Recording - October 2011 - 73
Continued from page 70 players—because I know my wife has gone to Nashville quite a bit and has used studios and union players—but I remember in some of our contracts with regard to union players that we’ve had in regards to usage, that they would release it, and we would make sure that was in our contracts, especially if we’re using session players. And I found that to be the case, because we knew… What happens if this thing gets over here to a film? What about these union players? We were aware of it, and I have looked back in some of our contracts again, and we had them released so we can get it into film and TV. One more thing I want to talk about real quick is retitling. I’ve heard that some have retitled to avoid the PROs, or that you’re not aware because the song was in a different name. Tanvi: Why would you do that? There’s no reason to retitle if you’re avoiding the PROs. Audience Member: Why would they retitle to keep us from getting…? Tanvi: If somebody’s doing that, it’s not cool. You’re not getting paid; that means they’re not getting paid either. If they’re avoiding the PROs, they’re not getting paid on the back end. That doesn’t make sense. [Inaudible from audience.] Well, I would stay away from that library. That’s exactly what I was talking about earlier when I mentioned the “trailer park” libraries. Tanvi is a consummate professional that doesn’t do stuff like that. Some of these newer libraries go, “Oh yeah, TAXI is way too picky,” or “Tanvi’s way too picky.” We are picky for a reason, and we operate our businesses in a legitimate and ethical way. These other guys may not even be unethical, or they just may be uneducated, and you may open yourself up to getting hurt by working with some of them—not all of them. In our contracts we tell you what your catalog number plus title is. And when you go to our website and go into your account, it tells you what it is. I’m not changing that number; I’m not arbitrarily moving it. Sometimes in a registration I have made this mistake with the CMI, because the I looks like a 1, and sometimes it’ll be CM111, whatever, So we’ll just add that as an alternate title, because it’s a lot easier to add it as an alternate title on the registration then it is to bother the network to change that and send it back to us. But that’s the only situation in where the number isn’t an exact match. The original registration is
going to be exactly what we have on our contract with you. So there’s no line moving here, and if you’ve come across catalogs that are doing that just so you won’t get your writer’s share, run very fast. If they can’t explain the contract to you, run very fast. I mean, a company shouldn’t be in business if they don’t know what they are getting you to sign. I’ve seen bits and pieces of your contract on some of the smaller library sites because they do Frankenstein contracts, where they cut and paste sections of several of them together so they don’t have to pay an attorney. We’ve got to wrap this up, but I want to say one last thing about the union issue. I go to Nashville a lot. Those are the best studio cats in
the world, and many of them, if not most of them, are union guys. The union issue—as it relates to film and TV—I believe is a solvable issue. Those of you who have connections to the unions, need to speak up and say, “Let’s find a modern way to make this work so that everybody wins.” Because I don’t think union guys should be ignored because they are union guys, because you’d be missing out on some great players. However, people do tend to shy away from using a union studio because of this issue, and it shouldn’t have to be that way. So, just my own personal opinion, if you’ve got a connection to a union, speak up and ask for this problem to be solved. Was this panel helpful to you guys? Ladies and gentlemen, Miss Tanvi Patel! [applause]
73
http://www.recordingmag.com
Recording - October 2011
Table of Contents for the Digital Edition of Recording - October 2011
Recording - October 2011
Fade In
Contents
Talkback
Fast Forward
Postcards From The World Of Recording
Grace Design m103
Adobe Audition CS5.5
