Conference napalm::commusic_v1

    SHOW KEY/FULL COPYRIGHT.  

    For more business-related info, do a SHOW KEY/FULL BUSINESS. 

-b

    The only rationale for joining ASCAP or BMI is when you anticipate
    substantial radio (or other) airplay, and these organizations allegedly
    collect royalties for you based on sampling certain markets.  In
    reality, they give all the royalty money to Michael Jackson.
    
    karl (non-member)

    Karl's right.
    
    Steve (member  ;-)

AS I recall not everyone can join ASCAP or BMI, you have to have a release
that's likely to generate some airplay royalties before they let you in...

dbii

    WHAT'S THE SCOOP ON PUBLISHERS,$$$$$$$$$$$$$$$$$$ AMOUNTS ETC..
    I LOOKED INTO WHAT BRAD SUGGESTED IN .2 BUT THAT DOSENT GIVE 
    ME SQUAT.

    Well, here's what I can tell you...
    
    I (personally) am a writer member.  Our group is a publishing member.
    
    As a writer member, I pay $10/year (I think ;-) to belong.  Benefits
    are with airplay only (well, clubs too, but that's fairly hit &
    miss IMHO).
    
    As a publishing member, our group pays something like $85/year.
    Essentially, this gives us a negotiating position only.  It does
    not mean we own a publishing factory...Essentially, we have cards
    on file with ASCAP that say so-and-so wrote this song and SELAH
    Music Ministry owns the publishing rights.
    
    Obviously, being small time folks, we aren't able to publish like
    a big record company is able to publish, so we negotiate what
    percentage of publishing royalties will be split between label and
    artist.  I think if we didn't own the publishing rights, the label
    would immediately scoop them up and we'd see none of that particular
    cut.
    
    So goes the non-pro's explanation ;-)
    
    Steve

    
    Does this mean you have the ability to freelance publish?
    Can you publish other songwriters material for them?
    Ifso what format does this material have to take on?
    Are there computer programs designed to comply with industry formats?
    What paperwork is envolved to be publishing member?

    re .8
    
    1.  Yes.
    
    2.  Yes.
    
    3.  Format is unsure, though ASCAP requires Audio copies (if published
    in that form, i.e., records, tapes, CDs) or sheet music if published
    in that form.  A card is filed for each publication (e.g., a publisher
    member would file a card for "Album A") and for each song (e.g.,
    the artist files a card for each individual song found on "Album
    A" published by whomever).
    
    4.  I've seen stuff (couldn't tell you H/W a/o S/W) that takes what
    you play (via kbrd cntrl) and prints on dot-matrix printer in music
    format  (what a brilliantly constructed sentence  :-\  )
    
    5.  ASCAP's Publishing Member contract (available through ASCAP).
    If you don't have any records and/or sheet-music out, you're considered
    an associate member for up to 1 year.  If you don't publish anything
    in that time, you can't be an associate member again and must wait
    until you actually publish something before becoming a publishing
    member.
    
    It sounds like you're interested in joining.  My (non-pro) advice
    would be if you have stuff copyrighted, plan to get airplay, and/or
    plan to have other artists cover your stuff on a national level,
    you should check it out (both artist and publishing).
    
    If not, save the bux.
    
    I'm sure there are other members (either ASCAP or BMI) who could
    do a better job sorting this out.  You could always contact these
    groups and talk with a rep. to find out if there's any value in
    your joining.  Don't let them just send you their literature.  It's
    way too thick and too "legalistic" to follow (IMHO) unless you've
    had a chance to talk with someone directly.
    
    Steve

    
        Yes I'm very interested in publishing and membership requirements
    i.e.(ASCAP<BMI).First off I'd really like to thank everyone for
    all the help.(EVERYBODY).
        I am a musician and songwriter (non-pro),and would like to know
    more about the business.I can't understand the lack of discussions
    reguarding these aspects in the notes file.I believe this knowledge        
    is as valueable as any other.
        I believe there are more than a few noters among us who feel that their
    music compositions are worthy of national acclaim.For one reason
    or another,(lack of info) these few never get around to copyrighting,
    publishing and publicizing there efforts.     
        Perhaps with a little more discussion we change this
    around.Therefore I'd like to encourage anyone with experience in
    these areas to elaborate.
    
    
    Thanx for your support.
    
    Armen k.
    
    
    
    

    RE -1
    
    Armen,  you're right about there being a lot of talented people out
    there who just never get around to getting their material published.
    
    Did you know that in some countries the monies that are earned from 
    public domain go into a fund to promote new artist development instead
    of just letting record companies increase their net profit per album? 
    This is the kind of info you can find out in "This Business of Music".
    
    I have just finished studying the group of chapters about Music
    Publishers and Writers. It took me about one week of staying up until 
    1am. I learned a lot but am kinda burnt out right now...it's heavy
    stuff.
    
    There is definitely more to being a publisher than just running some
    copies off.
    
    There are also some books that are lighter reading that get less into
    the technicalities and more into what really happens. Succeeding in the 
    Big World of Music is a book that I got many years ago. It might be
    better to start off with a book like that for an overview before
    delving into the details. However, be forewarned that some of their
    observances tend to be opinionated as compared to facts. 
    
    It's really an amazing business and I for one am interested in
    discussing different aspects of it more. 
    
    Just curious; Why do you want to be a publisher?

    I saw an interview with a guy from PolyGram in a recent magazine.
    He said something about the factors that go into making a "hit" that
    caught my eye.  (He is talking about pop music here.)  It was something
    like 97% was due to the song, 2% the performance, and 1% the producer.
    Or something like that.  Anyway, it was the song itself that became the
    hit, regardless of who performed it.  At least, that is what he said.
    I don't know that I believe him entirely.

    RE .12
    
    Interesting idea for a new topic if there isn't one already. The song
    is important but if you don't take care of the business end it won't
    make it no matter how good the song, performance, or production.
    
    Example, failure to properly apply the copyright notice used to send
    songs into the public domain.
    
    As for using a performance rights agency such as ASCAP or BMI or SESAC
    or whomever, if you do get a song onto the charts it would be tough
    collecting performance royalties without them. That's where much of 
    the publishers revenue comes from. By the way, BMI is nowhere near as
    expensive as ASCAP. I believe it's CBS that has one publishing company 
    for ASCAP revenues (APRIL) and one for BMI (Blackwood?). 
    

    re: .12
    
    Of course, payola, connections and who-you-know serve as a logical
    multiplier ...
    
    Steve