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Lenovo YOGA 900 Window s 10 Home 64bit 16GB RAM\2018 13” MacBook Air casio wk7500 presonus audiobox i2 usb interface
casio wk-7500
biab & realband 2023 everything pk both with Current builds
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It has always been that way for 90% or more.
When we were being courted by Motown, their last offer was 2 cents per record. Out of those royalties they would take out inflated recording costs, inflated distribution costs, and inflated promotional costs. Our manager figured we would have to sell a million copies of our first single to break even and not owe Motown any money. In those days, a million sales from a first time artist was a rarity.
If your first single went viral and sold over a million, you could negotiate a better deal for the next one.
They even wanted to put one of their staff writers name as co-writers to get have the songwriting royalties, and they wanted all publishing rights.
That's why there are so many one hit or one CD wonders.
Nothing has changed but the technology.
99.9% of musicians make their money by playing live to an appreciative audience.
Insights and incites by Notes
Bob "Notes" Norton  Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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When we were being courted by Motown, their last offer was 2 cents per record. Out of those royalties they would take out inflated recording costs, inflated distribution costs, and inflated promotional costs. Our manager figured we would have to sell a million copies of our first single to break even and not owe Motown any money. In those days, a million sales from a first time artist was a rarity.
They even wanted to put one of their staff writers name as co-writers to get have the songwriting royalties, and they wanted all publishing rights. Hmmm....interesting story reference for a song writing bottom feeder like me. Granted, other than being aware it's a cut throat industry I know little to nothing of how the industry works at that level. It sure sounds to me like an over-the-top sense of self-perceived entitlement by Motown. Implementing devious ways to take more from those that actually did all the creative effort/work. Motown actually thinks that would be an attractive offer? I'd be embarrassed to offer that deal to an artist that I thought had a song that would have some mass appeal and both could make some buckaroos. Oh well...what do I know in this context. Back to it....
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Everything remains the same.....
Some of the big bands of the 60's were playing essentially for free with several #1 songs on the radio. Getting screwed by the record company was a given.
Now days with streaming and digital, not much has changed. Songwriters don't get much remuneration.
I have a few songs in film and TV and the royalties were about 12 months behind the airing of the shows.
You can find my music at: www.herbhartley.comAdd nothing that adds nothing to the music. You can make excuses or you can make progress but not both. The magic you are looking for is in the work you are avoiding.
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In a world where a teen can pirate a copy of a production program and make a beat at his dining room table that gets used by a rapper thousands of miles away, making sure that producers get appropriately compensated becomes necessarily more complicated. Way to stay classy, Rolling Stone Magazine. Why not also suggest it was done on a stolen computer while you're at it? 
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<...snip...>
Hmmm....interesting story reference for a song writing bottom feeder like me.
Granted, other than being aware it's a cut throat industry I know little to nothing of how the industry works at that level.
It sure sounds to me like an over-the-top sense of self-perceived entitlement by Motown.
Implementing devious ways to take more from those that actually did all the creative effort/work.
Motown actually thinks that would be an attractive offer?
I'd be embarrassed to offer that deal to an artist that I thought had a song that would have some mass appeal and both could make some buckaroos.
Oh well...what do I know in this context.
Back to it.... Motown knew it was a bad deal, but it's motivation was to make as much profit as it can. Motown (and others) knows there are some artists who want to be famous so badly that they would sign on the dotted line. Motown's second choice did. They were called the Sunliners, but of course Motown wanted to own their name too, so they could fire and hire at will and put 3 or 4 groups with the same name on the road. They changed it to Motown's Copyright, "Rare Earth." 4 acts on the road? Common practice back then. At one time there were 4 Mircales, 4 Temptaions, 4 Platters, and so on. Smokey Robinson joked that if there was ever a Miracles reunion, including the touring acts, they would have to rent a football stadium (it was an exaggeration of course). The people who didn't make a dime from the major labels outnumber the ones who made money by 99% The majors monopolized the market so no matter where you went, the deal was pretty much the same for first time acts. The exception to the rule were people with great connections already, like relatives to the execs. And if you underestimate artists willing to work for free to be heard, look at all the Open Mic nights across the country where musicians work for free while the venue rakes in the profits. Same thing, smaller scale. Insights and incites by Notes
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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"And if you underestimate artists willing to work for free to be heard, look at all the Open Mic nights across the country where musicians work for free while the venue rakes in the profits. Same thing, smaller scale.
Insights and incites by Notes"
.............................................
I would agree completely about the Record Companies ripping people off, but would differ a bit with the above form your post.
Would you not agree that for a young person starting off, or for that matter an older person who has never really performed and both wanting to get a feel of live performing, for both these people the joy of performing in front of an audience may well be far more important to them then receiving any money?
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"And if you underestimate artists willing to work for free to be heard, look at all the Open Mic nights across the country where musicians work for free while the venue rakes in the profits. Same thing, smaller scale.
Insights and incites by Notes"
.............................................