Radial Engineering Workhorse and 500-Series Modules: JDV-Pre, Shuttle, EXTC, and PhazeQ
Blue Reactor Multi-Pattern Condenser Mic
Great River Electronics / Harrison 32EQ 500-Series Equalizer Module
Millennia Media HV-35 500-Series Mic Preamp
Telefunken Elektroakustik AK-47 MkII Tube Condenser Mic
Pulse Techniques EQP-1A3
Audix CX212B Multi-Pattern Condenser Mic
A-Designs HM2 Compressor “The Nail”
It’s Your Music—Know Your Rights. Chapter 19: Album Release Checklist
Electro-Voice RE320 Dynamic Mic
Alesis iO Dock
Putting Together The Pieces
Reviewed & Revisited: Fable Sounds Broadway Big Band Kontakt Edition and Broadway Lites
Readers’ Tapes
Advertiser Index
Fade Out
Recording - October 2011 - Recording - October 2011
Recording - October 2011 - Cover2
Recording - October 2011 - 1
Recording - October 2011 - Fade In
Recording - October 2011 - 3
Recording - October 2011 - Contents
Recording - October 2011 - 5
Recording - October 2011 - Talkback
Recording - October 2011 - 7
Recording - October 2011 - Fast Forward
Recording - October 2011 - 9
Recording - October 2011 - 10
Recording - October 2011 - 11
Recording - October 2011 - Postcards From The World Of Recording
Recording - October 2011 - 13
Recording - October 2011 - 14
Recording - October 2011 - 15
Recording - October 2011 - 16
Recording - October 2011 - 17
Recording - October 2011 - 18
Recording - October 2011 - 19
Recording - October 2011 - 20
Recording - October 2011 - 21
Recording - October 2011 - 22
Recording - October 2011 - 23
Recording - October 2011 - 24
Recording - October 2011 - 25
Recording - October 2011 - Grace Design m103
Recording - October 2011 - 27
Recording - October 2011 - 28
Recording - October 2011 - 29
Recording - October 2011 - Adobe Audition CS5.5
Recording - October 2011 - 31
Recording - October 2011 - 32
Recording - October 2011 - 33
Recording - October 2011 - 34
Recording - October 2011 - 35
Recording - October 2011 - 36
Recording - October 2011 - 37
Recording - October 2011 - Radial Engineering Workhorse and 500-Series Modules: JDV-Pre, Shuttle, EXTC, and PhazeQ
Recording - October 2011 - 39
Recording - October 2011 - 40
Recording - October 2011 - 41
Recording - October 2011 - 42
Recording - October 2011 - 43
Recording - October 2011 - 44
Recording - October 2011 - 45
Recording - October 2011 - Blue Reactor Multi-Pattern Condenser Mic
Recording - October 2011 - 47
Recording - October 2011 - Great River Electronics / Harrison 32EQ 500-Series Equalizer Module
Recording - October 2011 - 49
Recording - October 2011 - 50
Recording - October 2011 - 51
Recording - October 2011 - Millennia Media HV-35 500-Series Mic Preamp
Recording - October 2011 - 53
Recording - October 2011 - Telefunken Elektroakustik AK-47 MkII Tube Condenser Mic
Recording - October 2011 - 55
Recording - October 2011 - Pulse Techniques EQP-1A3
Recording - October 2011 - 57
Recording - October 2011 - Audix CX212B Multi-Pattern Condenser Mic
Recording - October 2011 - 59
Recording - October 2011 - A-Designs HM2 Compressor “The Nail”
Recording - October 2011 - 61
Recording - October 2011 - It’s Your Music—Know Your Rights. Chapter 19: Album Release Checklist
Recording - October 2011 - 63
Recording - October 2011 - 64
Recording - October 2011 - 65
Recording - October 2011 - Electro-Voice RE320 Dynamic Mic
Recording - October 2011 - 67
Recording - October 2011 - 68
Recording - October 2011 - 69
Recording - October 2011 - 70
Recording - October 2011 - 71
Recording - October 2011 - 72
Recording - October 2011 - 73
Recording - October 2011 - Alesis iO Dock
Recording - October 2011 - 75
Recording - October 2011 - Putting Together The Pieces
Recording - October 2011 - 77
Recording - October 2011 - Reviewed & Revisited: Fable Sounds Broadway Big Band Kontakt Edition and Broadway Lites
Recording - October 2011 - 79
Recording - October 2011 - Readers’ Tapes
Recording - October 2011 - Advertiser Index
Recording - October 2011 - 82
Recording - October 2011 - 83
Recording - October 2011 - 84
Recording - October 2011 - 85
Recording - October 2011 - 86
Recording - October 2011 - 87
Recording - October 2011 - Fade Out
Recording - October 2011 - Cover3
Recording - October 2011 - Cover4
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