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PostPosted: Sun May 22, 2011 11:14 pm 
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Paradigm Karaoke wrote:
enough with the damned horse!!!!
now you got me upset and cut the cheese myself.
who's idea was it to feed me chili?


I have found that if I have Green Chartreuse and sausage and pineapple pizza at night, the fact that I have to open my bathroom window in the morning to be able to stand myself will also keep the neighbors at bay for several hours. Just sayin'.... :shock: :mrgreen:

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PostPosted: Mon May 23, 2011 12:13 am 
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thank you Joe, i feel less guilty about my own now :lol:

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PostPosted: Mon May 23, 2011 11:41 am 
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Paradigm Karaoke wrote:
Whatever....

Quote:
They'll even be more limited soon enough.

Got an interesting email today..... (tick-tock, tick-tock).....


still waiting on your information as well Chip.
you posted yours before Wall posted, so you first.


I already posted that.... Regarding the legal dept. at a large (and unnamed) publisher regarding the Gem series licensing....

Quote:
...it is not {our} understanding that manufacturers were able to distribute in the U.S. material that was manufactured in the U.S., but licensed via an MCPS scheme. We will continue to look into this.


Got this one too just the other day, from a different unnamed artist/publisher when asked if a specific song (the only one that is on a karaoke disc) was ever licensed for karaoke use by ANY manufacturer.... (which happens to be on a Sound Choice 8900 series disc):
Quote:
I don't think we ever officially licensed the song to any manufacturers, but we know it's out there.


So you see, between just a few internet tools, it's possible to find out quite a bit... and the list just keeps growing....


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PostPosted: Mon May 23, 2011 7:10 pm 
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ah, i see, i apologize then, i missed it.
wonder if it changes their view if it is licensed AND manufactured under MCPS.
if i can still buy it direct from the UK company, and the artists still get their due pay, that seems to be a logical way. beats the greedy gimme gimme crap the artists can pull in the U.S.

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PostPosted: Mon May 23, 2011 7:31 pm 
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Paradigm Karaoke wrote:
ah, i see, i apologize then, i missed it.
wonder if it changes their view if it is licensed AND manufactured under MCPS.
if i can still buy it direct from the UK company, and the artists still get their due pay, that seems to be a logical way. beats the greedy gimme gimme crap the artists can pull in the U.S.


All the U.S. artists/publishers want is to be paid for their music, just like Sound Choice.

What's next? Do you license U.S. music in India because a song only costs a couple rupees to license there?


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PostPosted: Mon May 23, 2011 9:12 pm 
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but with MCPS the artists DO get paid for their songs, however if i want to do it in the U.S. they want even more money. i am all for them getting paid for what they have created, but they accept a lot less money from those that record in the U.K. than they will from those that record in the U.S. The Industry agreement with MCPS seems to be "just pay me for it and go to town" where in the U.S. it seems to be very different. or do the artists not get paid from MCPS fees?

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PostPosted: Tue May 24, 2011 12:08 am 
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c. staley wrote:
Paradigm Karaoke wrote:
Athena has not brought up the horse in a while, Chip keeps beating it.


I can't be beating it.... Athena hasn't reported on whether there is even a "horse in the race" to beat in the first place.

Sorry. Wrong horse. Either way, Athena DID bring up the horse in the race issue. I wonder if she's going to have an issue with Moonrider posting here, since he's just been very clear that he has no horse, never mind having it in the race.

Wall Of Sound wrote:
c. staley wrote:
And I'm waiting for Wall Of Sound's "train wreck" and it seems like it's been nothing but smoke... not even a mirror in sight.....



Has nothing to do with you Chip....


But it supposedly has to do with me, so I'm affirming what Chip has stated.
Waiting for your train wreck. I know I'll be waiting for a long time.
Maybe it has raptured (along with Athena's "evidence" - which she conveniently refuses to show- of wrongdoing on my part and her "evidence" that Chip no longer hosts)?


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PostPosted: Tue May 24, 2011 5:01 am 
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Paradigm Karaoke wrote:
but with MCPS the artists DO get paid for their songs, however if i want to do it in the U.S. they want even more money. i am all for them getting paid for what they have created, but they accept a lot less money from those that record in the U.K. than they will from those that record in the U.S. The Industry agreement with MCPS seems to be "just pay me for it and go to town" where in the U.S. it seems to be very different. or do the artists not get paid from MCPS fees?


