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A. Einstein

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  1. 5.) Register for an International Standard Recording Code (ISRC) for your songs. The ISRC is a unique international identifier for songs (tracks) on sound recordings. The ISRC functions as a digital "fingerprint" for each track. Unlike a Universal Product Code (UPC), the ISRC is tied to the track and not the carrier of the track (CD, cassette, etc). In addition, the ISRC remains allocated to a track regardless of changes in ownership. It is an extremely powerful tool for royalty collection, administration, and anti-piracy safeguards in the digital arena. The ISRC is usually inserted onto the CD master during the mastering session. - There is not one country which collects royalties on the data base of the ISRC code. - The ISRC code does not protect you in any way from theft by piracy. - The ISRC code is not used for administration nor any other kind of bookkeeping at record companies, and also not used at any digital music sales shop worldwide. - There is no ISRC code data bank where you can find a particular song when you know only the ISRC code. The ISRC code is an attempt by UFPI (represented in the USA by RIAA), to give each song an unique code for identifying the country of origin, the record company which owns the distribution rights and an unique number for each song.
  2. All you have to do today is: a) register the song with your author society. b) if you used an arranger, then either pay him, or give him some points in the song registration form under arranger. c) if your song lyrics get translated to other languages, either pay the foreign lyricist, or fill him/her in with some points in the song registration form. d) if you want further persons participating in the earning via the authors society, then also fill them in on the song registration form. e) Nobody makes old fashioned publishing contracts today. Except the record company demands that, but then you should ask what they do for you for their share. This shares where 50%/50% in the US, or 60%/40% (composer lyricist/publisher) in Europe. Today the share between composer/lyricist and digital distributors are 70% for the composer/lyricist and 30% for the digital distributor. f) if you are the producer and you payed the production fee, then you can demand up to 50% of the net. g) if the record company payed the production fee, then the producer percentage from the net can be 5% to 10%. Some times up to 35% if the artist is a well known and an established artist/band. h) If you are not an American and your music gets released in the USA, then exclude the territory of the USA in the song registration at your local author society. This because ASCAP and BMI pays more to their own member then to members of foreign author societies. All other authors societies worldwide pay the same to all, no matter what authors society you are a member of. Done all that and you are ready to licence your recording to a record company, or to a digital distributor. That's all!
  3. All those possiblities discussed here would never happen if you would compose original music. Originality is the one thing which unoriginal minds cannot feel the use of. And, it is better to fail in originality than to succeed in imitation. Insist upon yourself. Be original.
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