[Fmpro] ALL residuals ???

[Lynne T. Conte]

Thought of a professional talent in the US:

"This is a perfect example of just how screwed up this whole royalty issue
is for ALL of us... on ALL sides. It's unworkable. You need to be a lawyer
"expert" to figure out who can do "what" and "how" and "who" really gets
paid in the end. Bottom line, it just shuts creative innovative things down
unless you have a staff of lawyers at your beck and call, which pushes most
small businesses right off the playing field... (Artists and Webcasters) ...
which is EXACTLY what they want.

I hope something gets eventually worked out by our "sleeping" government."


another professional in the film industry from the US:

"Lynne,

this is right up my alley but it will require some thought.

I have a shoot on Monday. I will try to look into it further on tues or
Wednes. if that's ok with you.

I am personally in favor of unlimited downloads of songs once they are say
10 years old. Copyright is about
creating incentives to create not perpetuities.

aloha, "

Musically Yours,

Lynne T. Conte/Talent Manager
Conte's Networking Communications

On 5/14/07, leshurdle <leshurdle at avradionet.com> wrote:
>
>
> On May 14, 2007, at 11:04 AM, Phil Kelly wrote:
>
> > Musicians working on film music receive no re-use payments. There may
> > be some
> recompense
> > due the players through the special payments fund
> > ..but again, only if it was a union gig. ( and I'm not even sure of
> > that ..I know players do receive these payments for union phono dates.
> >
> > Again, the "composer" receives nothing from this process ..unless he
> > lists himself of the AFM contract as leader, arranger, and /or
> > orchestrator ( and yes, "triple dipping" is allowed by AFM rules! )
>
> Hi Phil,
>
> You sure do know how to open up a can of worms !
>
> Fact is a musician CAN obtain residuals for effort on a movie if the
> soundtrack is then issued as a CD......... soon to be a download and
> how will any of this work then;-)...........  this is a new set up in
> the USA via Sound Exchange/RMA/Aftra etc.
> It should encompass all musicians NOT just those who work via the
> AFM  [sure !].
>
> From around 1945 -1996 the UK MU 'kept' the residual money due to
> studio musicians.
> Needless to say, unlike the AFM, they found it very unnecessary to
> keep track of who worked which date, so now there are residuals to be
> had, it is tough to prove who did what, BUT, US musicians did not and
> still do not receive any income from the UK because a suit in the US
> Gov. didn't want to sign the Treaty of Rome.
>
> Further compound all of the above with the fact the set up in the UK
> via PPL only pays a musician 1 time no matter how many instruments he
> worked with or tracks laid, now further note when the UK tune/song
> whatever is broadcast in the USA on digital outlets, there will be no
> data to allow the musician to be paid by the RMA etc for multiple
> efforts.
>
> Likewise the US musician who worked multiple tracks etc will only be
> paid for 1 in the UK.
>
> Ain't life grand?
>
> That That's it folks.
>
> les
>
>
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-- 
Lynne T. Conte/Talent Manager
Conte's Networking Communications
1-707-440-2900