So you're now defending SC's avoidance of paying U.S. publishers what they feel they deserve in favor of the U.K. simply setting a much lower fee and taking an administrative cut? I'm sure the artists have no say in their pricing. Might as well call it compulsory.

I don't get it... You believe it's perfectly okay for SC to chase around the country suing KJ's because they "want to get paid for their work" but in the same breath, you defend SC for NOT paying the artists what they "want to get paid for their work?"


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PostPosted: Tue May 24, 2011 5:27 am 
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c. staley wrote:
Paradigm Karaoke wrote:
but with MCPS the artists DO get paid for their songs, however if i want to do it in the U.S. they want even more money. i am all for them getting paid for what they have created, but they accept a lot less money from those that record in the U.K. than they will from those that record in the U.S. The Industry agreement with MCPS seems to be "just pay me for it and go to town" where in the U.S. it seems to be very different. or do the artists not get paid from MCPS fees?


So you're now defending SC's avoidance of paying U.S. publishers what they feel they deserve in favor of the U.K. simply setting a much lower fee and taking an administrative cut? I'm sure the artists have no say in their pricing. Might as well call it compulsory.

I don't get it... You believe it's perfectly okay for SC to chase around the country suing KJ's because they "want to get paid for their work" but in the same breath, you defend SC for NOT paying the artists what they "want to get paid for their work?"


The word on the street is, "It's Always been that way."
The artist is stiffed by the overhead of the publishers, and the publishers are stiffed by the CD+G stampers stamping more that they pay for. and the publishers not forwarding revenue to the artists if and when any CD+G $$ shows up.

The viscous circle..


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PostPosted: Tue May 24, 2011 7:49 am 
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c. staley wrote:

So you're now defending SC's avoidance of paying U.S. publishers what they feel they deserve in favor of the U.K. simply setting a much lower fee and taking an administrative cut? I'm sure the artists have no say in their pricing. Might as well call it compulsory.


It's not quite that simple, Chip. The US is the only country that sets a compulsory mechanical rate, which effectively functions as a MAXIMUM rate for licensing an artist's work. You can negotiate with the rights owner for any rate you want, but only an idiot would agree to a mechanical rate higher than compulsory. In the rest of the world these rates are set by the rights owners. Period. "You wanna use it, you pay my price." A company MAY be paying HIGHER mechanical rates to produce overseas.

Also, royalty rates in the US are theoretically up to 25% of the "suggested retail price." For the "standard" record company deal, this amount is calculated, then "breakage, packaging, promotion and returns" costs are deducted. Usually this results in an artist seeing an actual royalty rate of 3-5%. In the UK, royalties are 6.5% of retail price, or 8.5% of wholesale price of actual units sold. No deductions. Again, the artist actually comes out ahead.

So how come it's cheaper overseas? In the US it takes up to 20 hours of effort to "clear" a song for AV use. In the UK it can be done in a few minutes over the web. That man-hour and wage savings adds up in a hurry.

I don't blame SC for wanting to license overseas. If *I* were in Kurt's shoes I'd tell the USA to go pound sand and move the entire operation overseas.

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PostPosted: Tue May 24, 2011 8:28 am 
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Moonrider wrote:
c. staley wrote:

So you're now defending SC's avoidance of paying U.S. publishers what they feel they deserve in favor of the U.K. simply setting a much lower fee and taking an administrative cut? I'm sure the artists have no say in their pricing. Might as well call it compulsory.


It's not quite that simple, Chip. The US is the only country that sets a compulsory mechanical rate, which effectively functions as a MAXIMUM rate for licensing an artist's work. You can negotiate with the rights owner for any rate you want, but only an idiot would agree to a mechanical rate higher than compulsory. In the rest of the world these rates are set by the rights owners. Period. "You wanna use it, you pay my price." A company MAY be paying HIGHER mechanical rates to produce overseas.

Also, royalty rates in the US are theoretically up to 25% of the "suggested retail price." For the "standard" record company deal, this amount is calculated, then "breakage, packaging, promotion and returns" costs are deducted. Usually this results in an artist seeing an actual royalty rate of 3-5%. In the UK, royalties are 6.5% of retail price, or 8.5% of wholesale price of actual units sold. No deductions. Again, the artist actually comes out ahead.

