Greetings Colleagues!,<\/p>\n
The membership is starting to really heat up about the recording
\nsituation now that the have a place to vent. More ideas are coming forward,
\nmore suggestions of stratagies. Please note the number
\nof composers with their own realities of the business of working
\nas a composer. Truth can be said to be like a rope, the more similar
\nstrands of information that make up the rope, the more likely
\nthey add up to the truth.<\/p>\n
In other words, if you have a dozen talking of having to leave
\nto record versus one or two who say they never have a problem
\nrecording here, the more pervasive reailty is most likely the more
\nreported one.<\/p>\n
Here are more comments from your union brothers and sisters,
\nsome rather explosive, or seemingly so, until you realize how often
\nyou or your close colleagues have said the same thing.<\/p>\n
Comments, complaints and ideas are always welcome.
\nYour privacy will always be protected.<\/p>\n
And now the comments……<\/p>\n
———————————-<\/p>\n
Are you a group of Local 47 members?<\/p>\n
(Editors Note: \u2018The Committee\u2019 is made up of ALL Local 47
\nMembers. In fact, most are members of the RMA.)<\/p>\n
<\/p>\n
———————————-<\/p>\n
the explosive comment of the day (i.e. daring to point out the
\nelephant in the room\u2026.)<\/p>\n
It’s clear that in order to be competitive with London and
\nelsewhere, all of which who offer buyouts, that the AFM has
\nto offer one.
\nFilmmakers are leaving the US in droves to record scores.
\nThe RMA is willing to sacrifice any and all recording jobs here
\nin order to preserve a relatively small number of high-paying
\nLA studio films that, predictably, involve the “Elite 100” or so
\nand their contractor, we all know HER name. The most overpaid
\nsecretary (non-musician, of course!) in the history of LA
\nrecording,<\/p>\n
I wonder how many players have lost their careers to make sure
\nSHE still has the right to charge quadruple-scale for her “work”
\non sessions….? Sickening greed and selfishness.
\nShe gives “player” a whole new name…<\/p>\n
It’s sickening that the elite are willing to stand by and not be
\ncompetitive and burn so many other musicians who are enduring
\nreal suffering due to lost work. RMA, wake up and smell the coffee:<\/p>\n
* The producers want a buyout. They get one EVERYWHERE else,
\nand they’ll go EVERYWHERE else just like they are now in order
\nto receive competitive treatment. This is simple competition.
\nAnd the AFM is not being competitive.<\/p>\n
It’s very simple. Wake up folks!<\/p>\n
* The producers biggest concern: the back end and keeping the
\nbooks open for years.<\/p>\n
* The number of musicians HURT by the elite’s unwillingness
\nto be competitive is FAR HIGHER than the small number
\nof “Elite” musicians who run the RMA for THEIR OWN BENEFIT.<\/p>\n
The battle between Phil Ayling and Tom Lee over being
\ncompetitive vs. being noncompetitive is having a terrible cost
\nin terms of the number of people affected by this.<\/p>\n
(Editors Note: Could you imagine someone actually saying the
\nabove in public? Hundreds of members feel this exact same way,
\nand NOW you have a place to say it.<\/p>\n
In the committees opinion the quadrupling of budgets
\nthat went on for some 15 years or more did irreparable damage
\nto work in this city. Besides the Back end, this is the one thing
\nthat made producers look elsewhere in the first place.
\nWhile few will say it, most know it\u2019s true. If the cost had not
\nbecome so absurd with no real competition allowed, it would
\nhave taken the industry far longer to get fed up and look elsewhere.<\/p>\n
We don\u2019t believe anyone can dare quadruple budgets anymore,
\nnot now that the damage has been done and the options are
\nmyriad. If anyone tells you that NO ONE quadruples scales NOW,
\nit might be true, but for a good 15 years at least it WAS going on.
\nAnd boy HOW the pockets were stuffed. )<\/p>\n
———————————-<\/p>\n
Something that wasn’t mentioned here was Videogame production. Videogames are a global market with publishers and developers worldwide. There are no package deals for composers in the videogame industry, just a reasonably stable composer’s fee plus separate budgets for live musicians, studios, etc. The composers, publishers, and game developers in this industry are big
\nAdvocates of using world-class musicians and I constantly hear comments about the benefits of using Los Angeles musicians at the developer conferences. There is currently a very liberal AFM agreement for videogames on the books and in use by myself and others in the industry. It includes a buyout among other provisions and big publishers like EA, Ubisoft, Vivendi-Universal are doing sessions here.<\/p>\n
My only comment regarding the wording below is the use of the
\n“Elite” musicians. We all know plenty of world-class musicians
\nwho aren’t on the A-list for some of the busy contractors and
\nthis wording separates these fine talents with the select few
\nthat have able to fit within the politics of the way these contractors do business, in addition to having great talent themselves. This is a separatist view which has been in our union for a long
\ntime and has poisoned our local into an Us vs. Them mindset.
