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Touchdown! Greaser!
- Joined
- Jan 5, 2007
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Cowboy - yeehah!
So, back in the day I was an assistant recording engineer for a medium-large music studio. It's now defunct, but I have a few credits on the label for music I worked on.
The reality is, an assistant recording engineer is more like a go-fer. Get coffee, or beer, set up the mic stands, park the diva's car, take care of their pet Ocelot(uh yes, that really happened), tune instruments, stack tapes - lots, and lots of tapes, do some mixing and editing. Anyway, once credited on the production label I am supposed to be paid a very small stipend for each record/disc sale. Unless of course, someone had signed a release that the salary was compensation, and they would declaim any proceeds from the music in which case no residuals.
I signed a general release when I was hired by the recording studio. Not long after, things got slow, they laid me off, blah-blah, and then the company was sold, and the new company hired me back to do my old job. But - with one big difference. The new company checks were from the new company and not the old company I was first hired by, who laid me off. Since I was a temp employee, no one thought to ask me to sign the new release and declaim form, but they just started paying me regular salary. Again, I got a few credits on the label, and never thought anything about residuals.
Apparently, all the engineering staff had the same issue, and unbeknownst to me, they sued the new label which bought out the original label for residuals. The case drug on without me hearing about it for 11 years. Then, there were settlement talks, but they had to contact each and every artist to get their approval, which took another 4+ years. Then, the settlement was scuttled and went back into arbitration, blah-blah and I completely lost track many years ago.
Now, I just got a letter, from the plaintiff(my) lawyer, and even though I wasn't named on the lawsuit, the case finally went to trial out in liberal-land and they found for us, and awarded back residuals and interest. Less court costs and atty fees, I just got my check today and I'm going on a spending spree:
Seventy three DOLLARS and 18 CENTS.
I'm thinking a new Ford truck. Or a shiny Mustang with that turbo engine. Heck, why stop there! How about a Cirrus, or go twin with an Aerostar. Ah - the possibilities are endless.
BTW, my favorite artist to work with was Debbie Harry. Despite being a Gnu Yawkur, she was actually a very nice woman. We went out a few times to clubs in the SF valley out west.
The absolute worst was the Brown Dirt cowboy Taupin. He lived up in the hills way up north of LA and he never did the vocals(of course) but he would get the rushes from England and come in and make changes to the lyrics. I'm sure there was no credit from anything I worked on there.
The reality is, an assistant recording engineer is more like a go-fer. Get coffee, or beer, set up the mic stands, park the diva's car, take care of their pet Ocelot(uh yes, that really happened), tune instruments, stack tapes - lots, and lots of tapes, do some mixing and editing. Anyway, once credited on the production label I am supposed to be paid a very small stipend for each record/disc sale. Unless of course, someone had signed a release that the salary was compensation, and they would declaim any proceeds from the music in which case no residuals.
I signed a general release when I was hired by the recording studio. Not long after, things got slow, they laid me off, blah-blah, and then the company was sold, and the new company hired me back to do my old job. But - with one big difference. The new company checks were from the new company and not the old company I was first hired by, who laid me off. Since I was a temp employee, no one thought to ask me to sign the new release and declaim form, but they just started paying me regular salary. Again, I got a few credits on the label, and never thought anything about residuals.
Apparently, all the engineering staff had the same issue, and unbeknownst to me, they sued the new label which bought out the original label for residuals. The case drug on without me hearing about it for 11 years. Then, there were settlement talks, but they had to contact each and every artist to get their approval, which took another 4+ years. Then, the settlement was scuttled and went back into arbitration, blah-blah and I completely lost track many years ago.
Now, I just got a letter, from the plaintiff(my) lawyer, and even though I wasn't named on the lawsuit, the case finally went to trial out in liberal-land and they found for us, and awarded back residuals and interest. Less court costs and atty fees, I just got my check today and I'm going on a spending spree:
Seventy three DOLLARS and 18 CENTS.
I'm thinking a new Ford truck. Or a shiny Mustang with that turbo engine. Heck, why stop there! How about a Cirrus, or go twin with an Aerostar. Ah - the possibilities are endless.
BTW, my favorite artist to work with was Debbie Harry. Despite being a Gnu Yawkur, she was actually a very nice woman. We went out a few times to clubs in the SF valley out west.
The absolute worst was the Brown Dirt cowboy Taupin. He lived up in the hills way up north of LA and he never did the vocals(of course) but he would get the rushes from England and come in and make changes to the lyrics. I'm sure there was no credit from anything I worked on there.