So how come it's cheaper overseas? In the US it takes up to 20 hours of effort to "clear" a song for AV use. In the UK it can be done in a few minutes over the web. That man-hour and wage savings adds up in a hurry.

I don't blame SC for wanting to license overseas. If *I* were in Kurt's shoes I'd tell the USA to go pound sand and move the entire operation overseas.


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Thank you Moonrider for an educated post.

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PostPosted: Tue May 24, 2011 11:18 am 
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I have to agree, the artists should still be getting their cut even if it was produced overseas. The venues also pay (or are supposed to anyway) the publishers (in this country) for music to be played in which again, the artists see a portion of those fees as well.

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PostPosted: Tue May 24, 2011 11:47 am 
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Seriously, you guys amaze me.
I'm just shaking my head at all this.
You uphold a double standard and rationalize it by saying that the artists are still getting paid.
Then you criticize those who think they purchase legitimate discs (but perhaps they are not - oftentimes there is no real way to tell) and continue to use them and call them pirate supporters.
Tell me why it is OK for the Manus but not the KJs?
You guys need get on the same page and pick one or the other, but you really can't have your cake and eat it too.
It doesn't matter how it works in the States vs the UK. The States have their laws and the UK theirs and they need to be followed in each respective country. You can't pick and choose which laws you want to follow and where. It simply doesn't work that way.
If the artists are entitled to set their prices in the US and they set them at X amount of dollars, then that is what needs to be paid.
Just because a manu can get a "better deal" overseas, does that make it right for them to circumvent the system?
I would think not, yet you rationalize it away, insisting it's OK because the artists still get paid something, even insisting that they get paid more! Again, it doesn't matter what they get paid. If discs are to be distributed in the US, then the manus need to follow that country's rules, period. No if, ands, or buts, and no excuses and rationalizations as to why it's OK in this instance.
Either condemn the manus who take part in this practice along with the KJs, or stop vilifying KJs who are doing their darndest to stay legit in a situation that is far less than ideal.
Try and use some common sense here, people!


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PostPosted: Tue May 24, 2011 12:14 pm 
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birdofsong wrote:
I'm going to ask Athena publically to stop sending creepy private messages to my husband about her interest in stalking him.

This has gone far enough.

You need to stop.

Birdofsong

There was no creepy PM sent to you husband...it was an answer to his question and statement....he was told he could post it if he wished in open forum but after your accusation I will post it here to show all that you are either a paranoid person or just trying to stir the Sh*t I was attempting to stop by using the PM

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PostPosted: Tue May 24, 2011 12:16 pm 
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Message subject: an answer for you
From: kjathena
Sent: Sun May 22, 2011 8:52 pm
To: c. staley
Message
kinda hard for me to find what I find to be reliable sources when I live so far away...answer may have to wait till after my trip to your area to meet some of the people that have contacted me..I do have relatives that live not too far from you I have been planning to visit..so it may be awhile Chip....but I will answer when I have what I feel to be good enough proof you can be assured of that...Not wanting to feed the trolls so a PM will have to do for now but post it if you want

Athena

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Oh and you can rest assured Bird from now on I will post everything in open forum from now on.....so you can go sit warmly on your nest and unruffle your feathers.....happy hatching

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PostPosted: Tue May 24, 2011 12:53 pm 
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diafel wrote:
If the artists are entitled to set their prices in the US and they set them at X amount of dollars, then that is what needs to be paid.
Just because a manu can get a "better deal" overseas, does that make it right for them to circumvent the system?


Artists are NOT entitled to "set their prices" in the US. The US government has already told us what the MAXIMUM price we can charge will be as far as mechanical rights go. For artist royalties in the US, the royalties are calculated, then the record companies and distributors take 80% for "fees."

As a musical artist, I would much rather see ALL CDs, DVDs, and CDGs licensed and manufactured OUTSIDE the US. I'd make MORE money, because the laws aren't dictated by megacorp interests. That "better deal" for Sound Choice put MORE money in the pockets of the artists that were licensed. It was a better deal for them too.

Compare that to the brands like Sweet Georgia Brown, Supercore, and Karaoke Kurrents that don't pay a dime in royalties or licensing fees. They're COMPLETELY illegal. Every single bit as illegal as a karake hard drive. The artists get NOTHING from the sales of these products.

Given the cain raised about Chartbusters' and Sound Choice's infringements in the past, given the zeal with which the hard drive sellers are flagged on CL, I'd think these brands would be anathema to almost every KJ that purports to be against piracy.