\nThis has to stop.<\/p>\n
For those of you who are part of this A-list,
\nI’d like to remind you that although you are a powerful and
\nwell-organized group in how you vote within the union,
\nyou are still a minority and the inevitable moment when the
\nmajority of the union is fed up with your inability to listen,
\nthat’s the moment when the revolution will commence and
\nwe will vote you out of office.<\/p>\n
For the rest of the membership, I recommend joining the RMA,
\nattending all AFM meetings and voting your mind. It’s time to
\nwalk the walk.<\/p>\n
———————————-<\/p>\n
Dear “Committee,”
\nI was forwarded your recent e-mail listing the alternative buyout proposals by another Local 47 member. I found the analysis and proposals very interesting and useful for the discussions that, I agree, are much needed among all film recording musicians. My question is, what data base are you using for your mailings? I am probably one of many working members who am not receiving any of this and should be.
\nI am also a member of the RMA, so I would hope that you are not avoiding the entire RMA membership. As you pointed out, there are many RMA members who are not among the “elite” as you describe, and are just as concerned about the future of the industry as anyone else.
\nI would like to be included in any future mailing\/discussions on this issue.<\/p>\n
(Editors Note: We use the membership list of the Local to
\nconstruct our list. Being dues paying members we, as you,
\nare entitled to the directory and the information within it,
\nas long as the member has a way of removing themselves
\nfrom the mailings. We don\u2019t desire to SPAM anyone,
\ntherefore an UNSUBSCRIBE LINK is included in every mailing
\nwe do.)<\/p>\n
———————————-<\/p>\n
I am a composer I live in LA and usually record here. Recently, I had
\nto do budgets for a 60 piece orchestra. I chose to shop around. I
\nchose to look at LA, Budapest, Prague, Phoenix, Utah and Seattle. I
\nhave about $25,000 to spend as a music budget for recording – not
\nincluding mixing, copyist, conductor, engineer, room, catering, cartage and whatever the heck else comes up.<\/p>\n
In order to get the kind of sound I want, I need to do overdubs along with sampler pre-records. The LA Union doesn’t allow overdubs as far as I know unless you pay a fee. I need a buyout. The LA Union does not offer a buyout.
\nAll the other orchestras offer a buyout and overdubs at no charge. I
\ncould hire a 40 pieces in Budapest with travel and all other costs (not including mixing, copiest, conductor, engineer, room, catering, cartage and whatever the heck else comes up. ) for $23,000 with overdubs and a buyout leaving me $2,000 to mix as well as a short vacation in Hungary.
\n (Seattle gave me a quote that was out of line, Prague still looks
\ngood, Utah still hasn’t got back to me, Phoenix is just a bit more that Budapest and LA wants about 50% more than anyone else + back end.)<\/p>\n
Look, I love the LA Musicians. I have been educated and know what the options are. But I have to work with-in a budget and I refuse to go out of pocket like I have so many times in the past. I need to get
\npaid too – I mean heck I am writing the music. Plus with the explosion of cable networks, the smaller networks and production companies doing stuff on a shoestring budget, samplers, reality TV using libraries of mainly synth recorded stuff and falling TV viewer-ship (Video Games, Internet and maybe just maybe people actually turning off the tube and having a life) it is no wonder that budgets have fallen.<\/p>\n
Composers have no union, we are mercenaries and therefore we get
\nsqueezed. We want to score projects and some we are even willing to do for free if it has a chance of either training us or being good for our reel. This lowers our value in the eyes of our prospective employers even though they can’t really pay us and it lowers the amount of musicians we can hire.<\/p>\n
For the A-List Composers there will always be the A-List
\nDirectors\/Producers who are willing to pay for quality. There may
\nalways be the golden 150 players in town that get the choice gigs, but then again many of those gigs are going to the LSO. For those of us who are trying to get to A-list land: Directors, Producers, Composers and the like, we have to claw our way up. Even the big studios, TV Production companies and ad agencies are seeing their revenues decline.<\/p>\n
And you know how crap rolls downhill.<\/p>\n
We are now in the midst of taking a look at the big picture of
\neconomics 101 and seeing supply and demand in action. Technology has become cheaper, it continues to evolve making many live music applications unnecessary. We used to hire large ensembles, now we do pre-records with a small group of live musicians. In the Future it might be 1 or 2 musicians for overdubs. Theaters are running off of CD’s of sequenced music, because it is cheaper to do that than hire a music director and an orchestra. The current generation has seen more DJ’s than live musicians and that plays a huge part. My grandfather kept complaining back in the late 80’s how all the music those days was computer generated and I asked him when was the last time you went out to see a live performance? It dawned on him then that live music
\nvenues were scarce and that he wasn’t supporting the ones that were left.<\/p>\n
Technology has made it such that you can be a composer just about
\nanywhere, as long as you can gain the trust of the director\/producer and fly out to record if you need to. We live in a global economy. <\/p>\n
The playing field is leveling. And as Charles Darwin pointed out –
\nlife is a game of Survival of the Fittest. Sooner or later the shake
\ndown will happen if it hasn’t already. Will you adapt or not? There
\nare others who are adapting and those are the ones who will get the
\nwork. Consumers are demanding cheap prices across the board. Look at Wal-Mart.
