[Paolo]

Thanks Michael and wooddenis for your feedback.

it really depends on what kind of music you do

I write mostly acoustic and electric guitar-based rock/indie/hybrid rock. And at times, I’m adding an orchestra instrument(s) if I’m doing hybrid-rock.

So the the midi controller keyboard I need would be for Logic Pro’s automation (writing automation for faders, pans, FX on/off, etc) so I wouldn’t have to use the mouse to write automation.

Vizzahh – what controller are you currently using? Is it with Logic Pro?

novation Impulse 49, ok for synth parts

I’ll check out the Impulse 49. Do you have Logic Pro and find it controls everything intuitively?

And you’re doing fine without the automapping – so that shouldn’t be a deal-maker/ deal breaker?

Thanks!
Paul

[Paolo]

^ bump ^

[Paolo]

That is a possible defense if the earlier work is in the public domain

Ahhh…thanks Michael.

I wonder if it would have been noticed if when Thicke was promoting Blurred Lines, he hadn’t said he always liked Marvin’s “Got to Give It Up” and wanted to write something that had a similar feel.

[Paolo]

Would citing an earlier example of a similar groove/feel, which predates both parties, be an effective argument/defense?

i.e. if composer A wrote a song with a green onions, bo diddley or a jazzy minor blues groove and composer B wrote a song with a similar groove/feel AND subsequently sues artist A for copying him, would citing the “origin groove” be something that would help composer A in court?

[Paolo]

aha! Thanks Art. I had thought it meant “with permission” (for subscribers) 🙂

[Paolo]

just curious – what does the “WP” stand for?

[Paolo]

Don’t forget if you’re close, you can time-stretch or shrink the audio

when your 30-60 seconds or full versions come up a 1/2 a second to a second short

the last beat hitting at 28.5, but also give them the option of letting the tail ring out

these are excellent ideas; Logic Pro X has flex-mode so that’ll make adding or cutting a few ticks/samples easier and faster.

[Paolo]

enjoyed that very much.

[Paolo]

Hey Minkus,

Could anyone tell me how common this is?

My experience (and seems to be similar to others on the forum) is 50/50 split on sync and 50/50 split on royalties (100% writer share to you and 100% publishing share to library).

Not sharing sync with you seems greedy on their part.

Paul

[Paolo]

LOL! I just finished shoveling 8 inches (New York) — could really use that dog sled now 🙂

[Paolo]

Thanks for sharing that video – I was laughing so hard I couldn’t breath.

Beautiful – that’s the way to handle horrible offers – have fun with it.

“Is Art the name of your friend director?” LOL! I’m going to have to watch that video again 🙂

[Paolo]

Hey Trackmaster,

Would you make this deal?….All input is appreciated

I’ll share my input and take on this – since you’ve asked 🙂

I decide based on numbers and also gut feeling. Money-wise, will the upfront money plus (estimated) backend mean your composing fee continues to increase over these five years? Would it leave you feeling fairly compensated?

And the intangibles: does it feel right? will this bring you further ahead and into the direction you want to pursue?

Paul

[Paolo]

tried to call BMI (with no avail)

Hey Overdub,

I don’t have an answer to your question – but wanted to share that you still may hear from them and get your answer in a few days.

I don’t know if they’ve had cut-backs in their Writer Relations department but my experience has been what used to typically get answered with one phone call now, more often than not, requires leaving a message and then receiving a callback in a few days.

Paul

[Paolo]

Tunesat is actually easier if the track is exclusive. With non-exclusive you have to do a bit of detective work to find out who placed the track

I see now – thanks!

[Paolo]

Thanks again Mike and composer,

won’t be able to tell you which library placed the track

it’ll report based on that particular filename

okay… that makes sense. It leads to a bigger question:

How do you make tunesat useful when you have two titles for one fingerprint? Or is Tunesat useful mainly for non-exclusive music?

[Author]

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