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Hey Bill,
thanx for the hinsight i am a GEMA member as well and
it makes sense...after 4 years of selling a lot of CDs
with some of my compositions in them and not seeing
any money i sent them as letter asking what was
happening,then i got a reply saying they were going to
investigate,a few months after that i got my first
check it was something like 170.-eur.! they still send
me my finacial statement but ever since i quit my band
and since i joined digital distribution the earnings
have been a lot less.The best way is still selling
them yourself at gigs!
cheers
Luis
--- Bill Fox <billyfox@soundscapes.us> wrote:
> Stefan Tiedje wrote:
>
> > Per Boysen schrieb:
> >
> >> On the other hand, it may be that the RIAA are
> using too heavy tools
> >> as their administrative routines when assembling
> the tariffs for
> >> using others songs in public (money that are
> distributed back to the
> >> composers). But be careful not throwing away the
> respect for
> >> composer's work only because of some brown shirt
> attitude clerks.
> >
> > What they asked for must have been significantly
> more than they paid
> > for the pianist alone,
>
> Of course, because it's a year-long license. But
> then the music in the
> joint is covered for a year. Like someone said in a
> previous post, that
> turns out to be about $20 per week. I don't know
> the cost of the
> license so I can't say how accurate that figure is.
> I'm sure that the
> cost varies with venue size. In the US, you'll
> often see a license
> posted on the wall that declares the legal capacity
> that the local
> authorities allow in a venue.
>
> > with the result that the composer gets nothing and
> the pianist lost
> > his job. My experience with the RIAA/Gema family
> of corporations is,
> > that they claim they protect the artists, but they
> are only interested
> > to protect the publishers. There is a reason why
> Stockhausen founded
> > his own publishing company...
>
> So he wouldn't have to share his money with a
> publisher. That has
> nothing to do with PROs. True, the PROs pay the
> publishers and
> publishers typically take half and pay the remainder
> to the composer.
> But if you don't have a publisher, the you are,
> essentially,
> self-publishing and the PRO must pay you directly,
> leaving no "middle
> man" to take half.
>
> > They look where the big bucks are and don't care
> about the small. I am
> > still memeber of the Gema but seriously
> considering to quit, because
> > they do a bad job... (95% of all Gema authorities
> are purely lawers...)
> >
> > If you should get small amounts of money, like
> maybe 5 Euros from a
> > web radio, the Gema won't pay it to you, because
> its so little,
> > instead they collect it and distribute it mainly
> to the big guys who
> > have too much already. I'd love to find a authors
> rights corpoartion
> > which would allow me to puplish my work under a
> creative commons
> > license and still let them effectively take care
> about royalties for
> > commercial use...
>
> IF a PRO like GEMA isn't meeting the needs of its
> members, then either
> the members need to band together and force them to
> change from within
> or they need to leave and find a PRO that *does*
> meet their needs...
> *if* there is one!
>
> Cheers,
>
> Bill
>
>
www.myspace.com/luisangulocom
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