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This is huge for session musicians; all the people who lead normal lives but play guitar or drums for Florida Georgia Line, Bon Jovi, Alice Cooper, keyboards fo
by EADGBE 8y ago
This is huge for session musicians; all the people who lead normal lives but play guitar or drums for Florida Georgia Line, Bon Jovi, Alice Cooper, keyboards for Eminem and pretty much any pop or country-pop recording today that contains real instruments.
Even the normal people behind the studio console recording desk (Think Alan Parson producing Pink Floyd's Dark Side of the Moon, before he got "big" on his own).
I'd bet members of The Wrecking Crew[1], though modest, would have really benefited from a system like this. Though they were so busy recording all the hits from the 60's and 70's the rates they made may have seemed fair at the time.
[1] https://en.wikipedia.org/wiki/The_Wrecking_Crew_(music) https://en.wikipedia.org/wiki/The_Wrecking_Crew_(music)
- emodendroket 8y agoI am a little unclear what it means for various digital music services though. There is going to be a single authority they all deal with... does that affect who gets streaming rights or what the rates are?
- EADGBE 8y agoThe rates are still probably negotiated by contract between record label and artist (now artist/producer/engineer), which I think is what happens currently. The database would mostly just track play count, and who gets their share of that play count.
- EADGBE 8y agoI like GRAMMY's overview of it a lot. https://www.grammy.com/advocacy/learn/music-modernization-act https://www.grammy.com/advocacy/learn/music-modernization-ac...
- gcb0 8y agothe norm every time is to limit "credited jobs" even more.
- justtopost 8y agoSmall nitpick, the 'wrecking crew' was just that guys side band, not the famous session musicians. Look up Carol Kaye, the famous bassist. She sets the record straight. The 'crew' was mostly a retroactively titled cash grab.