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#1 26-01-2015 07:32:00

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Date d'inscription: 26-01-2015
Messages: 2

Pandora - Persecuted or Persecutor?

Thomas Sabo UK Irving Berlin lived on the right time. So did Doc Pomus. And Bernie Taupin. Harlan Howard, Ellie Greenwich, Jeff Barry, "Yip" Harburg were also lucky being born if they were. In truth, practically the whole Songwriters Hall of Fame, pre rock and roll, should think about themselves lucky they were born when they were.

"God Bless America", "White Christmas" (Berlin); "Save the past Dance for Me"," Lonely Avenue" (Pomus); "Tiny Dancer", "Candle inside the Wind" (Taupin); "Streets of Baltimore", "I Fall to Pieces" (Howard); "Leader with the Pack", "River Deep, Mountain High" (Greenwich/Barry); "It's Just a Paper Moon", "Somewhere On the Rainbow" (Harburg) - i have listed examples of songs written by NON-performers. Those titles will be the most widely used songs coded in the past century. Any of those - and hundreds more - are already successfully recorded by dozens, perhaps hundreds, of artists during that time. The songwriters received royalties good number of records sold and on the sales of written music and songbooks containing the fruits of these labors.
Once the item sold can be a physical item (LP's, CD's, cassettes) a pre-set mechanical royalty is necessary. The mechanical royalty is determined by Tiffany Jewellery Outlet and possesses been since 1909 once the rate was established at two cents. The actual rate is set at 9.1 cents (a tad bit more if your song has ended 5 minutes). Downloads can also be be subject to these rates. Written music generally is a % with the price of the item.

While you can still find myriad ways that the songwriter was denied the full royalty rate, some legitimate plus some less, a large number of were front and center on the songwriter. That a minimum of allowed the songwriter to create a thought out decision or otherwise understand where they were getting a hit on the established royalty rate we were looking at allowed collect.

Collecting these royalties and distributing these monies are generally done by companies for instance ASCAP (American Society of Composers, Authors and Publishers) and BMI (Broadcast Music, Inc) the united states and similar organizations outside the US.

Radio royalties usually are collected as a percentage of advertising revenue and songwriters receive their share dependant on formulas built to impart some level of fairness. In addition bonus funds are accessible for songs which might be played over X amount of times within a designated period (typically 1 / 4) or that have established themselves as all-time perennials or standards (think "You've Lost that Loving Feeling" to get a contemporary example). No matter whether these formulas truly properly distributed the collected fees to the songwriters is an additional discussion, but put the percentage utilised in calculating the gross amount was set over the entirety of the radio medium.

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