16. Which best artist in a recording contract? 24. Give a brief explanation of how cross-collateral works in a licensing artist recording contract that includes several albums. 4. Regardless of any royalties that could be earned, it is customary for licensed artists to pay for an admission session an amount that is: 1. Autonomous groups that host for a major label are generally subject to trade union contracts dealing with issues that are not dealt with in licensing agreements. 25. When all albums that are part of a multi-album slate are no longer actively promoted in the retail trade in their original version, are the sound recording rights generally controlled by which party? 33. In the past, after deducting certain pocket or third-party expenses, what was the typical amount that a record company shared with an artist for authorized recordings for recordings other than direct sales to consumers, for example.B. Licensed Master fees for synchronization with films? 13. Your manual indicates that a “spec” recording session: 23.
It is virtually impossible for a label to make a profit on a recording that does not compensate for the progress made by the artist. c. Big recording fund and tour support and 9% licence fee for big 5. Background singers on a hit big album can earn contingent payments in the order of more than ten times the scale payment they received from the original recording session. 15. A label that negotiates a recording contract with a new artist generally proposes that the artist use the label`s lawyer to represent both parties, the saving of legal costs that could be a burden on the artist. 3. Follow-up or over-dumping is prohibited during admission sessions under the jurisdiction of AFTRA. one. Video director, other production staff, budget and storyline 6. A major label that acquires a master`s degree from an independent producer must pay the musicians (retroactively, if not already paid) the corresponding AFM and AFTRA payments.
12. The AFM Sound Recording Special Payments pays musicians a percentage of the turnover of the recordings they make or a percentage of the scale payments they received during a reference period? 18. With a host fund, a licensed artist who accepts costs below the budgeted amount can take the difference. 8. The AFM Sound Recording Labor Agreement asks the music director to pay how much? 29. What is the least likely statement of a recording contract for the production of a video? 14. In recent years, it has become increasingly rare for an artist to require a label`s recording contract. 27. What is the difference between a recording budget and a registration fund? c.
The costs of commercially distributed video productions are first recovered from the artist`s budget or audio recording fund and, if not entirely from that source, and then recovered from the video budget fund. 21. The choice of music to record can be influenced by several people. Who usually has the final say on what is published on all distribution channels as part of a major label agreement? B. The label generally favours the costs of producing the video. one. Always respects the terms of the AFM`s union contract 17. In an all-in-deal between an artist and a label, the producer`s licence fee comes from the artist`s license. 10. What minimum noise royalty fee does an artist have to receive under the AFM definition to be considered a licensed artist? 11.
An AFM licensed artist receives 50% of a standard session payment for each song recorded in addition to the royalties that the artist negotiates. one. Must be a singing member of the representation group d. Label dictates which sidemusicians should work on a session has. Label obliges artists to work with a producer with whom the artist has no relationship 2. What statement below is false about the role of an AFTRA voice contractor? 46 hours