No joke, this is the one I read.

Edit: Image not working, it's got the same title and everything:

http://www.amazon.com/Making-Music-Make ... 0876390076

I hope to read what he wrote someday.

You are da bomb.

Thanks tragabigzanda, great info.

You should try it sometime.

40% to Ed?? Fuck.

Considering he writes almost all the lyrics and contributes musically to a good chunk of the songs...

OK so what does this deal with Universal mean?

or will all be explained at the 11th album pre-release lyric reading party at BOB's Corpus Christi condo...

Thanks Trag. In my audio days we did a lot of radio and television work and often we needed to get licensing for either an existing piece or for us to record a soundalike. I don't miss the days of dealing with publishing houses. Man it took ages in the 90s doing everything by fax.

And the band I was in decided to allocate 30% to lyrics, 30% to the initial music writer or riff writer and then split the remaining 40% between each five members.

So the singer usually got 38%. Or if it was a jam from scratch (rarely admitted) the singer could walk away with 44%.

As a drummer I had 8% most of the time except one occasion when a song derived from a groove I had and I got 18%.

I admire bands that do the even split deal. Very very rare though.

Everytime I see this thread I think it's about Pearl Jam severing ties with animal rights groups.

Oof, I can only imagine. But here's a story about the perils of modern music-making:

I was engineering on a session for a couple of Sony/ATV songwriters. They were working on a single for Katy Perry. They went deep on this one: sobriety gave way to a little liquor, then a lot, then some weed, then god knows what (I always kept my nose clean when on the clock). By 4am, they had a pretty great single demo'd up. The energy in the room was amazing -- it really sounded like a hit to my ears.

We bounced the track down, and sent it off to Katy's A&R rep in LA. Four minutes later we heard back: "Eh. Too sad, don't think Katy wants to go in that direction." All the energy immediately left the room.

Ah, making music in the age of Pro Tools and iphones...

This thread is pissing me off

Spoiler: show

mostly because I don't even know what it is about.

Can't think of a better place to put this.

http://www.theatlantic.com/magazine/archive/2015/10/hit-charade/403192/

Despite my deep preference for High Art indie-type music, the bulk of my music industry income (which was still quite meager) came from this world. Everything in this article is exactly true, and it's a big part of why I got out. I wanted to work on real records by real artists, but this sort of stuff paid the bills way more consistently...

It also ate away at my soul, and often gave me a headache.

Funny that this article doesn't really get into the allegations that Dr. Luke is an abusive predator:

http://www.billboard.com/articles/news/ ... se-lawsuit

I STILL DON'T KNOW WHAT THIS THREAD IS ABOUT

It's about whether or not Pearl Jam is leaving ASCAP, I believe

It's about how Dave A has made a living for the last 21 years.

The guy who wrote that stupid Bass song only made $5700:

http://www.tennessean.com/story/money/i ... /72570464/

He only made $5700 from streaming.