"better for the artist", indeed?
Oct. 13th, 2009 07:53 amRobert Fripp's Diary for Friday, 2nd October 2009:
Again the question is easily asked - was Chicago bumped from consideration because of how much of a pain the state department has made it for workers and tourists to enter the country now?
We are looking at a royalty statement for an album I produced some years ago that now includes download income. The record company receives 67 US cents per track; I receive 2 cents per track as producer.And that's for those companies that are actually (sorta) tracking downloads sales. Fripp has had an impressive round of battles just trying to get an accurate figure for the Crimson tracks illegally posted on iTunes so far.
In the days of vinyl, the company used to receive c. 24% of the wholesale, and perhaps the artist received 40-50% of that 24% (this varied considerably & even where the rate seemed higher, such as 16-18%, the artist royalty was subject to all manner of deductions to lower it). So, the ratio of record company: artist earnings was nominally a proportion of perhaps 1:1 (ish),and post-deductions maybe 2:1. For downloads, the ratio is now 67:12; or around 5- or 6:1. This is the new model of digital music provision?
We have received correspondence from the US accountant. This has now become complex and involves me in the loop. One radical solution to this not happening again is to abandon touring in the US. This is an effective solution to many of my unhappinesses regarding the professional life. The musical portion of the work is such a small percentage of the total effort involved that I have to ask: why am I doing this? The primary answer: because this is what I have always done. But, that is not a sufficient reason.For these very crazy reasons, Marillion will not tour the U.S., and probably never will again. Various prog festivals are constantly getting the dreaded phone call from a headliner, saying their visas never came in so they can't perform.
North American readers may not know that recent legislation & greater application of existing laws, in respect of policing monetary flows & foreign workers, have made tours by artists visiting the US increasingly complex. A growing response from touring artists is to avoid the US.
Again the question is easily asked - was Chicago bumped from consideration because of how much of a pain the state department has made it for workers and tourists to enter the country now?