But just about every KJ here - "cheerleader" and "anti-cheerleader" alike - will cheerfully endorse the use of these brands, with nary a word about them being COMPLETELY ILLEGAL. Just a warning about a lack of quality.

So . . . which double standard do you support?

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PostPosted: Tue May 24, 2011 1:17 pm 
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Thank you Moon, hearing it from a working artist helps me understand better. and for the rest, i was not defending a manu skirting the laws, but supporting the idea that there needs to be changes made as the U.S. laws have effectively gone overboard. a manu must pay much higher rates and the artist gets less pay themselves.

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PostPosted: Tue May 24, 2011 3:00 pm 
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Wall Of Sound wrote:
Moonrider wrote:
c. staley wrote:

So you're now defending SC's avoidance of paying U.S. publishers what they feel they deserve in favor of the U.K. simply setting a much lower fee and taking an administrative cut? I'm sure the artists have no say in their pricing. Might as well call it compulsory.


It's not quite that simple, Chip. The US is the only country that sets a compulsory mechanical rate, which effectively functions as a MAXIMUM rate for licensing an artist's work. You can negotiate with the rights owner for any rate you want, but only an idiot would agree to a mechanical rate higher than compulsory. In the rest of the world these rates are set by the rights owners. Period. "You wanna use it, you pay my price." A company MAY be paying HIGHER mechanical rates to produce overseas.

Also, royalty rates in the US are theoretically up to 25% of the "suggested retail price." For the "standard" record company deal, this amount is calculated, then "breakage, packaging, promotion and returns" costs are deducted. Usually this results in an artist seeing an actual royalty rate of 3-5%. In the UK, royalties are 6.5% of retail price, or 8.5% of wholesale price of actual units sold. No deductions. Again, the artist actually comes out ahead.

So how come it's cheaper overseas? In the US it takes up to 20 hours of effort to "clear" a song for AV use. In the UK it can be done in a few minutes over the web. That man-hour and wage savings adds up in a hurry.

I don't blame SC for wanting to license overseas. If *I* were in Kurt's shoes I'd tell the USA to go pound sand and move the entire operation overseas.


Image

Thank you Moonrider for an educated post.


Not possible- once overseas they can no longer be brought in for re-sale or disty. If he wants to make and sell product in the U.S., it has to be licensed here IN THE U.S...

On the other hand, if he wants to limit sales to countries other than the U.S., that's his choice, whether it's a sound one or not....

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PostPosted: Tue May 24, 2011 3:45 pm 
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kjathena wrote:
Oh and you can rest assured Bird from now on I will post everything in open forum from now on.....so you can go sit warmly on your nest and unruffle your feathers.....happy hatching


Let's see if I understand what you're really saying and doing here Athena.

#1. Remember Athena, that this was all started by YOU. You "received emails from unknowns" .... etc... YOU, are the one that plastered the unverifiable horse***t in the first place.

#2. YOU are the one that made the statements regarding credibility and a "horse in the race"... that wasn't me and it wasn't Birdofsong...

#3. YOU are the one offering publicly to stalk me based on information from "at least 4 emails from people you don't know?" And you're going to "prove or disprove" for what purpose? Might as well say you're gonna stand outside my house and peek through my windows for the gossip mill and that's stalking no matter what you call it.

#4. I've challenged you to either put up or SHUT up and your response was nothing more than a little creepy private message that basically promises to follow through with your secret stalking except this time in person.... Oh, and of course at some "mysterious time in the future."

And you have the gall to post as though Birdofsong has no right to have ruffled feathers?


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PostPosted: Tue May 24, 2011 4:26 pm 
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While I understand your position, Moonrider, and I sympathize with the artists who get ripped off, it still does not make what the manus who produce overseas are doing right. The law may be wrong, but it IS the law, and skirting it is wrong, plain and simple.
So once again, we are facing a double standard with the manus.
And because the artists actually get paid more than they would otherwise, it makes it ok for the manus to circumvent the law in this manner? If that is the case, then you need to allow the KJs the very same leeway.

As for Athena's message to Chip, it is clear, by her own admission above, that she posted nothing more than unfounded rumours (hearsay at that!) from people she doesn't even know about Chip and tried to pass it off to the members of this board as fact.
You have got to be kidding me!
Where is the credibility in that?
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