Re: [ARSCLIST] Copyright of treasures

[Lou Judson <inaudio@xxxxxxxxxxx>]

Understood. But among the musicians I personally know, the biggest 
problem - after getting signed or released at all - is getting paid at 
all... which so many are producing and releasing their own product... 
even if distribution is meager - small distro with payment is better to 
them than better distro without payment... Doesn't mean this is 
representative, though!

The one and only commercially released small label recording I produced 
(I did say I was small potatoes, right?) never had that accounting 
done, thus it was the last I did with any label (though I own the 
rights and the masters now) - my work is for the musicians and 
royalties not a part of the process. So I am speaking anecdotally and 
maybe out of place here, though I appreciate the opportunity for 
education and speaking...

Lou

Lou Judson • Intuitive Audio
415-883-2689

On Oct 10, 2005, at 8:11 AM, Karl Miller wrote:

> On Fri, 7 Oct 2005, Lou Judson wrote:
>
> > ... and if fairness reigned, perofrmers would get paid for their work
> > every time a label sells a copy! Sadly that does not happen all to
> > often. But that is another topic entirely!
>
> Yes, but then...consider Naxos...as far as I know, they buy the
> performance. I would wager that we would not have the benefits of the
> Naxos label were it not for this practice. In classical music, the 
> market
> place is very different.
>
> As for paying royalties on a per sale basis...for my label we  cut only
> one check...assuming we have any net...Besides the mechanical rights, 
> we have
> only one performer contract per disc. There is no way we could afford 
> to
> maintain the accounting infrastructure to support multiple contracts 
> and
> stay in business.
>
> Karl