Understood. But among the musicians I personally know, the biggest
problem - after getting signed or released at all - is getting paid at
all... which so many are producing and releasing their own product...
even if distribution is meager - small distro with payment is better to
them than better distro without payment... Doesn't mean this is
The one and only commercially released small label recording I produced
(I did say I was small potatoes, right?) never had that accounting
done, thus it was the last I did with any label (though I own the
rights and the masters now) - my work is for the musicians and
royalties not a part of the process. So I am speaking anecdotally and
maybe out of place here, though I appreciate the opportunity for
education and speaking...
Lou Judson • Intuitive Audio
On Oct 10, 2005, at 8:11 AM, Karl Miller wrote:
> On Fri, 7 Oct 2005, Lou Judson wrote:
>> ... and if fairness reigned, perofrmers would get paid for their work
>> every time a label sells a copy! Sadly that does not happen all to
>> often. But that is another topic entirely!
> Yes, but then...consider Naxos...as far as I know, they buy the
> performance. I would wager that we would not have the benefits of the
> Naxos label were it not for this practice. In classical music, the
> place is very different.
> As for paying royalties on a per sale basis...for my label we cut only
> one check...assuming we have any net...Besides the mechanical rights,
> we have
> only one performer contract per disc. There is no way we could afford
> maintain the accounting infrastructure to support multiple contracts
> stay in business.