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Nightclubs to pay extra for play (pg. 2)
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| Cetra³ |
And what bout lots of the unreleased stuff or your own compilations/edits/remixes. I do a bit of remixing and most of the tracks that I play are from overseas downloaded from beatport etc..
I can't see how copyright laws for mainstream music can successfully be applied to electronic music, the whole scene works differently. |
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| James Brooke |
| quote: | Originally posted by Dean Millson
So who is actually therefore getting the money from the $1 per person? Certainly not the artists who produce most of the music. |
the artists get the payment, as long as you credit the right artist in your tracklist...
its the same when a britney spears track is played on the radio, the radio station pay APRA, who then pays her record label, who then pays her...
| quote: | Originally posted by Cetra³
And what bout lots of the unreleased stuff or your own compilations/edits/remixes. |
register as an artist with APRA, then you will get payments if and when your tracks are played... ;) |
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| Dean Millson |
Buut for club nights James you don't do tracklists, only for dance parties.
The $1 a head gets paid according to the capacity of the nightclub from what i understand and that money goes to apra or whatever, but you are not required to submit a tracklist for regular club nights etc, so who does that money go to? |
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| James Brooke |
| quote: | Originally posted by Dean Millson
Buut for club nights James you don't do tracklists, only for dance parties.
The $1 a head gets paid according to the capacity of the nightclub from what i understand and that money goes to apra or whatever, but you are not required to submit a tracklist for regular club nights etc, so who does that money go to? |
ahhh i see what your saying, in that case when no tracklist is submitted then the money goes into APRA's back pocket.... which sucks
it would be a pain in the ass as a DJ and a promoter, but i think that all club nights should be required to submit track lists... ;) |
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| Dean Millson |
Which means that thbe majority of the money goes into APRA's pocket as the majority of events are not specifically 'dance parties' but club nights etc.
Submitting tracklists would be great in theory but extremely hard, almost impossible to manage.
Considering that the majority of the funds from this going to APRA will be heading straight into their pocket i think the amount is extremely exorbatent. I'm all for supporting artists, however this doesn't achieve that either. |
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| Teflon_Teapot |
| quote: | Originally posted by Dean Millson
Which means that thbe majority of the money goes into APRA's pocket as the majority of events are not specifically 'dance parties' but club nights etc.
Submitting tracklists would be great in theory but extremely hard, almost impossible to manage.
Considering that the majority of the funds from this going to APRA will be heading straight into their pocket i think the amount is extremely exorbatent. I'm all for supporting artists, however this doesn't achieve that either. |
agreed |
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| promowhore |
| quote: | Originally posted by Dean Millson
Which means that thbe majority of the money goes into APRA's pocket as the majority of events are not specifically 'dance parties' but club nights etc.
Submitting tracklists would be great in theory but extremely hard, almost impossible to manage.
Considering that the majority of the funds from this going to APRA will be heading straight into their pocket i think the amount is extremely exorbatent. I'm all for supporting artists, however this doesn't achieve that either. |
No APRA is a non profit org.
The majority of $ is proportioned out to the major labels. The current system for distribution is based on what tunes make up commercial radio playlists, TV broadcast, ARIA CLUB and ARIA DANCE charts. If you think that indies or indie producers will see a share or greater share of this income think again.
As for ARIA and APRAs stance of using local artist profiting... that false economics. Roughly (over a year) local "dance" artists that actually make an impact on charts and radio is small handful of what is actually released. In the past its usually one TV ROCK like artist a year that will make an impact (who mind you are signed to a major).
Until APRA can get accurate play lists from everyday playing every week in every club, this is just another money making scheme for the top end of the chart / town. |
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| Dean Millson |
| It's actually not APRA when you read it, it's the PPCA which was set up to represent the labels i believe. How surprising... |
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| pkcRAISTLIN |
| who the was sitting on the other side of the table when these decisions were being made? |
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| Dean Millson |
Was talking to a Melbourne club owner about this this afternoon and apparently it's taken quite a few people by surprise. Basically the clubs were invited to put forward their cases about this around 2 years ago (when the dialogue started) and that was kinda the last they heard of it, until reading it in the paper today. Doesn't sound like there was much debate or inculsion, but this is only coming from one source so who knows.
Interesting post over at news.com.au with relation to the article from Marcus at Ffour...
There seems to be some confusion. There are 2 bodies that collect royalties APRA for the artists, and PPCA for the recording companies - Sony BMG and the like, this article refers to the latter. This money is going to a business not an artist. The way that PPCA charges is based on the capacity of the venue, not how many people come in - so if the venue holds 400 people it needs to pay $420 per night it is open. Most clubs don't reach their capacity every night of the week, so they are payong for people who are not there. If you take the same venue open an average of 3 nights a week the cost per annum is $65,520 - up from $4368. That is an enormous increase. A business like a night club has many overheads including DJ's, Advertising, Cleaning, Staff, Alcohol as well as all your normal costs of running any business. There are some who believe that they are run by lazy, criminal drug lords, but most are run by young passionate and professional types. The front line of these businesses are the staff who are not paid a lot, work long hours through out the night with loud music - hence they don't stay in the industry very long, and training is always an issue. These businesses do not make the money many of you think, and earing a 10%net profit margin is considered good. This will effect many clubs, and the diverse range of music people are offered to hear, and it is all because the enormous multinational recording companies who earn billions have not been making the same profits due to illegal down loads. Please consider
Posted by: Marcus of ffour 11:26am today |
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| ONION |
| how sensitive new age jew : / |
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| Dj_Es-Dva |
ah blah? I swear i just heard this on the radio and they only said it would be WA...
This sucks. |
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