Recording Contract Royalty Rates
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Stream Weavers: the Musicians' Dilemma in Spotify's Pay-To- Play Plan
Close Academic rigour, journalistic flair Shutterstock Stream weavers: the musicians’ dilemma in Spotify’s pay-to- play plan January 5, 2021 6.11am AEDT Spotify offered the promise that, in the age of digital downloads, all artists would get Authors paid for their music, and some would get paid a lot. Lorde and Billie Eilish showed what was possible. Lorde was just 16 when, in 2012, she uploaded her debut EP to SoundCloud. A few John Hawkins John Hawkins is a Friend of months later, Sean Parker (of Napster and Facebook fame) put her first single — The Conversation. “Royals” — on his popular Spotify Hipster International playlist. The song has sold Senior Lecturer, Canberra School of more than 10 million copies. Politics, Economics and Society, University of Canberra Eilish’s rags-to-riches story is a little murkier. But the approved narrative begins in 2015, when the 13-year-old uploaded “Ocean Eyes” (a song written by her older brother) to SoundCloud. She was “discovered”. Spotify enthusiastically promoted “Ocean Eyes” on its Today’s Top Hits playlist. She is now the youngest artist with a Ben Freyens Associate Professor, University of billion streams to her name, and Spotify’s most-streamed female artist for the past Canberra two years Michael James Walsh Associate Professor, University of Canberra Billie Eilish attends the Academy Awards ceremony at the Dolby Theatre in Los Angeles, February 9 2020. Jordan Strauss/Invision/AP The new hit squad Streaming now accounts for more than half of recorded music revenue. Spotify has about a third of the subscribers paying for music streaming. -
Publishing Agreements (Part 1)
Publishing Agreements (Part 1) By: Chris Taylor, B.A., LL.B. The views and opinions expressed in this article are not meant to substitute for legal advice which should be sought in each particular instance. Introduction This 2-part article seeks to educate the reader on the basic tenns and conditions found in standard music publishing agreements. We will start in this Part I with a brief description of the four (4) basic music publishing income streams. It is important to understand these streams to be able to deal with the standard contract tenns in publishing agreement which will be reviewed in Part II of this article (see next issue of Canadian Musician). 1. Mechanical Royalties. There is a statutorily regulated fee which is set by negotiations between Canada's music publishers and Canada's recording companies. The current fee, as of the time of this article is ¢7.7 cents per song under five (5) minutes and ¢ 1.54 for every minute (or portion thereof) thereafter. This amount is paid by the record company to the music publisher for basically every copy of the song that is manufactured. So, for example, if an album contains 12 songs (all under 5 minutes) and 10,000 copies of the album are manufactured the record company would be required to pay $9240 calculated as follows: 12 X 10,000 X .077 = $9240. It is easy to see how mechanicals can amount to a substantial amount of income if your song is being manufactured in substantial quantities. UNDERSTAND: THIS IS NOT THE SAME AS THE "ARTIST ROYALTY" THAT THE RECORD COMP ANY PAYS. -
MUSIC INDUSTRY CONTRACTS This Is a Series
MUSIC INDUSTRY CONTRACTS This is a series of extracts from expert articles about music industry contracts. You are also encouraged to read the three companion articles – Why is it so tough to make a living as a musician and What Do I need to do to get signed? and Explaining the income streams. Record Contract Basics by Michael McCready Be sure to get advice from someone familiar with record contracts (usually an entertainment attorney). In all record contracts, you will be signing an exclusive agreement. This means that you will not be able to record for anyone else other than the record company during the "term" of your contract. The term is how long the contract lasts. Contrary to popular belief, record companies do not sign you and guarantee you seven albums. It may be a seven album deal, but nothing obligates the label to record seven albums. The seven albums means that the record label has the option to record seven albums. Typically, a record company will record one album and see how it does. If it sells well, they will exercise their option to record a second album. If the first album does not do well, the label usually drops you. Record companies require long term option contracts because if the band does do well, the label wants to make sure that the band stays with their company. Since they invested so much and signed the band in the first place, they want to be able to share the success of the band over a long period of time. -
Media Release Form
