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Post by gdforever on Jul 12, 2012 1:27:36 GMT -5
The facts are these - Noel DOES get money everytime a track he has written is played on a jukebox, or in any place licenced for the 'public performnace' of music, whether live or on record. And none of it goes to the record company. Any venue, be it pub, club, arena, stadium or festival, that makes a 'public performance' of music, whether live or recorded, pays a fee to whatever collection society is relevant in whichever country. This fee is then paid directly to the writer of the song, or to the puiblisher of the song if there is one, who then passes the agreed split onto the writer. This is why publishing companies are the biggest earners in the music business and are relatively untouched by 'illegal' downloading. Every venue, or gig performance, has to fill in a form with the details or each song, or the jukebox company supplies details, or the company that gives shops background music playlists etc.(these are the 'PRS' forms mentioned by Noel in the original story). The sums involved are sunstantial - a national daytime radio play in the UK will pay something like £60 to the writer(s) each time it is played. A large festival appearance wiill generate a great deal of money this way - the collection society fee is set at a percentage of ticket sales, and is distributed to the artists dpeending on where there are on the bill in an estimation of how many people heard the tracks, so a headline set in a small tent might generate less than a lower down the bill slot on the main stage. If you appear at a decent mid point on a bill in a festival tent stage and play ten of your own songs you will generate around £500. This applies to DJs as well as live bands - all artists have to fill in a from with artist/title label details, and at bigger shows there is often a representitive of the collection society onhand to make sure this is done. One of my friends looks after this side of things for many major acts and makes sure they get the money they are due, and has explained it to me in great details  Excellent. Thanks. Interesting about the festival bit. Hadn't even thought of those. |
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Deleted
Deleted Member
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Post by Deleted on Jul 12, 2012 5:13:00 GMT -5
There are separate arrangements for the people who perform on records (master recordings) too. In the UK it's an organisation called PPL and that revenue is collected from radio play and other media broadcast (although not gigs or festivals). Half goes to the performers and half to record labels, and is why famous people (naming no names) often used to appear as playing 'the triangle' or something on a record they actually didn't have anything to do with. Again, it makes people a decent bit of money from radio etc. Without being too much of a plug, if anyone really needs to know how it works my friend's website is www.jennyowen.comand she knows it in detail and is very friendly! |
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Post by jupi on Jul 13, 2012 3:24:55 GMT -5
The facts are these - Noel DOES get money everytime a track he has written is played on a jukebox, or in any place licenced for the 'public performnace' of music, whether live or on record. And none of it goes to the record company. Any venue, be it pub, club, arena, stadium or festival, that makes a 'public performance' of music, whether live or recorded, pays a fee to whatever collection society is relevant in whichever country. This fee is then paid directly to the writer of the song, or to the puiblisher of the song if there is one, who then passes the agreed split onto the writer. This is why publishing companies are the biggest earners in the music business and are relatively untouched by 'illegal' downloading. Every venue, or gig performance, has to fill in a form with the details or each song, or the jukebox company supplies details, or the company that gives shops background music playlists etc.(these are the 'PRS' forms mentioned by Noel in the original story). The sums involved are sunstantial - a national daytime radio play in the UK will pay something like £60 to the writer(s) each time it is played. A large festival appearance wiill generate a great deal of money this way - the collection society fee is set at a percentage of ticket sales, and is distributed to the artists dpeending on where there are on the bill in an estimation of how many people heard the tracks, so a headline set in a small tent might generate less than a lower down the bill slot on the main stage. If you appear at a decent mid point on a bill in a festival tent stage and play ten of your own songs you will generate around £500. This applies to DJs as well as live bands - all artists have to fill in a from with artist/title label details, and at bigger shows there is often a representitive of the collection society onhand to make sure this is done. One of my friends looks after this side of things for many major acts and makes sure they get the money they are due, and has explained it to me in great details YES. Thank you for posting that. I'm a musician and a songwriter and I have registered myself to Finnish Composers' Copyright Society and that's exactly how it goes. The composer, the lyricist and the arrangers of the song get their share. And about how much the songwriters get paid... Well, if someone does a gig in Finland playing my songs and the gig profits 1000 €, I get about 80 €. Even if the guys who perform the songs are the ones who have played them on the record. Only if they have been composing/writing lyrics/arranging the song they get their share. Of course a lot of small bands who perform covers do not fill in any forms telling what they played and where 'cos they don't know about it or they're just being lazy (or think that the evil big corporations get the money). There's also the Creative Commons license but if you're interested about the topic, just check it from Wikipedia. And no, you don't have to ask Noel G a permission to play his songs live. "If bands do have to pay to cover songs, what would be the attraction of doing it?"If you're a professional musician and you play a gig, you get paid for it. If you perform 16 songs of your own, you get paid for it. If you perform My Generation or I am the Walrus in the end, you promote your favourite band and give them a small precentage of the money you just got. PS. Remember Leona Lewis doing Stop Crying Your Heart Out? Noel Gallagher is grateful to Leona Lewis for covering Oasis' Stop Crying Your Heart Out - because he's received massive royalty cheques for her rendition of the song.
The Bleeding Love singer's version of the Brit pop anthem appears on her 2009 album Echo, and she has performed the track on several of the U.K.'s biggest TV shows.
And Gallagher is delighted his rock classic has been given a pop twist as sales of Lewis' version have garnered the musician a massive pay cheque.
He says, "One word. In fact, it's more like a sound effect. It just goes 'kerching'. Thank you very much." |
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J-200
Oasis Roadie
Posts: 257
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Post by J-200 on Jul 13, 2012 7:37:04 GMT -5
What's the difference between record company and publishing company?
I know that Sour Mash Records Ltd. is Noel's own record company. Then, publishing company...?
Oasis Songs that Noel wrote copyrighted to Noel?
Sorry for my ignorance.
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Post by GIMH on Jul 13, 2012 14:25:27 GMT -5
His songs are published by Sony aren't they?
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Post by vespa on Jul 20, 2012 15:20:27 GMT -5
noel will get money just cos its being played,its pretty clear him an liam are talking...noel stops playing wonderwall and liam maybe playing it plus hes back playing oasis songs,they both get money for that..it wouldnt suprise if the whole thing is actually a plan and in about 3 years get back together for about 200 million quid
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5