RAT - ENDS MEET - NOTHING TO SHOW | Rat Trax
Includes unlimited streaming of No Sleep via the free Bandcamp app, plus releases. Get all 17 Ex Norwegian releases available on Bandcamp and save 20 %. It's that time of the year again! Band camp is upon us, and if your program is wrestling with making ends meet, or if your marching show. From The Sahel To Bandcamp: How One Man Is Taking West Africa's Music Global . [laughs] It's a struggle to make ends meet. I've been.
In anticipation of the Oct. Read about 11 different versions while listening along HERE. Making only his 2nd live appearance of the year - tickets just went on sale HERE.
See a backstage photo from the show HERE. Get it now HERE. Now available to order HERE. Stream the film for a limited time HERE. It wasn't about killing anybody. That's a new twist on it that I did not intend. The album is available as a standard 1 disc CD, 26 track double CD edition, and clear double vinyl edition, all with download and just in time for Christmas at the new EELS online storeAmazonand iTunes.
EELS would like to thank everyone who attended a show this year. Give us a hug! Check your local listings for time. In the Metropolitan Police questioned Everett, suspecting him of terrorism while on an innocent stroll through London's Hyde Park. Today he said, "To go from being a suspected terrorist, to having the Freedom of the City is quite amazing.
It shows that anything is possible in London. I love this place! Only in did it become possible for non-British citizens to be admitted. Other musicians to receive the honor include Bob Geldof, Placido Domingo and Luciano Pavarotti - however E is the first singer of a contemporary rock band to receive this award.
See a photo from the event HERE. The award is one of the oldest surviving traditional ceremonies still in existence today, the first Freedom having been presented in Once again E has hijacked a great classical hall's giant pipe organ, this time playing "Trouble with Dreams" last night in Rotterdam. After complaining to the audience that he's never been allowed to play the massive pipe organ at Manchester's Bridgewater Hall on past visits, EELS leader E climbed up into the rafters last night for a spooky and chilling "Flyswatter" on the hall's gigantic pipe organ.
After walking away from his singing career last Sunday in St. Watch a video Mr. Watch it all HERE. E talks about the making of the new EELS album, creepy clowns, and why it's ok to enjoy his misery in a new interview with The Houston Chronicle. Enter to win HERE. Listen to a live stream online at In their 4 star reviews MOJO calls it "majestically constructed" while Q Magazine calls it "an extraordinary song cycle emotionally overwhelming.
According to The Arts Desk, anyway. Listen to the album HERE. Watch it now HERE.
Get a free download of the song HERE. MOJO calls it "majestically constructed" while Q says its "an extraordinary song cycle of loss and regret" and "emotionally overwhelming. Watch the album trailer HERE. Stay tuned to eelstheband.
Opening in North America today, Variety calls it "a film that overflows with touching moments. NME interviews E about his favorite famous dogs. Guess which one is his favorite. The ultimate collector's item!
International ordering for all these exclusive items is now available HERE. Full refunds will be given. Don't take our word for it. Check it out HERE. We will proceed with the fundamentals of music copyright, so that you can form an understanding of the different rights pertaining to music and the different methods to exploit these.
For more reading on publishing, check out this article. Copyright As a musician you are a creator. These works automatically become copyrighted once they are documented; for example through recording or writing. Copyright is a form of intellectual property. The creator becomes the copyright owner.
Writers are free to deviate from this equal share through mutual agreement. The duration of this copyright is generally until 70 years after the death of the last surviving author. It differs in some countries. Copyright ownership rights give control over who can reproduce, distribute, perform publicly, display and create derivatives of a work.
These ownership rights can be fully transferred and assigned to others. Others can also be granted licenses to use your music, typically in exchange for a payment. These payments are called royalties. There are two types of musical copyright; Musical Composition Copyright: A musical composition is a piece of music, in part or in whole.
The authors are typically the composer writer of music and the lyricist writer of text, in case of lyrics. These authors are the owners of the musical composition copyright. This can be done when one party contributed more than the other.
They have the exclusive right to determine who can produce copies of their song, for example to create records. This right can be granted to others by giving out a mechanical license, which is done in exchange for a monetary payment mechanical royalties. Whenever a record label or performing artist wants to record a song that they do not own, they have to get a mechanical license from the people that do.
All decisions regarding the composition can only be made when agreed upon by all copyright owners. As mentioned before, the ownership and control of copyright can be transferred to others. Generally, songwriters get a specialized third party, namely a publisherto control and manage their songs.
In exchange, they get a cut of the royalty streams which they help generate with the repertoire. A sound recording is the actual final recording of a song, a fixation of sound.
The authors are the performing artist and record producer, who in essence are therefore the owners. Producers typically get a small share of the master rights up to However, recordings are typically made in assignment of record labels, whom have negotiated deals with both the artist and producer in which they transfer ownership of their copyright to the label in exchange for royalty payments.
In these cases the master ownership belongs to just them, or them together with the producer. Royalty payments to performing artists are called artist royalties. Royalty payments to producers are called producer royalties. The composition, made by the writers, is typically represented by a publisher.