Media Release Form Subject Details Name: Address: Home No.: Mobile No.: Email: Is the subject under 18 years Yes No of age? If yes, name of parents / guardians: Media Consent I understanding that by signing this consent form I have: Given permission for the subject’s image, video or name to be used only in the promotion of Qld Oztag and/or its individual venues including (but not limited to): o Websites o Posters o Flyers o Banners o Cinema Advertising o You Tube Footage Read and understood the Terms and Conditions contained on the back of this form. Signature: (parent if subject is under 18) Date: Terms and Conditions 1. Agreements and Acknowledgements The subject (or subject’s parent/guardian) agrees and acknowledges that: Qld Oztag may record the subjects image and voice, or photograph the subject for use in promotional material Qld Oztag may incorporate any recorded image or sound, or photograph made by Qld Oztag of the subject Qld Oztag may use the subjects name or any other personal reference in the promotional material. Qld Oztag may alter, adapt, utilise and exploit the recorded images and voice, or photographs in any way it sees fit. The subject (or subject’s parent/guardian) will not have any interest in the promotional material, in the copyright or any other right in the promotional material and, to the extent permissible by law, the subject (or subject’s parents) waives and/or assigns to Qld Oztag all such rights. 2. Release The subject (or subject’s parent/guardian) agrees and acknowledges that the subject participates -
Self Assessment
How do you know what they know? How do you show what they know? Frederick Burrack How to cite this presentation If you make reference to this version, use the following information: Burrack, F. (2006, June). How do you know what they know? How do you show what they know? Retrieved from http://krex.ksu.edu Citation of Unpublished Symposium Citation: Burrack, F. (2006, June). How do you know what they know? How do you show what they know? Paper presented at the 18th Kansas State University Music Symposium, Manhattan, KS. This item was retrieved from the K-State Research Exchange (K-REx), the institutional repository of Kansas State University. K-REx is available at http://krex.ksu.edu How do you know what they know? How do you show what they know? Dr. Frederick Burrack It is my pleasure to share some music making with you. To tie into the topic of this session, consider that the performance you just heard was one of your high school students. Does this performance demonstrate musical knowledge, understanding, and aesthetic sensitivity? In my 25 years of music teaching, it has been my observation that America’s music programs have demonstrate outstanding student development of performance skills through presenting a variety of performance experiences. This statement may or may not accurately reflect the general music component of a school music program, but if it sufficiently prepares students for continuing in music beyond the general classes, it certainly is a part of it. Instruction in a typical music class often focuses the learning objectives on performance skill development and subjectively assessed by the instructor. -
Bbc/Equity Television Agreement 2015
BBC/EQUITY TELEVISION AGREEMENT 2015 Revised: 8th October 2015 1 CONTENTS PAGE CONTENTS PAGES 2 - 7 RECITALS 8 GENERAL TERMS 1. Scope, Enforceability and Application of Agreement 8 2. Definitions 8 3. Commencement, Duration and Termination 9 4. Equal Opportunities 9 5. Anti-Bullying and Harassment 9 6. BBC Child Protection Policy and Code of Conduct 10 7. Settlement of Disputes 10 8. Payment and VAT 10 9. Assignment 11 10. Alternative Arrangements or Amendments to this Agreement 11 11. Information for Equity’s Purposes 11 12. Casting Agreement 11 DEFINITIONS 12-18 PART ONE A. TERMS THAT APPLY TO SPECIFIC CATEGORIES OF ARTISTS Section 1 – Actors exercising dramatic skills, puppeteers, dancers and skaters (solo or group) and solo singers appearing in at least one act of an opera or musical 1.1 Weekly Engagement 1.1.1 Minimum Engagement Fee 19 1.1.2 Work Entitlement 19 1.1.2.1 Work Days 1.1.2.2 Hours of Work on Work Days 1.1.3 Additional Fees 20 1.1.3.1 Overtime 1.1.3.2 Supplementary Attendances 1.2 One Day Engagement 1.2.1 Minimum Engagement Fee, Work Entitlement and Overtime 22 1.2.2 Supplementary Attendances 23 1.2.3 Miscellaneous 23 1.3 Voice Only Performances 1.3.1 Minimum Engagement Fee, Work Entitlement and Overtime 24 1.3.2 Supplementary Attendances 24 1.3.3 Miscellaneous 24 Section 2 – Variety Acts 2.1 Minimum Engagement Fees 25 2 2.2 Work Entitlement 2.2.1 Work Days 26 2.2.2 Hours of work 26 On Location In the Studio 2.3 Additional Fees 2.3.1 Overtime 26 2.3.2 Supplementary Attendances 27 Section 3 – Stunt Co-ordinators and Performers 3.1 Minimum Engagement Fees 28 3.2 Work Entitlement 3.2.1 Work Days 28 3.2.2 Hours of Work 28 On Location In the Studio 3.3 Additional Fees 3.3.1 Overtime 29 3.3.2 Supplementary Attendances 29 3.4 Miscellaneous 30 Section 4 – Choreographers and Dancers required to assist choreographers 4.1 Minimum Engagement Fees and Work Entitlement (Work Days) 31 4.2 Work Entitlement (Hours of Work) 31 On Location In the Studio 4.3 Overtime 32 4.4 Miscellaneous 32 B. -
