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On Fri, Aug 28, 2009 at 12:27 PM, Anders Bergdahl<anders_e_bergdahl@hotmail.com> wrote: > If you make 100 000$ on remiastereing and reselling a tune I have >composed > and recorded should you have all the money?? Yes, that's the way it works. The work the record label does is to remaster the recording, print copies and distribute them. None of that is the work of the composer. He made the music, not the recording or the CD record copies. The composer gets paid when his music is used for playback or performance in public or for commercial reasons. However, if a lable puts out new copies of a recording of music you have composed it is likely that the use of this music will increase, and that means more money goes to you. If you as the composer are also the artist whose performance (of your composition) was recorded for this product, then it is a different situation; then you (the artist) would get a small cut of the label's income of record sales. > If so it means that the unknown > composers should count on heving their best peices stolen so that the >well > known artist can use their art to make BIG money... Yup, that's what they do! The business model for that is called "placing tracks". You compose a song and take help from a publisher to find an artist with millions of fans and an active record company to record the song and release it. The record company gets the royalty from sold records (and some performance compensation when the song is played on air in countries that give this), the artist gets a cut for the record sales via the label (6% up to 20%) (and some performance compensation when the song is played on air in countries that give this). You, as the composer, get your part out of the "publishing money", which is the big part of what radio and television stations, shopping malls etc pays for the right to use the music and this is normally split with 66% to you and 33% to your publisher. In some countries a 50/50 cut on publishing is also common. Per