I would agree completely about the Record Companies ripping people off, but would differ a bit with the above form your post.
Would you not agree that for a young person starting off, or for that matter an older person who has never really performed and both wanting to get a feel of live performing, for both these people the joy of performing in front of an audience may well be far more important to them then receiving any money? I do agree in part. But when the venue is a for-profit venue and: - The owners are getting paid
- The managers are getting paid
- The cooks are getting paid
- The bartenders are getting paid
- The waiters/waitresses are getting paid
- The purveyors to the venue are getting paid
- The janitors are getting paid
- Everybody involved are getting paid except...
- The musicians are NOT getting paid
That's the wrong place to build your performance chops. What does that say about your self-worth? The guy who scrubs the toilets is worth more than the musicians? So you think a record company ripping of an artist for increased profits is OK, but a local restaurant or bar ripping off an artist for increased profits is not OK? I'm sorry, I don't see any difference. Insights and incites by Notes
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
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User Video: Next-Level AI Music Editing with ACE Studio and Band-in-a-Box®
Band-in-a-Box® 2024 German for Windows is Here!
Band-in-a-Box® 2024 für Windows Deutsch ist verfügbar!
Wir waren fleißig und haben über 50 neue Funktionen und eine erstaunliche Sammlung neuer Inhalte hinzugefügt, darunter 222 RealTracks, neue RealStyles, MIDI SuperTracks, Instrumental Studies, "Songs with Vocals" Artist Performance Sets, abspielbare RealTracks Set 3, abspielbare RealDrums Set 2, zwei neue Sets von "RealDrums Stems", XPro Styles PAK 6, Xtra Styles PAK 17 und mehr!
Paket | Was ist Neu
Update Your PowerTracks Pro Audio 2024 Today!
The Newest RealBand 2024 Update is Here!
The newest RealBand 2024 Build 5 update is now available!
Download and install this to your RealBand 2024 for updated print options, streamlined loading and saving of .SGU & MGU (BB) files, and to add a number of program adjustments that address user-reported bugs and concerns.
This free update is available to all RealBand 2024 users. To learn more about this update and download it, head to www.pgmusic.com/support.realband.htm#20245
The Band-in-a-Box® Flash Drive Backup Option
Today (April 5) is National Flash Drive Day!
Did you know... not only can you download your Band-in-a-Box® Pro, MegaPAK, or PlusPAK purchase - you can also choose to add a flash drive backup copy with the installation files for only $15? It even comes with a Band-in-a-Box® keychain!
For the larger Band-in-a-Box® packages (UltraPAK, UltraPAK+, Audiophile Edition), the hard drive backup copy is available for only $25. This will include a preinstalled and ready to use program, along with your installation files.
Backup copies are offered during the checkout process on our website.
Already purchased your e-delivery version, and now you wish you had a backup copy? It's not too late! If your purchase was for the current version of Band-in-a-Box®, you can still reach out to our team directly to place your backup copy order!
Note: the Band-in-a-Box® keychain is only included with flash drive backup copies, and cannot be purchased separately.
Handy flash drive tip: Always try plugging in a USB device the wrong way first? If your flash drive (or other USB plug) doesn't have a symbol to indicate which way is up, look for the side with a seam on the metal connector (it only has a line across one side) - that's the side that either faces down or to the left, depending on your port placement.
Update your Band-in-a-Box® 2024 for Windows® Today!
Update your Band-in-a-Box® 2024 for Windows for free with build 1111!
With this update, there's more control when saving images from the Print Preview window, we've added defaults to the MultiPicker for sorting and font size, updated printing options, updated RealTracks and other content, and addressed user-reported issues with the StylePicker, MIDI Soloists, key signature changes, and more!
Learn more about this free update for Band-in-a-Box® 2024 for Windows at www.pgmusic.com/support_windowsupdates.htm#1111
Band-in-a-Box® 2024 Review: 4.75 out of 5 Stars!
If you're looking for a in-depth review of the newest Band-in-a-Box® 2024 for Windows version, you'll definitely find it with Sound-Guy's latest review, Band-in-a-Box® 2024 for Windows Review: Incredible new capabilities to experiment, compose, arrange and mix songs.
A few excerpts:
"The Tracks view is possibly the single most powerful addition in 2024 and opens up a new way to edit and generate accompaniments. Combined with the new MultiPicker Library Window, it makes BIAB nearly perfect as an 'intelligent' composer/arranger program."
"MIDI SuperTracks partial generation showing six variations – each time the section is generated it can be instantly auditioned, re-generated or backed out to a previous generation – and you can do this with any track type. This is MAJOR! This takes musical experimentation and honing an arrangement to a new level, and faster than ever."
"Band in a Box continues to be an expansive musical tool-set for both novice and experienced musicians to experiment, compose, arrange and mix songs, as well as an extensive educational resource. It is huge, with hundreds of functions, more than any one person is likely to ever use. Yet, so is any DAW that I have used. BIAB can do some things that no DAW does, and this year BIAB has more DAW-like functions than ever."
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