2021-2024 Independent Theatre Agreement (ITA)
Independent Theatre Agreement 2021-2024 Material Terms Minimum fees for 2021 shall apply from May 31, 2021 to June 27, 2021 Minimum fees for 2021-2022 shall apply from June 28, 2021 to June 26, 2022 Minimum fees for 2022-2023 shall apply from June 27, 2022 to June 25, 2023 Minimum fees for 2023-2024 shall apply from June 26, 2023 to June 23, 2024 All minimum fees and other monetary amounts 2021 - 2024 are as specified in the 2021-2024 Independent Theatre Agreement Fee Booklet Independent Theatre Agreement Material Terms Table of Contents PREAMBLE 1 (A) Agreement ------------------------------------------------------------------------------------- 1 (B) Purpose ---------------------------------------------------------------------------------------- 1 (C) Equity ------------------------------------------------------------------------------------------- 1 1:00 RECOGNITION OF EQUITY AND THE APPLICATION OF THE AGREEMENT 1 2:00 COMMUNITY ENGAGED ACTIVITY 1 3:00 EQUITY MEMBERSHIP AND AUTHORIZATION 2 3:01 Equity Members in Good Standing ----------------------------------------------------- 2 3:02 Authorization ---------------------------------------------------------------------------------- 2 (A) Equity Member --------------------------------------------------------------------- 2 (B) Non-Member ------------------------------------------------------------------------ 2 3:03 Deductions ------------------------------------------------------------------------------------ 3 (A) Payment of Equity Dues --------------------------------------------------------- -
Djing for Dummies.Pdf
www.sharexxx.net - free books & magazines TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page i DJing FOR DUMmIES‰ TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page ii TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page iii DJing FOR DUMmIES‰ by John Steventon TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page iv DJing For Dummies® Published by John Wiley & Sons, Ltd The Atrium Southern Gate Chichester West Sussex PO19 8SQ England E-mail (for orders and customer service enquires): [email protected] Visit our Home Page on www.wileyeurope.com Copyright © 2006 by John Wiley & Sons, Ltd, Chichester, West Sussex, England. Published by John Wiley & Sons, Ltd, Chichester, West Sussex. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or trans- mitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or other- wise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, England, or emailed to [email protected], or faxed to (44) 1243 770620. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc and/or its affiliates, in the United States and other countries, and may not be used without written permission. -
360° Deals: an Industry Reaction to the Devaluation of Recorded Music
360° DEALS: AN INDUSTRY REACTION TO THE DEVALUATION OF RECORDED MUSIC SARA KARUBIAN* I. INTRODUCTION In October of 2007, Radiohead released In Rainbows without a record label. The band’s contract with record company EMI had been fulfilled in 2003, and Radiohead did not bother finding a new deal as they began recording their seventh album.1 Radiohead then made the album available at www.inrainbows.com, where fans were instructed to “pay-what-you- want” for the digital download.2 Shortly after the album’s release, the band’s front man, Thom Yorke, said “I like the people at our record company, but the time is at hand when you have to ask why anyone needs one. And, yes, it probably would give us some perverse pleasure to say ‘F___ you’ to this decaying business model.”3 It was no surprise that Radiohead received critical acclaim for the artistic merits of the album,4 or that millions of fans found a way to acquire the music. Its financial success, however, was less predictable. Radiohead declined to release statistics related to its pay-what-you-want model, but a conservative estimate suggests that the band’s profits from this digital release exceeded six and a half million.5 Furthermore, when Radiohead contracted with iTunes and a distributor to sell the album on iTunes and in stores, its high sales pushed it to the top of traditional album charts6 in early * J.D. Candidate, University of Southern California Law School, 2009; B.A. University of California Berkeley, 2006. A special thank you to Gary Stiffelman, Professor Jonathan Barnett, and Professor Lance Grode. -
The Rise and Fall of Record Labels Ilan Bielas Claremont Mckenna College
