[Fmpro] Who do you really know?

Claude Castonguay c.castonguay at videotron.ca
Sun Jul 29 23:21:40 GMT 2007


Well in fact in France it's 33,3333% Max to Publisher. It's in my  
contracts, i get 66% the pub gets 33% so when Sacem sends money to  
SOCAN for these projects they keep the 33% and pay the French  
Publishers.BTW the french pubs usually try and get 50% when they're  
dealing with us dumb & ignorant North Americans but if you read your  
publishing contract and they've put anything higher than 33,33% just  
ask for corrections in the contract and they won't make a fuss 'cause  
they know the law ; o ) They just hope you don't...

Now for the part where you receive money from your PRO without really  
knowing how much they got from SACEM...That's a whole other can of  
worms.

Claude
On 07-07-29, at 18:52, leshurdle wrote:

> Hi Claude.... then your French speaking chums in Canada have
> 'stitched' you up......... In France & Germany max a Publisher can
> have is 40%.... however here is the REAL joke.
>
> When the PRO in France/Germany pays for usage, they DO pay at 60/40
> in favour of the composer, but 'your' PRO will pay you at 50/50 !!
>
> L
>
>
> On Jul 29, 2007, at 3:34 PM, Claude Castonguay wrote:
>
>> I think Chris' question about 'where do publisher's interests and
>> writer's or composer's interest diverge' is a good one because it's
>> not that clear to me either. I know the publisher's role is different
>> in the states compared to Canada, but how? My knowledge stops here...
>>
>> In Canada you may have 50 albums or films to your credit and never
>> have a publisher involved. But the publishers have managed to have
>> everyone think that 50% automatically goes to a publisher, wich is
>> completely false. 50 % is actually the maximum a publisher may ask in
>> Canada if you chose to have one but there is no minimum. You could
>> give them 1/10 of 1% if you want.
>>
>> Best,
>>
>> Claude
>> On 07-07-29, at 15:28, Chris Alpiar wrote:
>>
>>> Maybe I am having a blonde moment *blink blink* but what is the
>>> negative of
>>> having publishers on the ASCAP board? Please educate me Sir Les. I
>>> can
>>> understand not wanting RIAA people but generally aren't the
>>> interests of the
>>> publishers aligned with that of the composers?
>>>
>>> -----Original Message-----
>>> From: fmpro-bounces+chris=alpiar.com at nxport.com
>>> [mailto:fmpro-bounces+chris=alpiar.com at nxport.com] On Behalf Of
>>> leshurdle
>>> Sent: Sunday, July 29, 2007 3:18 PM
>>> To: fmpro at nxport.com
>>> Subject: Re: [Fmpro] Who do you really know?
>>>
>>> How many on this list know [of] the Publishers on the ASCAP Board...
>>> and who would they vote for?
>>>
>>> Should anyone who writes music, BUT,  publishes music for more than
>>> themselves be allowed to be a writer member of a PRO board?
>>>
>>> Les
>>>
>>> On Jul 27, 2007, at 7:28 AM, leshurdle wrote:
>>>
>>>>
>>>> On Jul 26, 2007, at 11:20 PM, Jim Chase wrote:
>>>>
>>>>> "I think we now have ample evidence to demonstrate that at ASCAP,
>>>>>   "transparency" and "accountability" are little more than cheap
>>>>> sales slogans
>>>>>   designed to pacify and impress the uninformed."
>>>>>   - Mark Northam
>>>>
>>>> It must be noted PRS now follows ASCAP in this respect.
>>>>
>>>> Also, Imagine............ PRS Publishers voting writer members  
>>>> on or
>>>> off the board !!!!
>>>>
>>>> L
>>>>
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>>>
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>> _______________________________________________
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>
>
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