\nConsumers in our profession are called Producers (The ones that pay the bills).
\nThey are demanding we create with smaller and smaller budgets. If I can go somewhere and get what I need without the hassle, why should I stay?<\/p>\n
My most recent producer looked me in the eye straight faced and asked “What is really the point of paying more money to get the same product?” And at Wal-Mart if you can get what you want without having to pay more, why should you?<\/p>\n
(Editors Note: Many composers have told us that ACROSS THE
\nBOARD composers fees have been cut in half in the last 3 years.
\nThere are certainly exceptions, but taking the whole picture into
\n account this seems accurate.)<\/p>\n
———————————-<\/p>\n
Refering to a previous comment posted by another composer, this composer writes\u2026.<\/p>\n
THE COMPOSER DOES NOT HAVE CONTROL OVER WHERE SCORES ARE RECORDED<\/p>\n
In a package deal, the composer chooses how to spend the money, yes… but:<\/p>\n
Fact – The producer of the project must sign the assumption agreement to record with the union…if he or she refuses to do that, the composer cannot legally record in LA, regardless of the money, etc. The only reason they won’t sign the agreement is back end. Believe me, unless you are John Williams or a handful of others… If you make this demand, you’ll be out of a job very quickly.<\/p>\n
———————————-<\/p>\n
After earning a Degree and being on the Deans’ List out of
\nBerklee Coll. of Music, and immediately going on road
\nw\/ Tommy Dorsey Orch. back in ’79 and working enough
\nto “make it” (w\/ Mel Torme, Bill Holman, Buddy Rich etc., etc. )
\nI basically threw in the Union towel about 6 years ago.
\nAt least on this day I have at last learned what I am.
\nA “Non Elite”. <\/p>\n
thank you,<\/p>\n
———————————-<\/p>\n
My solution would be the elimination of the union entirely,
\nto be replaced by individual autonomy or by groups of interested
\nparties in whatever context, e.g. orchestra player’s committees.
\nI don’t want anyone restricting my ability to make my own
\ndecisions about work. I think the union today is corrupt,
\nanachronistic and an obstacle to progress.<\/p>\n
———————————-<\/p>\n
Hard to say much of anything since I make no money!!!<\/p>\n
———————————-<\/p>\n
MOST working musicians in this town are alarmed at the drop in work and concerned for the future of playing in this city.
\nWHAT IS NEW ABOUT THIS? THE PROBLEM HAS ALWAYS BEEN THIS
\nWE–who is we-the greedy bastards who already take most of the work in LA???<\/p>\n
Are looking for ideas to improve to work situation in the city and the future for all players ALL PLAYERS????? DON’T MAKE ME LAUGH\u2014<\/p>\n
SINCE WHEN HAS DAVID LOWE AND HIS ILK of PUSILLANIMOUS RATFINKS BEEN REMOTELY AT ALL CONCERNED FOR ALL PLAYERS???? HE IS ONLY CONCERNED ABOUT HIMSELF AND HIS LITTLE FIEFDOM WITH SANDY…he deserves to be taken down to size…
\nI don’t think for a second the RMA cares about ALL PLAYERS…the least of which is the RMA and their little band of sycophants.<\/p>\n
(EDITOR\u2019S NOTE: David Lowe is NOT a member of the Committee for a More Responsible 47.)<\/p>\n
———————————-<\/p>\n
Who are you? Why do you hate the RMA? Who supports your organization? I keep getting e-mails from you, Commresp47, and do not know exactly who you represent, or what your connection is with the recording industry I work in.<\/p>\n
(Editor\u2019s Note: The Committee for a Responsible Local 47
\nrepresents a number of players and composers all of whom are
\nmembers of Local 47, who are tired of having no where to
\nopenly discuss the problem in our business and the
\npossible solutions. Since the LOCAL itself has NEVER seen
\nfit to create such a forum where information is sent out for
\nimmediate feedback, and identities protected, we decided to
\ndo it ourselves.<\/p>\n
We also wanted a place where Local 47 Colleagues could list
\ntheir new releases, upcoming concerts and such to their
\nUnion Colleagues and NOT have to pay for the privilege.