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2013 The Rise and Fall of Record Labels Ilan Bielas Claremont McKenna College Recommended Citation Bielas, Ilan, "The Rise and Fall of Record Labels" (2013). CMC Senior Theses. Paper 703. http://scholarship.claremont.edu/cmc_theses/703 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. 1 CLAREMONT McKENNA COLLEGE THE RISE AND FALL OF RECORD LABELS SUBMITTED TO PROFESSOR GEORGE BATTA AND DEAN GREGORY HESS BY ILAN BIELAS FOR SENIOR THESIS SPRING 2012 4/29/13 2 Table of Contents Abstract ........................................................................................................................................... 3 Chapter 1: Introduction to the Music Industry .............................................................................. 4 Chapter 2: Record Labels: Their Role and Failure to Adapt to Changing Environments ............ 14 Chapter 3: The Internet and Adoption of MP3 Technology ......................................................... 24 Chapter 4: Piracy and P2P Software Destroy the Record Label Industry .................................... 33 Exhibit 1 ......................................................................................................................................... 50 Chapter 5: Solving the Problem of Record Labels ....................................................................... -
Written Evidence Submitted by Christian Castle
Written evidence submitted by Christian Castle November 16, 2020 Digital, Culture, Media and Sport Committee UK Parliament Inquiry on the Economics of Music Streaming Thank you for the opportunity to comment on the economics of music streaming. This comment addresses a number of questions raised by the Committee including a discussion of dominant business models, the impact of algorithms, long term effects of the dominant business models, alternate approaches and specific recommendations for the role I respectfully suggest that government could play in approaching the problem. I am a music lawyer in Austin, Texas and have been actively involved in the traditional music business as a musician and lawyer for many years at companies like A&M Records in Hollywood, Sony Music in New York, and in private practice. I have worked on these policy issues for the digital music business since its inception, which drew me to Silicon Valley in 1998 when I worked with clients such as the original Napster.1 My biography is available on our firm website.2 While I do not address the Committee’s question on piracy directly, I would respectfully say that the solid work of the European Parliament on the Directive on Copyright In the Digital Single Market should be supported in spirit and that the UK has the opportunity to lead the way in building upon that work to protect creators of all categories. For too long the various safe harbors available online have degenerated from well-meaning efforts at encouraging development of the Internet into mere alibis for what would otherwise be massive crimes. -
Suing the Beatles and Others: Perils and Precedents of Celebrity Lawsuits Presented to the Sxsw Conference Cle Program March
1 SUING THE BEATLES AND OTHERS: PERILS AND PRECEDENTS OF CELEBRITY LAWSUITS PRESENTED TO THE SXSW CONFERENCE CLE PROGRAM MARCH 2016 BY STAN SOOCHER, ESQ. Denver, Colorado Editor-in-Chief, Entertainment Law & Finance Author, Baby You’re a Rich Man: Suing The Beatles for Fun & Profit Associate Professor, Music & Entertainment Industry Studies University of Colorado Denver Campus Box 162, P.O. Box 173364 Denver, CO 80217-3364 303-556-4066 [email protected] www.stansoocher.com Celebrities, with deep pockets and media spotlights, are natural lightning rods for litigation. The Beatles were a prime example of artists suing and being sued. The band’s most important legacy, of course, was their music, and influence on cultural and sociological changes. But few celebrities encountered as many legal disputes as did the Beatles. Many of the legal issues the Beatles faced were forerunners for today’s music industry. From early issues with crowd control as Beatlemania took hold in the United Kingdom in 1963 and the United States in 1964, to disputes over merchandising, management, intra-band rights, sound recordings, music publishing, copyright infringement, immigration, taxes and more, the Beatles faced—and continued to face long after they broke up—an array of issues that reflected where the music industry was headed. My recent book Baby You’re a Rich Man: Suing The Beatles for Fun & Profit (ForeEdge/University Press of New England) takes a close-up, investigative look at some of these concerns, as did a chapter from a prior book I wrote, They Fought the Law: Rock Music Goes to Court, that focused on the Beatles’ long-running music royalty battle with Capitol-EMI Records.