[Fmpro] For Lynne Simple Hello

leshurdle leshurdle at avradionet.com
Mon May 7 16:07:17 GMT 2007 

Olde is it?  Ha

I'm only a bear when those who would wish to make money off our backs  
[nothing personal Lynne] only want to do the easy part, and NEVER  
[IMHO] offer any guarantee they will work in the future to secure  
their %% never mind about the actual income for the client.... to say  
nothing of proof of usage./income.

NO, PRO's and publishers will NOT support the writer 'correctly/ 
accurately'.
NOTE; no gross amount at source data on any statement[s].

With regard to the terrible weighting formula operated by ALL US  
PRO's........ PRS in the UK is about to cut back the '''''value''''  
of music on air from 12 midnight to 6.00pm to 50% of the ''''  
value''' while music on the air between 6.00pm and midnight is paid  
double. +++

I asked if this was because many episodic tv shows and movies, shown  
in what PRS calls prime time**,  now carry a great deal more  
song........ no answer ;-)

Remember those of you who have music on air in the UK......... this  
may well mean your income will be halved......... or doubled  !!

My guess the new rules at PRS will shift radically once those who  
wanted the new gouge realize Ad's and promos are also being paid  
double......... they wont like that.... next it WILL BE........ how  
can 'score be valued as per song........ it has no lyrics !

Where do we hear that all the time?

L

** The BBC commissioned a study of 5000 viewers [not a large audience  
by US standards] to see when people watched TV.
They provided a 'download' service...........  the conclusion was  
PRIME TIME was NOT when people watched PT slotted shows.
Many watched in the wee late or early morning hours..........   
hmmmmmm  will there be a weighting formula for downloads/mechanicals???

+++ at an ASCAP meeting a few years ago, when many of us were barred,  
but eventually allowed to attend, Mr Brabek insisted PRS members were  
unhappy with 1-1.
I asked the then CEO of PRS if this was so, he said no.
However, since it takes a while for PRO's to shift gears maybe the  
upcoming changes were in the works years ago 'they' just needed an  
excuse and massive nighttime usage [The Mint] provided the excuse.

+++ what happens if US PRO's reduce the value of 75% of airtime to  
50%... think they wont?




On May 7, 2007, at 7:15 AM, Chris Alpiar wrote:

