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Producers - How Do They Get Paid? (pg. 2)
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| Rob H |
legaly, EVEY time a song is played to a group of over 9 people (which is then classed as a public event rather than a private listening) the artist should get money for it
even in a club or bar
its fair enough on radio shows and things but the law is impossible to keep in the likes of clubs and bars. |
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| idoru |
| quote: | Originally posted by Floorfiller
i doubt the artists see much of that. |
They don't. Whoever said it earlier is right; if you're a musician, you'll earn more money from touring than you would from record sales. Tiësto (ironically the one we all attack for releasing stuff just for the money) even said in an interview last year that he doesn't get much from his record sales.
That's why I don't understand the concept of producers telling me to stop downloading their music. First off, they're not losing much, if any money in the first place. Secondly, shouldn't they be happy that a massive amount of people are enjoying something that they created?
I'm going to get started on an Anti-RIAA/Pro-P2P rant, so I'll stop now. |
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| DC- |
| quote: | Originally posted by idoru
They don't. Whoever said it earlier is right; if you're a musician, you'll earn more money from touring than you would from record sales. Tiësto (ironically the one we all attack for releasing stuff just for the money) even said in an interview last year that he doesn't get much from his record sales.
That's why I don't understand the concept of producers telling me to stop downloading their music. First off, they're not losing much, if any money in the first place. Secondly, shouldn't they be happy that a massive amount of people are enjoying something that they created?
I'm going to get started on an Anti-RIAA/Pro-P2P rant, so I'll stop now. |
Oh boy, you couldn't be any more wrong!
You indeed ARE hurting the artists by downloading their works simply becuase we're not talking about millions (ie. 50 Cents album), but mere 100s and sometimes 1000s. If a record sells 500 units, and the track was downloaded 2000 times, that's a lot of potential record sales lost to piracy!
With that said, TA is synonymous with leechers and as such, people who are leechers are not the target market becuase they wouldn't buy the track regardless of what medium the track was released on, MP3, Vinyl, CD or otherwise. If they can download it for free, no point buying it, right?
P.S. For your everday trance artist (who isn't PVD, Tiesto or Armin), vinyl sales is the ONLY source of revenue. |
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| JakeC |
| quote: | Originally posted by idoru
They don't. Whoever said it earlier is right; if you're a musician, you'll earn more money from touring than you would from record sales. Tiësto (ironically the one we all attack for releasing stuff just for the money) even said in an interview last year that he doesn't get much from his record sales.
That's why I don't understand the concept of producers telling me to stop downloading their music. First off, they're not losing much, if any money in the first place. Secondly, shouldn't they be happy that a massive amount of people are enjoying something that they created?
I'm going to get started on an Anti-RIAA/Pro-P2P rant, so I'll stop now. |
If they are not earning much then it will affect them. |
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| Aiwendil |
| quote: | Originally posted by tiesto14
I really dont think big DJs like Tiesto, PVD, Oakie etc actually "pay" for any vinyls. I am sure producers want them to play their tracks...especially lesser known producers. |
The don't.
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So since they dont pay for the vinyl but play it for a profit...how is that anymore legal then downloading and playing a live set at home that u found on the net? |
Because the producers/labels gave consent for their work to be used.
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Someone mentioned exposure/advertisement for the producers everytime their track is played by a big DJ.....but in reality 95% of the people in the clubs would never buy a vinyl of a particular track...so where is the incentive? To think u are going to make it big when u are only targeting a very small demographic (5%) seems pointless...so then it begs the question....do most producers make tracks for the money? or for the feeling knowing their tracks are being played by the number one DJs of the time? |
The exposure isn't to entice club goers to buy the vinyls. Club goers don't buy vinyls. DJ's buy vinyls. And the big DJ's set the trends on what practically every other minor DJ will play. If Tiesto plays a record, thousands of other DJ's are going to buy and play it simply because he did. And I thought labels paid producers? Or no. |
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| Luke Terry |
| quote: | Originally posted by DC-
Oh boy, you couldn't be any more wrong!
You indeed ARE hurting the artists by downloading their works simply becuase we're not talking about millions (ie. 50 Cents album), but mere 100s and sometimes 1000s. If a record sells 500 units, and the track was downloaded 2000 times, that's a lot of potential record sales lost to piracy!
With that said, TA is synonymous with leechers and as such, people who are leechers are not the target market becuase they wouldn't buy the track regardless of what medium the track was released on, MP3, Vinyl, CD or otherwise. If they can download it for free, no point buying it, right?
P.S. For your everday trance artist (who isn't PVD, Tiesto or Armin), vinyl sales is the ONLY source of revenue. |
following on from this and regarding the inital post.
artists primarily get paid an advance for their track, plus a % of sales (vinyl, mp3, cd) whether they get a direct cut for compilation features is stipulated in the contract
a publisher (should an artist aquire one) is then responsible for getting the royalties for airplay by djs and compilation features when not mentioned in contract, etc.
the fee varies on airplay though from nothing, to over £10/minute on the big radio stations
and as said above, the primary source of income to an edm artist who isn't mainstream is through sales, piracy does hurt badly. if you think smaller record labels now can struggle to shift 500 copies of a record they could have moved thousands of 4, 5, 6 years ago, you can see a problem emerging.
i have talked to many record label owners regarding tracks and remixes, not necessarily of my own, that have said there just isn't the money to get new talent up with the likes of the superstars like there was when they were being brought into the scene. i mean, stuff like armin - communication got in the uk top 40, whereas birth of an angel is miles away from even coming close. i know they are on different labels, but if you look what is getting the money; ultrabeat, scooter, and of course the crazy frog it's not difficult to see that new non-mainstream edm artists could make a good go of it as could have been acheived 5 years ago.
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| Luke Terry |
sorry if my wording is a bit crap, it's been a long day
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| Dickie-T |
we need examples.......
like luke terry for instance; what is the amount of money you made with 'broken promises'?
or is that private info? i am really curious because all the producers who had releases are very quiet on this type of information
i only know phynn got a lousy 3 figure number (probably just under $1000) for his remix of adagio for strings (he said it on another forum), that was disappointing! especially for such a big release... |
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| DC- |
I won't discluse any figures, just that it's not enough to make a living off of, especially when paid bi-anually.
But I'll let you know this, a lot of labels today are struggling even pushing 600 units. If you wanna help keep the trance scene alive, BUY RECORDS! |
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| DC- |
| quote: | Originally posted by Dickie-T
we need examples.......
like luke terry for instance; what is the amount of money you made with 'broken promises'?
or is that private info? i am really curious because all the producers who had releases are very quiet on this type of information
i only know phynn got a lousy 3 figure number (probably just under $1000) for his remix of adagio for strings (he said it on another forum), that was disappointing! especially for such a big release... |
No offence to Phynn, but he's not a name that commands a remix fee any higher than 1000 euros, not when considering acts like The Thrillseekers charge a similar amount. |
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| isoterra |
| quote: | Originally posted by tiesto14
so then it begs the question....do most producers make tracks for the money? or for the feeling knowing their tracks are being played by the number one DJs of the time? |
the latter... the ones in it for the money can be found in the charts |
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| DC- |
| quote: | Originally posted by isoterra
the latter... the ones in it for the money can be found in the charts |
Money is important, lets not kid ourselves, why? Becuase someone is making money off you, it's only fair for you to expect a share of that. You can still make music for the love of making music, but to what point will you enjoy being exploited by labels? |
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