) dnb labels, but more and more labels are following these rules and in the end it cleans up the business and is good for everyone except the rip-off merchants. Publishing One other sort of deal you might be offered, either on its own, or as part of a record deal, is PUBLISHING. In DnB it is seldom a good idea to sign away your publishing. Publishers make money by collecting performance royalties. If your tunes are getting radio plays on a major station (ie Radio One in UK), then royalties are collected by an organisation called PRS. The rates are a little over �15 per minute!! Now you know why the Spice Girls are so rich! If you are writing tunes that are getting radio plays, then it is worth joining PRS and they'll give you that money directly. A publisher normally takes between 10 and (tut, tut) 40% for collecting that money on your behalf. By the way, if they ask for 50% tell them to f*** off, and if they ask for more than 50% report them to PRS cos they're breaking their agreement. The thing is, in return for that percentage, they're supposed to use all their power and contacts to increase the royalties you get, by placing your tunes on adverts, in films, on TV etc. Now if they're really in a position to do that, great! They'll probably also offer you a very good advance on the publishing deal and you should get professional advice and consider it very carefully. Unfortunately, in the DnB scene, it doesn't work like that. Let's face it, "Two Step Records" is some guy or guys in a flat - or they might even have been around a while and have a proper office, perhaps connected to a record shop or a studio - the trouble is "Two Step Publishing" is also those same guys, and they haven't the time or the contacts to go around properly promoting your tunes like a publisher should. So they're basically just increasing their profits from your tunes by taking a percentage of YOUR royalties in return for a little bit of paperwork. Sometimes they'll tell you that "Two Step Publishing" is part of a much bigger publisher that can do all sorts of things for you, but I'd still be wary. Publishing is the biggest scam in the music business, and very few publishers do much work for the little man (or woman!). I'd generally advise you not to sign publishing deals for tunes if you can possibly avoid it, and if you have to sign there should be a proper advance, so that they at least have to work to recoup it! If you are asked to sign a publishing deal as an artist (not for a specific tune or tunes) then there should be a very substantial advance. Again get expert advice before putting pen to paper. PRS The Performing Rights Society are the people that collect royalties due for public performance of music works. Public performance covers a lot of areas. Classical concerts, cinemas, clubs, TV, radio, internet, pubs, hairdressers, cafes, theatres, sports stadiums, etc. etc. are all covered by PRS licences which they pay for and which allow them to play music to the public. All this licence money is then split up and distributed to PRS members according in theory to how much their music got played. There are two types of members - publishers, and composers. As described before, publishers collect royalties on a composer's behalf, and then take a big slab of the money for doing so. Unless that publisher is going to significantly increase your earnings, then it makes sense to try and join PRS as a composer yourself. It used to be free, but at the moment they charge �100 (a one-off fee), and you have to have had at least one commercially released record, or can show that you have had definite plays on a national radio station or on TV. It doesn't actually make any sense joining unless you fulfil these criteria anyway. And remember, just a few Radio One plays will recoup that money for good, without any publishers taking a cut, ever! At the moment in the UK there is only one dnb show on national radio - Fabio and Grooverider on a Friday night/Saturday morning at 2am, and occasionally dnb gets played on the John Peel and the Gilles Peterson shows too. I've also been informed that Mary-Anne Hobbs plays some dnb too (thanks, Ed!). Local stations have shows like Kiss FM's Jumping Jack Frost and Hype shows, and Patrick Forge plays some dnb. PRS can't handle catalogueing every single record played everywhere, so they only get full listings from the BBC national stations, and they take random sample periods from other stations like Kiss, so you'll be very lucky to get any royalties from those. Remember too that pirate stations are just that, and never pay any licence money anyway. In my experience, even on the Fabio and Grooverider shows that are supposed to report all plays, there's quite often some missing, so if you reckon you're going to get plays on these, it's a good idea to tape and keep them, so that you can argue it out with PRS and get paid for them later. There's no point doing that for Kiss shows though, because they are only sampled anyway and if you don't fall into the sample it just won't count. PRS inspectors do visit clubs randomly and get playlists from DJs on the night - they combine these results with sales (correlated with MCPS - another good reason why you shouldn't waive your mechanicals) to hand out royalties for club plays. The decent cash really does come from Radio One and, if you're fortunate, from TV too. You can check out the PRS website for more info here MCPS The Mechanical Copyright Protection Society are the guys who are supposed to collect a royalty every time your musical work is copied in some mechanical form (ie. a piece of vinyl, a CD, a cassette, a mini disc etc.). Record manufacturers around the country are supposed to get licences from MCPS before they will press any records. Labels should register with MCPS and then they can only get records manufactured when they have paid licence money for the number they intend to produce. Unfortunately for artists, the system doesn't work like that, and there are many manufacturers who turn a blind eye. There are quite a few labels, even very well known ones, who don't register and don't pay MCPS. Over the years, a few labels have been very badly stung, because MCPS has caught up with them and demanded payment - some have even gone out of business because of this. Some labels get you to sign deals where you waive your mechanical rights, and there's not a lot that MCPS can do when this happens. The danger for you as an artist is two-fold. First it makes it a lot easier for a label to press up more records than they tell you, and so sell a bunch of copies that are never accounted to you. Second, it means that they can spend all your earnings on things like promotion (which is good for the label) but at the end of the day there's nothing left to pay you. MCPS royalties work out at around 25 pence per record