> Lynne thanks for your great willingness to iron out our old bear  
> Les ;)
> However while your Wikipedia description has validity there is more  
> nuance
> then that. And how this list refers to it is quite different I  
> believe.
> Technically all songwriters are composers but not all composers  
> write songs.
> But I think in our world composer generally refers to someone that  
> writes
> for orchestra, the underscore of a film or tv show, the stuff that  
> requires
> years and years of technical and theoretical training as well as a  
> thorough
> understanding and interpretation of all kinds of western and ethnic  
> musics
> and the culture and philosophies they were created in. And it is that
> person, with fingers bleeding from writing 80 piece orchestral  
> scores, or at
> least condensed versions for their orchestrator, that is getting  
> paid 20% of
> what songwriters with vocals get from ascap. And only in America is  
> this
> happening. As for the songwriter, the title has more of a "pop"  
> flavor and
> while some songwriters have as much skill as many composers, there  
> are many
> more who are hacks, with todays technology using loop based  
> software to say
> they "wrote" something when they actually just drag and dropped  
> something
> that someone else wrote and slapped some lyrics on top. At least  
> that's my
> take on it :)
>
> -----Original Message-----
> From: fmpro-bounces+chris=alpiar.com at nxport.com
> [mailto:fmpro-bounces+chris=alpiar.com at nxport.com] On Behalf Of  
> Lynne T.
> Conte
> Sent: Monday, May 07, 2007 2:44 AM
> To: fmpro at nxport.com
> Subject: Re: [Fmpro] For Lynne Simple Hello
>
> Les, you ask "do you consider all 'composers' to be songwriters?"
>
> A *composer* is a person who writes
> music<http://en.wikipedia.org/wiki/Music>.
> The term refers particularly to someone who writes music in some type
> of musical
> notation <http://en.wikipedia.org/wiki/Musical_notation>; thus,  
> allowing
> others to perform <http://en.wikipedia.org/wiki/Performance> the  
> music. This
> distinguishes the composer from a
> musician<http://en.wikipedia.org/wiki/Musician>who
> improvises <http://en.wikipedia.org/wiki/Improvisation> or plays an
> instrument <http://en.wikipedia.org/wiki/Instrument>. The term can  
> also
> include someone who writes electroacoustic
> music<http://en.wikipedia.org/wiki/Electroacoustic_music>which may or
> may not be transcribed into some form of musical notation. (
> http://en.wikipedia.org/wiki/Composer)
>
> Musically Yours,
>
> Lynne
>
> On 5/6/07, leshurdle <leshurdle at avradionet.com> wrote:
>>
>> So Lynne.......... do you consider all 'composers' to be songwriters?
>>
>> les
>>
>> On May 6, 2007, at 1:13 AM, Lynne T. Conte wrote:
>>
>>> Joel,
>>>
>>> More information that I researched:
>>>
>>> "A  music publisher deals in the marketing and commercial
>>> exploitation of
>>> songs. Originally, the term referred to publishers of
>>> <http://en.wikipedia.org/wiki/Sheet_music>sheet
>>> music, but this has changed largely over the years, and today's  
>>> music
>>> publishers rarely deal with printed music or scores. (Those who do
>>> have come
>>> to be known as "music print publishers".) Music publishers
>>> regularly handle
>>> and control the rights to transcriptions and uses of musical works,
>>> and act
>>> on behalf of  <http://en.wikipedia.org/wiki/ 
>>> Songwriter>songwriters in
>>> matters of distributing royalties and protection against
>>> <http://en.wikipedia.org/wiki/Copyright>copyright
>>> infringement."
>>>
>>> Musically Yours,
>>>
>>> Lynne/Talent Manager
>>> Conte's Networking Communications
>>>
>>> On 5/5/07, onephatcat at earthlink.net <onephatcat at earthlink.net>  
>>> wrote:
>>>>
>>>> short of a "total information awareness" 1984 scenario, there is
>>>> no way to
>>>> know beyond a certain level. Many groups would like to know every
>>>> time you
>>>> play a song on your computer or cd player, and some software
>>>> actually tracks
>>>> this info and sends it back to the mothership, enabling marketing
>>>> people to
>>>> target content to you based on your listening habits. In Itunes,
>>>> this is
>>>> optional. (if you don't like it, don't turn on the Ministore.)
>>>>
>>>> If govt's have their way they'll know evertime you sneeze or  
>>>> take the
>>>> lord's name in vein. So, be careful what you wish for. Best
>>>> systems are
>>>> based on some reasonable methods of tracking public performances
>>>> (however
>>>> that is defined), and some level of trust. Of course, there will
>>>> always be
>>>> performances that are missed. What you really want is for the data
>>>> tha is
>>>> tracked to be properly compensated and you want the methods and
>>>> data to be
>>>> public knowledge so the system is compensating people correctly.
>>>>
>>>> Joel
>>>>
>>>> -----Original Message-----
>>>>
>>>> From:  leshurdle <leshurdle at avradionet.com>
>>>> Subj:  Re: [Fmpro] Simple Hello
>>>> Date:  Sat May 5, 2007 7:04 am
>>>> Size:  707 bytes
>>>> To:  fmpro at nxport.com
>>>>
>>>>
>>>> On May 4, 2007, at 11:06 PM, Lynne T. Conte wrote:
>>>>
>>>>> Article 14 of the Rome Convention set a minimum term for the
>>>>> protection of
>>>>> performers' rights of twenty years from the end of the year in
>>>>> which the
>>>>> performance was made: the TRIPS Agreement (Art. 14.5) has extended
>>>>> this to
>>>>> fifty years. In the European
>>>>
>>>> I believe the USA was not a signatory to the Rome convention?
>>>>
>>>> The real bottom line is how will YOU know when your clients work  
>>>> has
>>>> been used?
>>>>
>>>> L
>>>>
>>>>
>>>>
>>>> _______________________________________________
>>>> The Film Music Pro List is sponsored by Film Music Magazine -
>>>> http://www.filmmusicmag.com
>>>>
>>>> To edit your list options or unsubscribe, visit:
>>>> http://nxport.com/mailman/listinfo/fmpro
>>>>
>>>>
>>>> _______________________________________________
>>>> The Film Music Pro List is sponsored by Film Music Magazine -
>>>> http://www.filmmusicmag.com
>>>>
>>>> To edit your list options or unsubscribe, visit:
>>>> http://nxport.com/mailman/listinfo/fmpro
>>>>
>>>
>>>
>>>
>>> --
>>> Lynne T. Conte/Talent Manager
>>> Conte's Networking Communications
>>> 1-707-440-2900
>>> _______________________________________________
>>> The Film Music Pro List is sponsored by Film Music Magazine -
>>> http://www.filmmusicmag.com
>>>
>>> To edit your list options or unsubscribe, visit:
>>> http://nxport.com/mailman/listinfo/fmpro
>>>
>>
>>
>> _______________________________________________
>> The Film Music Pro List is sponsored by Film Music Magazine -
>> http://www.filmmusicmag.com
>>
>> To edit your list options or unsubscribe, visit:
>> http://nxport.com/mailman/listinfo/fmpro
>>
>
>
>
> -- 
> Lynne T. Conte/Talent Manager
> Conte's Networking Communications
> 1-707-440-2900
> _______________________________________________
> The Film Music Pro List is sponsored by Film Music Magazine -
> http://www.filmmusicmag.com
>
> To edit your list options or unsubscribe, visit:
> http://nxport.com/mailman/listinfo/fmpro
>
> _______________________________________________
> The Film Music Pro List is sponsored by Film Music Magazine -   
> http://www.filmmusicmag.com
>
> To edit your list options or unsubscribe, visit:
> http://nxport.com/mailman/listinfo/fmpro
>

More information about the FMPRO mailing list