MikeN Posted April 15, 2016 Share Posted April 15, 2016 Perhaps knee cap them with a push to Public Domain /Original and free use while waiting it out until the courts catch up and get a better fix. An across the board Arts org effort to boycott such a predatory middle man company. Do you really need to play that piece this year? If you listen to DCI designers, yes. So much so that they don't care about sampling or sync rights. (One need only look at the history of DCI DVD/CD cuts from "New York State of Mind" on forward.) Mike Quote Link to comment Share on other sites More sharing options...
mingusmonk Posted April 15, 2016 Share Posted April 15, 2016 Linked In of founder Mark Greenburg Sr. Attorney bio of founder Kenneth Booth Linked In of the OP's letter-writer, EVP Larry Mills (with a recommendation at his old Sony/ATV job from Greenburg. Quote Link to comment Share on other sites More sharing options...
mingusmonk Posted April 15, 2016 Share Posted April 15, 2016 Jann-Michael Greenburg did a summer job for Booth's IP practice while also working when available at Tresona. Note: Not Jan-Michael, the actor in Airwolf. Quote Link to comment Share on other sites More sharing options...
TroopAlum12 Posted April 15, 2016 Share Posted April 15, 2016 (edited) Taking a suggestion made in this post, I compiled a list of the counter-arguments made here, threw in a few of my own, and sent them to Tresona. I'll post here if/when they reply. It was a rather harshly-worded email that ended with me saying they can expect me to not only avoid purchasing their products but actively advocate against their business model by supporting self-publishing. I'm curious to see what they say. I would encourage many people to do the same. The more negative feedback they hear, the better. Edited April 15, 2016 by TroopAlum12 Quote Link to comment Share on other sites More sharing options...
Spartans87 Posted April 15, 2016 Share Posted April 15, 2016 Wait - I see Larry Mills went to Indiana University. I thought they were big DCI fans over there in the Hoosier State!! All kidding aside, I wonder if that is how he "stumbled" upon DCI.... Quote Link to comment Share on other sites More sharing options...
N.E. Brigand Posted April 15, 2016 Share Posted April 15, 2016 The sad thing is that most drum corps fans really do want the composers to be reasonably compensated, and would be very happy to know that some fair percentage of the DVD sales was being paid to the composers. That Tresona was unable to reach an equitable arrangement with BOA, DCA, and for more than twelve DCI performances suggests to me that Tresona has some excessive overhead that puts the minimum royalty rate out of reach. So everybody gets nothing. 1 Quote Link to comment Share on other sites More sharing options...
Kamarag Posted April 15, 2016 Share Posted April 15, 2016 If you listen to DCI designers, yes. So much so that they don't care about sampling or sync rights. (One need only look at the history of DCI DVD/CD cuts from "New York State of Mind" on forward.) Mike Sampling is subject to performance rights (just like music) and synch rights. Designers don't really care about synch rights because it's not their responsibility, and they may not be able to get the info on securing those rights because they aren't producers of the recordings. Quote Link to comment Share on other sites More sharing options...
Kamarag Posted April 15, 2016 Share Posted April 15, 2016 (edited) Just as a sort of FYI for folks in the thread, I'm in the process of securing arranging and performance rights for my band's fall show. We're looking at around $1000 for rights to four pieces, a combination of symphonic and popular music. Plot twist: The rights to the symphonic/orchestral piece is *far* more expensive than the pop music stuff (two of the three pieces are very well known). Weird, huh? Edited April 15, 2016 by Kamarag Quote Link to comment Share on other sites More sharing options...
combia1 Posted April 15, 2016 Share Posted April 15, 2016 (edited) I've heard through the grapevine that a lot of choirs and show choirs are the ones pushing back here. They are either starting to call Tresona's and/or the publisher's bluff by not working with/through them, or simply flaunting the rules.Everyone interested in this topic should Google "Girl Talk Copyright" basically Girl Talk does a TON of sampling and doesn't get anyone's permission or pay any fees. And he has never been taken to court. The theory is that none of the publishers want to take him to court because they are afraid they will lose, and then that loss in court will set a precedent. So it is easier to avoid high-profile court exposure and instead just force every band and choir in the country to fess up with "small" licensing fees. Check out http://www.girlwalkallday.com/ and you can hear all of the samples. And this is a movie, so normally a synch license would be needed. But they didn't get one. Edited April 15, 2016 by combia1 Quote Link to comment Share on other sites More sharing options...
TroopAlum12 Posted April 15, 2016 Share Posted April 15, 2016 (edited) That was fast! Here is their reply to my email: Dear ######- thanks for your note. There was no attack on DCI, WGI or BOA. I personally work with all of them and have a great relationship with the Presidents and boards of all of those agencies. As a music educator, performer and composer, I hope that you are compensated fairly for the work that you do. It would be a shame for all of the hard work that music educators across the country to be done for free. To address a few of the fine questions you raise in your letter - we don't set the prices in our system. The prices are set by the songwriters and music publishers. I think the organizations should be paying the rate that the rights holders set - or use other music. As far as naming names. Our company is not here to list infringing companies. Our company is here to protect the rights of songwriters and create technology that makes this easy and affordable. The specific group we are alluding to in our letter, if you have to know, is a show choir booster club in California who have raised over $500,000 per year for their extra-curricular activity and don't seem to think that songwriters are due any money. You as an educator, performer and composer should be against this type of behavior, and educating your students that stealing is wrong. As far as DCI, WGI, BOA or any of our other clients - you can reach out to them if you would like more information on their business. As far as losing customers to people who decide to create and perform their own music - I say that I welcome that day. If Tresona's business motivates the creation of new music that is being performed by ensembles around the country and around the world, I, for one, would be thrilled. I would also be thrilled to represent that work to make sure that the writers of that new material are compensated fairly, if they choose to be compensated. I wish you and your students the best of luck in their chosen path of music. Larry (Tresona Representative) While there are still many issues that could be addressed, I think we can safely say that this letter was not specifically aimed at the marching arts. Edited April 15, 2016 by TroopAlum12 1 Quote Link to comment Share on other sites More sharing options...
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