manufactured, and this money should come to you (minus a small admin commission) whether the record sells or not. You can get paid this money either through a publisher or (much better) by joining MCPS yourself. Joining MCPS is fairly straightforward - just like PRS really - and there is a one-off fee of �50. Your first release should recoup this many times over, so it's well worth doing. One word of warning though - as an MCPS member you are not allowed to waive your royalties - this means that there are some labels you simply cannot sign to, unless you can persuade them to register and pay up for your tune. But never forget, if your tune is good enough, another label will always be willing to put it out. Generally speaking, if a label is paying MCPS it's more likely that you won't get ripped off, and although there are still a few old dinosaurs out there who are dragging their feet, more and more labels are starting to pay these royalties. The MCPS website with all their application info is here MUSICIAN'S UNION The best reason for joining the union in my opinion is that for any single contract you can get one hour's free time and advice from a music specialist lawyer. On standard dnb deals this is enough time to be told all the pitfalls and to be given advice as to how you should negotiate with the label to get the contract changed in your favour, and this is worth the membership several times over if you sign a few deals in a year. Even if you're only signing one deal, it more or less pays for itself. The union has a sliding scale of membership depending on your likely earnings, and this starts from under �40 to over �200 per year (but you'd be earning enough not to care at those higher rates!). Other benefits include representing you if you have to go to court for any reason, giving you general advice and information, cheap equipment and other insurance, access to a resource of contact information on their website and in their handbooks. Oh, and you get a free diary and some stickers too. What more could you want? Seriously though, the legal advice is the tops. If you had to take three or four different deals to music specialist lawyers privately in a year, you'd be looking at paying out hundreds of pounds. One last thing (which may cast doubt on my impartiality!) - the union operates a scheme where if you recommend a friend to join, you get a �5 discount on your next year's membership. So, please, if you decide to join, quote my MU number which is 462921. That way, the union gains a new member, I gain a cheaper membership, and you gain free legal advice. And don't forget, if you recommend a friend you can get the discount too! Let's unionise all dnb heads and get rid of the rip-off merchants out of this business for good. For more info about the Musician's Union check their web site here EXPERT ADVICE Whether you decide to do it through the Musician's Union or not, I just want to say a few words about music lawyers. It's no good taking your contracts to just any old lawyer, because they don't know the way the business works and they don't know the sort of deals going round to compare to. So, you have to find a music specialist. If you're not in the union, you can get names from adverts in music magazines and sometimes music technology magazines. Be aware of two things though. First of all, most music lawyers are used to dealing with major labels and don't often get to see the sort of deals going on in the underground scene. Secondly, when a lawyer gives you advice, he has to protect himself, by pointing out the dangers and pitfalls of every single nuance of every single clause. The upshot of all this is that when you give him an average dnb label deal, he'll probably tear it to shreds and want to rewrite the whole goddam thing. In my opinion, the trick is to get him to explain what the problems are, and then decide for yourself just how deep you want to go with all this. Let's face it, labels can't afford to keep paying lawyers themselves, and if you go back to them with a totally rewritten contract you're causing them major headaches. Really, it's best to explain to the lawyer that you're dealing with a very small outfit here, and that we're probably talking about sales of a few thousand units, and ask him to tone down his advice accordingly. Get him to point out any serious nasties in there, and then ask his advice about how important or otherwise the rest of the changes really are. In the end, after your hour's time with him, it's you that has to negotiate with the label and agree to any changes, not him. What you have to do is try to get to understand what the various clauses in the deal mean, and then take a sensible stance in negotiating. Basically, you don't want to get ripped off, but we're not talking lifetime million pound deals here, so in the end, you don't want to piss the label off either. The keyword is COMPROMISE. But you can only do that from a position of knowledge. Hopefully, I've pinpointed some of the common tricks, and the lawyer will alert you to any other nasties, but from there on it's your decision. Having said all that, remember don't let yourself be persuaded by promises that aren't in the agreement, and don't let yourself be bullied. As I've said before, if the tune is any good, you will always find a decent label to put it out. REMIXING its a bit different than that Eugene, you never can decide who you want to remix you songs or not, its totaly up to the artist if you have asked them to remix you music. But its also a agerment with you record company with what they want you to do, so you also have to come to an agrement with this also. If your are a good remixer there will be not a day go buy thats someone is asking you to remix there songs, and this will be you also one of these people trying to get there music remixed by the big artist so they can some how make a name for your self. If you are a good remixer Well you stand the chance to make alot of money. The best remixers in the world will get anywhere up to $20000-55000 per song for as little as 3 days work, but mind you some remixers can take up to 3 months, it all depends on the artist. I hope this helps |
ouais bon c'est partie on s'appelle demain 
, il faut se poser et consacrer une petite heure a ce post, j'attends d'etre au taf et je l'imprimerai pour le lire tranquillement. En tous cas merci 
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| Originally posted by choukri ouais bon c'est partie on s'appelle demain , il faut se poser et consacrer une petite heure a ce post, j'attends d'etre au taf et je l'imprimerai pour le lire tranquillement. En tous cas merci |
�a te plait pas ???
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| Originally posted by LoginZ Pourquoi le �a te plait pas ??? |
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