Le Pub d'AutoProd & Business (Ex - marché du disque c'est la cata!)

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Et accessoirement Rick de son prénom, producteur transmusical de folie, fou furieux ésotérique et grand gamin. : )

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en même temps ca semble relativement evident que ca finira comme ca.

Citation : c'est pas un probleme de mix ou de promotion,

Citation : Rubin has a bigger idea. To combat the devastating impact of file sharing, he, like others in the music business (Doug Morris and Jimmy Iovine at Universal, for instance), says that the future of the industry is a subscription model, much like paid cable on a television set. "You would subscribe to music," Rubin explained, as he settled on the velvet couch in his library. "You'd pay, say, $19.95 a month, and the music will come anywhere you'd like. In this new world, there will be a virtual library that will be accessible from your car, from your cellphone, from your computer, from your television. Anywhere. The iPod will be obsolete, but there would be a Walkman-like device you could plug into speakers at home. You'll say, 'Today I want to listen to ... Simon and Garfunkel,' and there they are. The service can have demos, bootlegs, concerts, whatever context the artist wants to put out. And once that model is put into place, the industry will grow 10 times the size it is now."

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A qui paie-t-on les $19,95 ?
comment sont rétribués les artistes ?
un artiste inconnu peut-il en bénéficie

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But it's not just that. You've also got this incredibly complicated rights structure. They've got to sweep it away online - they don't need to fuck with it offline - but they need to say there will be payment for music, and it's for the [artists] to claim under some kind of regulation.

We can have an 'OfRoy' - an office of royalties, or whatever you want to call it. Someone just to keep an eye on things to see people aren't be shafted, and that there's arbitration in the long run.

Doing it through the courts is just too complicated - it just becomes nit-picking. What we are doing today with radio, PRS, is actually riddled with holes. Money gets lost, misattributed, deductions are taken for this or that - but we can all live with it. It's not some malicious plot. It's just compounded human error.
For readers who've never heard of the black boxes, what are they?

Any money that comes in through collective payment and you don't know who it belongs to for any reason - or you can't pay it to them because you don't know where they are - goes into what's called the black box.

Which everyone in the collection societies insists doesn't exist. You ask Fran [Richard, ASCAP] about the black box and he will give you the most fantastic bullshit. He'll say "We don't have a black box".

Of course he has a black box. With the best will in the world you cannot distribute all the money accurately.

In a blanket license system, there'll be huge black boxes, and we'll have to learn to hold the money for a long time. People will learn to register, then we can work out how to deal with the black box fairly - rather than giving it to people who know it's there. That's what's happened in the past, really.

We don't talk much about it - so no one know who's got it. And the people who get it don't say much about it - it's not top of their conversation at music conferences. They don't come in and say "we cleaned up on the black box". What they will say, is "our market share was fantastic." That's because it's divided up by market share. It's non-attributable income and it doesn't have go to the artist - it goes straight to the bottom line.

The industry dreams of black boxes! (laughs)
But now it's going to be in the collection agencies' hands - or some intermediary.

If it's the publishing side, you get 50/50 at least, or 70/30 if you have a modern or newish record deal. And that 50 per cent is not recuperable against any advance. It's the same with PPL - you get some substantial proportion of the income. [The PPL is a members' society that collects royalties from public performances and and divides them between the recording rights holder and musicians] It's not quite as much as they try and tell you get, but it's quite a lot. So it's another income.

But it's quarterly and they can't wait to get rid of the money. The agencies know the regulators are watching them closely and can come in and ask "what are these pools of money you have here?" The EU watches them very closely.

So in collection agencies, while money can get systematically stolen, it's like petty theft. It's like retail losses from shoplifting. The agencies are really just shoplifters, but the major labels are burglars, and the worst of them are like armed robbers!

Citation : Ca t'interesse finalement ? ;)

Citation : Doing it through the courts is just too complicated - it just becomes nit-picking. What we are doing today with radio, PRS, is actually riddled with holes. Money gets lost, misattributed, deductions are taken for this or that - but we can all live with it. It's not some malicious plot. It's just compounded human error.
For readers who've never heard of the black boxes

Citation : sont surtout très bien pour des artistes "en place".

Citation : A qui paie-t-on les $19,95 ?
comment sont rétribués les artistes ?
un artiste inconnu peut-il en bénéficier ?
de quels moyens de promotion bénéficient les nouveaux artistes pour se faire découvrir ?

Citation : ton mec qui sert d'exemple vendra au moins quelques disques, achetés par des gens curieux.

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Mais comment veux-tu qu'il puisse vendre tous ses disques à des acheteurs curieux ?

Citation : Pour moi, c'est juste que cette personne ne bénificie pas de communication, qui le ferait connaître à quelque dizaine de milliers de personnes, ou quelque milliers si on prend l'exemple de presse associative.

Citation : Et si jamais il y avait une trés bonne programation en radio (ou en club plutôt), tu imagines les possibilités ? Et si dans ce cas ça ne marche pas, c'est simplement que la musique n'est pas assez comme il faut, soit pas assez originale, soit pas assez classique ou tout simplement mauvaise si ça peut exister.