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Re: Samples and looping



On Fri, Aug 28, 2009 at 12:27 PM, Anders
Bergdahl<anders_e_bergdahl@hotmail.com> wrote:
> If you make 100 000$ on remiastereing and reselling a tune I have 
>composed
> and recorded should you have all the money??

Yes, that's the way it works. The work the record label does is to
remaster the recording, print copies and distribute them. None of that
is the work of the composer. He made the music, not the recording or
the CD record copies. The composer gets paid when his music is used
for playback or performance in public or for commercial reasons.
However, if a lable puts out new copies of a recording of music you
have composed it is likely that the use of this music will increase,
and that means more money goes to you.

If you as the composer are also the artist whose performance (of your
composition) was recorded for this product, then it is a different
situation; then you (the artist) would get a small cut of the label's
income of record sales.


> If so it means that the unknown
> composers should count on heving their best peices stolen so that the 
>well
> known artist can use their art to make BIG money...

Yup, that's what they do! The business model for that is called
"placing tracks". You compose a song and take help from a publisher to
find an artist with millions of fans and an active record company to
record the song and release it. The record company gets the royalty
from sold records (and some performance compensation when the song is
played on air in countries that give this), the artist gets a cut for
the record sales via the label (6% up to 20%) (and some performance
compensation when the song is played on air in countries that give
this). You, as the composer, get your part out of the "publishing
money", which is the big part of what radio and television stations,
shopping malls etc pays for the right to use the music and this is
normally split with 66% to you and 33% to your publisher. In some
countries a 50/50 cut on publishing is also common.

Per