this is good shit..

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MUGGETS

Last edited by tu_face on Jun-08-2003 at 14:20

quote:

Originally posted by tu_face this is good shit..

Ah lol,so that's where my thread went. I was wondering where it went off to.Cheers for moving it,Jeff

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"Wenn du dich zum Untergrund zählst, reicht es nicht, es nur zu sagen. Du musst auch viel graben, um es zu werden."

quote:

Originally posted by Sand Leaper Ah lol,so that's where my thread went. I was wondering where it went off to.Cheers for moving it,Jeff

lol i never did it.. i do not have powah in here

so blame luke.. i told him to pm u to tell u where it was

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MUGGETS

i did say in chat, but no one took a blind bit of notice as usual lol

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w: www.luketerry.com

This has been INCREDIBLY helpful. Thank you all for your contributions =)

wOw... long reAd but definAtely wOrth it! thAnx for all the adviCe Sand Leaper;
---> and fOr reminding us all abOut the legal aspect of mAking tracks (the nOt so fUn pArt)

Thanks alsO to everyone else who contribUted!

quote:

Originally posted by Sand Leaper Sign all deals under an artist’s name. Don’t sign away the rights to your birth name. This is the name your parents probably gave you and wanted you to own for life. Do not give it away. It can have consequences for whatever other plans you may have in life (ie. If you are a dj and you become very successful they might have a claim to some of your success because you accomplished it using a name that they own, be careful here. This is an extreme example though)

Do I need to sign away the rights to my birth name if I want to release a track under my own name? And I would like to be able to use it without major legal problems

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quote:

Originally posted by Maaz Do I need to sign away the rights to my birth name if I want to release a track under my own name? And I would like to be able to use it without major legal problems

Email Sean with that question

Here's an email on publishing deals that Greg Murray got and posted on the forum @ www.subtraxx.com...

Hi Greg.

I've just had a 45 minute phonecall with him about the whole thing, and I think I finally understand the basics, though it is some complicated stuff

Hope to see you on MSN soon to discuss it but the very basics are this:

1) music has two sides; the rights to the actual recording, and the right to the written stuff; the 'sheet music' as it were, or the MIDI's.

2) you DEFO need to join a company like Buma-Stemra or MPCS or whatever your UK equivalent is called, simply so that you then own your rights of the 'sheet music' of your productions. If you don't, the rights aren't owned by anyone so anyone can copy your exact melodies in their own productions and sign them without any risk.

3) these companies will then collect all of the publishing money, such as:
-your track being played in commercials
-your track being played on the radio
-your track appearing on a compilation cd
etc, anything but royalties basically. they will take a small cut of it, 6-8%, and make sure you get the rest.

This is all mandatory, it MUST go like this. no choices so far.

The choices are here: after all this, you can choose to get a publishing deal. First of all: DON'T. They suck!

A publishing company will pay you an advance, say 500-1000 euros, and claim to be able to arrange famous vocalists/remixers for you. He told me they rarely deliver on this. Then, they will own the rights of ALL your 'sheet music' that you write for the duration of the contract which can be up to 10 years.

This means that for the duration of the contract they will take a (huge!) cut of ALL money you make on publishing, i.e. virtually anything but royalties, and in the case of his track they made a lot more money on publishing than on royalties (since that track was airplayed a lot, used in commercials and appeared on loads of compilations). The cut they will take will be anything from 50% to 80% of your publishing profits according to him.

So a publishing contract basically gets the rights for all your writing, and consequently take a large cut of all the money you make save for royalties, and don't do SHIT for you except pay you a small advance which they always immediately get recouped right after your first record is out (they won't give you any publishing money at all until they recouped their advance) and promise to do some stuff that you can't really hold them up on.

Why does ANYONE get these deals then? Well, someone like Armin van Buuren who is sure to make loads of publishing money with his tracks, would an advance of several hundreds of thousands of euro's for a publishing deal. In the end he STILL will get less money than he would without the deal, because the publishing company will get a huge cut of his profits.

What I didn't know before our conversation is that there is no such thing as a choice between buma-stemra and a publishing company. a publishing company is just another link in the chain - one that will take a lot of money and don't do anything worthwhile for it.

It is true though that a publishing deal can save you a lot of paperwork as the publishing company will take care of most of it as opposed to you taking care of it if you are only with buma-stemra. this is because buma-stemra isn't allowed to make any decisions for you or anything, they ONLY make sure you own the rights of your writing and that you will get the money it makes.

Well I guess that's it. Hope you understand all this and hope you didn't already know it? hehe
By the way I'm also sending this mail to every producer I know, please do the same! (and I'm sending it to myself so I won't forget this stuff.)


...and some remarks to his post by Miika Kuisma aka AR52/Fluid In Motion:

there are some upsides too..

- if you've good publisher you've much better chance to get your music on commercials, compilations or even movies. That's their core competence (or should be)

- if your tunes are getting released in many countries it's almost impossible to get mechanical license money etc into your pocket.. unless you've a good publisher

nutshell: an amazing publisher is good for lazy people like me, just ok publisher is bad news for your finance.

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"Wenn du dich zum Untergrund zählst, reicht es nicht, es nur zu sagen. Du musst auch viel graben, um es zu werden."

what a conveluted mess the production world seems to be.


so tough..
i cant imagine being stiffed on something you created.


i guess the point is, create something magical so its
signed by a bigwig label, which you know and trust.

Thanx for letting know!

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//Moolow

Apparently the UK is one of the jurisprudence systems within which you'll have to include that (c) logo to be able to claim the copyright. Is this the case also in the US? Just curious, which other legal systems incorporate this, to me rather foolish idea if you think of the meaning with this whole idea of authorship, "(c)-rule"?