[PeteJ]

ChucMott – Yes, that’s the sort of thing. As Philtunes says, in real life it’ll all depend on the music. In my case I’m not seeking an arranger but just thinking that I might offer the tunes around to see if anyone wants to create further versions and split the vast income that’ll immediately start to flow in.

Also it works the other way around. Someone might want to take an old cue and add some classical guitar, not a widely played instrument, which can brings to life tracks that are sounding too programmed or ‘in the box.

I’m a fan of the music for Morse and ‘Rpsemary and Thyme’ and love that use of the guitar, but can’t fake the rest of the band.

Just exploring ideas really.

[PeteJ]

Also, I was thinking that maybe it would liven up the day for some composers to be working on something they wouldn’t have written themselves and especially if it has parts ready that they don’t have to record themselves. But it seems not.

[PeteJ]

Thanks Paolo. I rather thought that your first paragraph might be generally true. I just doubted it was true for everyone.

The music is going out there. It’s good. But some of it it has the potential for re-orchestration and while I can write the parts with a pencil I’m not into realising them on a PC.

But fine. If others agree with you then I have my answer. I was just exploring an idea.

[PeteJ]

Okay. Thanks. Yeah, I’ve learned to copy before posting but this time I got overconfident.

[PeteJ]

It’s question that I’ve tried to answer but with little success, so I hope there’s some replies.

[PeteJ]

I’m interested in this because I tried to do exactly the same deal. It seems to require being a publisher with PRO registration in order to make the admin work. I am, but even so it’s a tricky deal to get right for everyone.

My conclusion was that I didn’t know enough about the business to make the offer or bring enough to the table. Ashley’s point above is a good one imho.

Also, while it seems a good deal for the artist given the work involved in placing the tracks, I’m not sure 20% is a viable percentage when the biz is becoming more difficult.

If someone with suitable experience and good contacts offered me the deal as a composer I might take it, so it seems a fair one to me. The contract just needs to say 20% of total earnings to be taken from wherever it can be taken. But to get any back-end would (I think) mean publishing the tracks and registering the publisher interest.

[PeteJ]

Alan – Thanks. Yes, that’s about what I thought, and Michael’s point would explain Crucial’s system.

Not that many people care. I’ve just heard an entire Scriabin album posted by someone who had nothing to do with it.

[PeteJ]

That’s it, yes. In theory an arrangement or even an edition is copyrighted, but I don’t imagine this can be respected in these circumstances. On my guitar forum this issue is taken seriously but I’ve not seen it discussed in relation to music libraries.

[PeteJ]

Nobody? I thought this might be interesting.to someone.

[PeteJ]

Patrick – Nice piece.

If you can send the stems I’d have a go at another mix – just for fun. No promises but it might be interesting to hear another take on it.

[PeteJ]

Oh hell. My two word comment was not meant to sound in any way critical. It was more to do with the difference between libraries and the difficulty of assessing their relative merits. From the outside it can be difficult to identify which of them offers the most bang for the bucks and who are most effective, and where the deals are different it’s not always clear why this is. 50/50 is a standard,split, but exactly for this reason it doesn’t reveal much about what the library does to earn its share besides what all libraries have to do anyway. .

Personally I don’t see it as a matter of justifying the split. If a library is doing well then so are the composers, and the owners can spend their days on the beach for all I care.

It still seems like reasonable question though, perhaps asked in a less hostile way, or an interesting topic.

[PeteJ]

Good question!

[PeteJ]

Many thanks, Danny and Art, this exactly answers the question. Sorry it was a muddled one.

[PeteJ]

Nobody?

[PeteJ]

Drat. I meant composer, not artist.

I know the PRO will do the split, but do they do the same split for all income, or do they recognise where they are receiving the composer share and pay 100% to the composer?

I imagine the PRO treats all income as the same and splits it all in the same way, but I’m just checking.

[Author]

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