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Recording Deals In The Digital Age
cascadefx writes "There is a really interesting panel wrap-up over at the National Association of Recording Industry Professionals's website. The Incredible Shrinking Profit Margin panel discussion looks like it included some interesting discussion into the deals that are made with performers now that the rules have changed. These notes offer interesting (perhaps hopeful) business predictions about Britney Spears' career as well as answering the (new)-age-old question about just how much an artist makes off of an iTunes download. Check it out."
Obligatory google cache.
DiscDividers tabbed plastic CD dividers: divider cards f
Good stuff -- they interview record execs and former/current/hopeful musicians and explain the sorts of problems the industry is facing. While people stealing music online is a factor, lesser-known factors are also discussed including the fact that sales figures may be sinking because people are finished replacing their record collections with CDs.
Try not. Do or do not, there is no try.
-- Dr. Spock, stardate 2822-3.
Count yourself lucky. I found the file and it's a 30 second read and a big snooze to boot.
Text only from Google's cache
dancers, clip directors, sound techs have never got any money from music sales.
Actually, all Super Bowl halftime acts go pre-recorded, not just Shania Twain. Most artists agree with the network that the potential for error and embarassment is too great when you're performing for literally a BILLION people.
Sub-trivia: Want to guess the one exception to this rule? U2. When they performed a couple of years ago, they threatened to walk if they couldn't do it live on the spot. Pretty cool, if you ask me.
Just to clarify... in France they do.
French copyright law is slightly different from UK/US copyright law. Its basis is not "copyright" (the right to copy), but "droits d'auteur" ("author rights"). It does not revolve about control of the work, but rather around making sure authors get fair compensation.
Under French copyright law, sound techs (in post-production), dancers, clip directors are considered as co-authors, as much as the songwriter, musicians or the main performer, and thus get a cut from sales.
What French (and other mainland European) artistic-technical support staff are complaining about is that the labels are using this change in the medium as a Trojan horse to deprive them of the rights they used to benefit from under the traditional copyright system.
Since all labels are using this trick, and since artistic-technical staff have no have no say in choosing the label they are contracted with (the main performer's manager does), they are basically shafted.