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The sound recording, made by the performing artist and producer, is typically represented by a label. Publishers There are many ways to use musical works and generate revenue from them, and I highly recommend you find a publishing agent to do this for you.
They will register your works with the right associations, administrate your royalty income and most importantly, create commercial opportunities. Both writers and performing artists can benefit from working with a good publisher. Of course you can decide not to do this and manage your repertoire independently.
Beware that this is a very time consuming and diligent task, as the publishing landscape is intricate and highly technical. In some countries this rate is fixed, which is the case in The Netherlands.
Here publishers take Taking an advance might result in having to hand over a larger royalty share to the publisher though. Standard publishing deals have a duration of years. Take care to never sign away control over your works permanently, nor to completely transfer ownership.
Your intellectual properties are your most vital assets as a musician. Royalties Royalties are the payments you receive in exchange for letting people use your intellectual property.
These regulations typically have set fixed royalty rates for these types of licenses.
Take note that a publisher is very likely to do a better job at managing this than you ever will. This is normally in the hands of the performing artist and producer. Decent label deals will obligate the label to issue royalty statements income reports at least twice a year, every six months.
Payments are usually only made upon receipt of a valid invoice. You should proactively request statements and invoice, as labels will not pursue you to let you know they still owe you money.
They may also need the occasional nudge. Mechanicals Whenever someone wants to reproduce or distribute a song that they did not write, they need to get permission from the musical composition copyright owner. This permission is issued via a mechanical license, for which in exchange mechanical royalties are paid. Record labels and performing artists request these licenses from the copyright holders to use their songs for actual recordings. In the USA and many other countries, songwriters are forced to give out mechanical licenses for their works as soon as these have been recorded and released to the public.
These type of licenses are called compulsory mechanical licenses and the law has determined a fixed royalty rate which has to be paid for them called the statutory rate. In practice, labels rarely acquire a compulsory license because it obligates them to issue monthly accounting statements, which is a lot of work. Regardless, the statutory rate is very important, as it is the benchmark for the maximum royalty rate anyone is willing to pay for a mechanical license.
Logical, because if the writers demand a higher rate, the label can always get the cheaper compulsory license. Whenever a copy of your song is reproduced for sale so pressed on CD etcdownloaded online or streamed, a mechanical royalty is owed. Writers and publishers can sign up with mechanical rights societies who will issue mechanical licenses on their behalf and administrate, collect the owed funds and account back to the right holders.
Registration, administration and diligent accounting is key here, and best done by an engaged publisher that works closely with a MRS. This includes transmissions over terrestrial radio normal radionetwork and cable TV, internet radio, interactive online streaming services and live performances.
The broadcaster, live venue, network or service that benefits from the use of a composition has to pay the royalty. In exchange they charge a yearly membership fee. Payouts occur quarterly, about a year after the royalties were originally collected. To maximize public performance royalty income, it is highly recommendable to sign up with a PRS directly as a writer, and also be affiliated with an engaged publisher that is signed up with one.
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Take good care to register your repertoire with the PRS and have the publisher do the same on their end. Additionally you should keep track of dates, set lists and broadcasts in which your music has been made public, so that you can check whether all of these have been accounted for and otherwise inform your PRS and publisher.
Digital Performance of Sound Recordings Until now we have only discussed payments to writers and publishers for public performances of their compositions. In the USA, performing artists and record labels have not been paid at all for public use of their works for a long time. These digital transmissions include: Both are free to sign up to. SoundExchange has just switched to a monthly payout schedule, so can be very good for your cashflow.
Public Performance of Sound Recordings Many countries around the globe have long been paying performing artists and master owners for public performances of their music. To be specific, over 80 countries have acknowledged and enforce the Neighbouring Rights laws, which entitle the master owners to these payments.
The USA is the exception here, whom only pays out to performers and master owners for digital transmissions.
It is becoming an increasingly important income stream with the diminishing record sale revenues, and has been a long time for pillar for performing artists who solely record, and do not write, in the countries that enforce neighbouring rights.
Both are non-profit organizations and are either free to join or charge a small membership fee. Take note that you can sign up to an international PRS to collect your neighbouring rights royalties.
As a rule of thumb, you are entitled if the country where you recorded the song enforces neighbouring rights, or when the country of residence of the master owner does. In regards to performers and labels from the United States, they are missing out on large chunks of revenue, as the enforcing countries refuse to pay out funds to a party who does not contribute to the pile. To maximize this revenue stream, sign up to a PRS that enforces neighbouring rights.
This goes for both master owners and performers. Home taping, rental and lending Many countries enforce royalty payments to feature artists and master owners for home recording, lending and rental purposes.
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These royalties are intended to cover the revenue that is lost when people make home copies of music and lend or rent out copies for others to use. They are generated by the sales of CDs and media playing devices. These royalties are collected by the AARC in the USA, who just like the other royalty societies has agreements with other similar organizations abroad. To maximize this revenue stream sign up to the relevant collection society in your country. Find a comprehensive list of them here.
Synchronizations Time to pay extra attention. This right here is the hidden cream of the crop.