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Bill Sloyer
During our 23rd lesson on Monday, 4/9, Larry and I talked about:
-In Superior Drummer, Larry sends the kick and snare to separate output so he can control each on a separate track, and even manipulate with Structure Free.
-In event operations, you can change duration of MIDI notes if they aren’t long enough, etc. OPTN + P.
-Larry has used songs for their own effects by reversing, slowing down, etc.
THE BUSINESS:
-A&R (artists & repertoire) decides: TALENT, PRODUCER, AND STUDIO. Once all are working together, an A&R rep might show up once in a while to check in.
-Label usually controls licensing, but the artists will have a bigger say.
-“Producer Points” on a record = percentage of entire record. Typical producer fee is 3-5 points.
-Engineers can get “mix points.” This started in the last 5 years.
-It used to be that the money made in music was from selling sheet music. The publisher would typically split with the songwriter, 50/50. The publisher’s share can also be split up. Sometimes a producer would get a percentage of publishing if they were involved with the writing. It’s rare for a label to take all the publishing. The writer always makes the most.
Not performing = still get a performance royalty.
- Publishing companies handle songwriters, and they also have their own internal songwriters.
-Larry says that after 3 years he personally releases publishing rights.
-ASCAP, BMI, AND SESAC all monitor radio plays and figure out your shares. You have to have published work to join any of these.
-Side note: Bars have to pay licensing fee if they hire a cover band!
-Anyone can re-record a song to get publishing rights!
-In Los Angeles, it’s common for labels to pitch to artists.
-In Nashville, a “song plugger” weeds out bad songs and collects songs for a publisher.
-A 360 deal includes everything (publishing, merch, etc)