\nWe all pay the better part of $200 for membership in the
\nLOCAL alone, and an additional $150 if you\u2019re in the RMA as well.
\nWe should be able to advertise and not be charged AGAIN for
\nthe opportunity.<\/p>\n
History has shown that monopolies, however well intended,
\ndo not serve the public well. When monopolies are NOT well
\nintentioned, the only counterbalance is competition, when
\ncompetition is not allowed, damage such as that we\u2019ve seen
\nin this city occurs. Unchecked power in anyone\u2019s hands is
\nbad news.<\/p>\n
We are against ANY monopoly of power in the music business
\nand believe only through fair competition can the city be re-vitalized.
\nThis is not hatred, this is a matter of morals and ethics. While
\nthe music BUSINESS is in fact a BUSINESS there is more than one
\nway to run it. We venture to find those OTHER ways.)<\/p>\n
——————————-<\/p>\n
I’ve been reading these posts to the committee for a more responsible local 47. Here is my own opinion – please post it (cut and paste it anonymously please)<\/p>\n
The only way we stand a chance of keeping work in town is through the other unions. From inception up to the point just before scoring, every Hollywood film is made completely by union talent – Script writers, casting, set construction, lighting, camera crew, actors, and editing are all done under union contracts – until the music.<\/p>\n
Local 47 must put its’ entire effort into getting help from the other unions. They should be wined and dined, etc. whatever it takes (and embarrassed!) into helping our situation. (Imagine if producers were told by the entertainment unions that no work would be performed on their film unless there was a guarantee that all aspects of the film (including music) had to be performed under union contracts.)<\/p>\n
All of our resources at Local 47 should be spent on soliciting their help. If we could make it known to these unions (and to the public) every time one of their “union” productions is completed by non-union scab workers, eventually they may come to their senses and feel compassion, embarrasement, etc. and rescue us the way unions have done for each other in the past.<\/p>\n
Getting the other unions to help is our only hope for survival, as musical versatility doesn’t matter (when every film score in the last 15 years sounds basically the same – i.e. Sandy spends time looking for “classical” players – forget the concept of “studio musician”.)<\/p>\n
———————–<\/p>\n
London Recording Information<\/p>\n
Very roughly London rates are<\/p>\n
Album Recording:
\n100 Pounds (150 Euros) (182.49 American Dollar(s)) per 3 hour session plus doubling portage etc…<\/p>\n
Buy-Out Rate:
\n153 Pounds (230 Euros) (279.12 American Dollar(s)) per 3 hour session plus doubling, porterage etc…<\/p>\n
plus 10% management fee<\/p>\n
———————————-<\/p>\n
Colleagues,<\/p>\n
We’ve been hearing some distressing news about several area orchestras.
\nCases of boards and contractors not honoring contracts or
\nabusing those contracts because so few of the players are
\nwilling to speak up. STOP BEING SHEEP FOLKS! By yourself you
\ncan be intimidated but NOT IF ENOUGH OF YOU JOIN TOGETHER!<\/p>\n
Please use this forum as a way to get information out and to
\nperhaps get some of your other live colleagues to join together
\nto protect your common interests.<\/p>\n
Thank you all for your time, and have a wonderful Memorial day.<\/p>\n
The Committee for a More Responsible Local 47<\/p>\n","protected":false},"excerpt":{"rendered":"
Greetings Colleagues!, The membership is starting to really heat up about the recording situation now that the have a place to vent. More ideas are coming forward, more suggestions of stratagies. Please note the number of composers with their own realities of the business of working as a composer. Truth can be said to be […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-82","post","type-post","status-publish","format-standard","hentry","category-committee-newsletters"],"_links":{"self":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/82","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=82"}],"version-history":[{"count":0,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=\/wp\/v2\/posts\/82\/revisions"}],"wp:attachment":[{"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=82"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=82"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.responsible47.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=82"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}