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http://www.polepublishing.com/

Der Produzent Christian Geller (Berlin) hat ein Portal online gestellt, in dem er offizielle Songanfragen von sich und seinen Partnern veröffentlicht. Er sucht das und das, ihr gebt ihm eure Demo, er leitet sie weiter, und wenn ihr genommen werdet erhält er die Verlags- und ihr die Künstlerrechte ([g=119]Gema[/g]) an dem Song.

Nur registrierte Mitglieder (kostenlos) erhalten Einblick in die Angebote.

Gruß
Nime
 
Songanfragen
Wenn Ihr einen Song anbietet, füllt bitte alle vorgesehenen Felder sorgfältig aus!

Hat eine Person im Team bereits einen exklusiven Musikverlagsvertrag, muß Pole Publishing darüber beim Upload des Demos informiert werden. Notiert dann bitte im Feld "Zusätzliche Infos" den Namen des Autors und wie hoch seine Beteiligung am Song (Musik & Text) ist. Nur dann, wenn wir den Titel absolut herausragend finden, hat er eine Chance, von uns angeboten zu werden. In diesem Fall würden wir eine gesonderte Regelung mit den betreffenden Autoren treffen.

WICHTIG!!
Wenn ein Song von uns gepickt wird und wir ihn anbieten wollen, schicken wir Euch einen Musikverlagsvertrag zu. Da Deadlines zeitlich oft knapp gehalten sind, solltet Ihr den Vertrag umgehend unterschrieben zurückschicken. Wenn mehrere Autoren an einem Song beteiligt sind, könnt Ihr den Abschluss des Einzeltitelvertrages beschleunigen, indem derjenige, dem die Verträge zuerst zugeschickt wurden dafür sorgt, dass möglichst alle anderen Autoren ebenfalls unterzeichnen, bevor die Verträge zurückgeschickt werden. Ein Exemplar je Autor erhaltet Ihr für Eure Unterlagen, nachdem alle Parteien unterzeichnet haben. Vergesst nicht, dass wir nur Songs anbieten, über die Einzeltitelverträge abgeschlossen wurden. Sollte eine Deadline verstreichen, ohne dass die Verträge abgeschlossen wurden, kann der Song leider nicht angeboten werden.


15.02.2005 | Fußball WM 2006
Gesucht werden Titelsongs für die Fußball WM 2006 in Dtl. Haltet Euch stilistisch an die größten Fußballhits der letzten Jahre, wie "The Cup of Life" (Ricky Martin), "Carnaval de Paris" (Dario G.) oder "Football´s Coming Home" (Three Lions). Braucht eine starke Hook zum Mitgröhlen - laßt das Stadion beben!

DEADLINE: 15.05.2005

Jetzt Song anbieten >>

14.02.2005 | Schwedenpop / RnB
Für Newcomer-Band (1 Junge, 2 Mädels) werden englische Mid- bzw. Uptempo-Popsongs mit RnB- / Schwedeneinflüssen gesucht. Stil: Britney Spears (Toxic) meets Black Eyed Peas (Shut up). Für diejenigen, die die holländische No. 1-Künstlerin "DO" kennen ("Heaven" feat. DJ Sammy & Yanou), ist ein typisches Beispiel für den Stil, der gesucht wird, ihre Single "Love is killing me" vom letzten Jahr.

DEADLINE: 01.03.2005

Jetzt Song anbieten >>

12.02.2005 | Sommerhit
Gesucht wird für einen Top Ten-Act des letzten Jahres ein Sommerhit im Stil von "Mambo No. 5" / "Samba de Janeiro" / "Veo Veo". Englische oder spanische Lyrics, gerne auch ein Mix aus beiden Sprachen. Wichtig: starke Hook mit möglichst plakativer Zeile.

DEADLINE: 14.03.2005

Jetzt Song anbieten >>

12.02.2005 | Schlager / VM
Gesucht werden für eine erfolgreiche und etablierte Sängerin aus dem volkstümlichen Schlagerbereich anspruchsvolle deutschsprachige Titel. Gerne auch mit französischem Einschlag, schöne eingängige Melodien mit ansprechenden Texten. Keine reinen volkstümlichen Textinhalte!

DEADLINE: 01.03.2005

Jetzt Song anbieten >>

12.02.2005 | Deutschpop
Gesucht werden für eine etablierte und namhafte deutsche Sängerin mit Stimmvolumen über 4 Oktaven anspruchsvolle deutsche Titel im Stil von z.B. Michelle, Angelika Milster, Claudia Jung. Explizit "große" Balladen, aber auch gerne mid/uptempo Nummern mit eingängiger Melodie und niveauvollen, augenzwinkernden Text.

DEADLINE: 01.03.2005
 
...schicken wir Euch einen Musikverlagsvertrag zu. Da Deadlines zeitlich oft knapp gehalten sind, solltet Ihr den Vertrag umgehend unterschrieben zurückschicken

The Problem With Music by Steve Albini Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying ####. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what's printed on the contract. It's too far away, and besides, the #### stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the ####. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says "Actually, I think you need a little more development. Swim again, please. Backstroke". And he does of course. Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A & R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire." because historically, the A & R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly. These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave. Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well. There are several reasons A & R scouts are always young. The explanation usually copped-to is that the scout will be "hip to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences. The A & R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it. When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great gig I saw you at in '85? Didn't we have a blast. By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A & R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired. These A & R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on. The spookiest thing about this harmless sounding little memo, is that it is, for all legal purposes, a binding document. That is, once the band signs it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength. These letters never have any terms of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another laborer or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed. One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all," A & R rep, on the basis of such a deal memo. He had failed to come through on any of his promises [something he did with similar effect to another well-known band], and so the band wanted out. Another label expressed interest, but when the A & R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it. The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity. There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label. They're a little ambitious. They'd like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour [g=183]bus[/g] -- nothing fancy, just a little reward for all the hard work. To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but its only 15%, and if he can get them signed then its money well spent. Anyways, it doesnt cost them anything if it doesnt work. 15% of nothing isnt much! One day an A & R scout calls them, says has been following them for a while now, and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time. They meet the guy, and you know what -- hes not what they expected from a label guy. Hes young and dresses pretty much like the band does. He knows all their favorite bands. Hes like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude. They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot. The A & R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question-he wants 100 gs and three points, but they can get Don Fleming for $30,000 plus three points. Even thats a little steep, so maybe theyll go with that guy who used to be in David Lettermans band. He only wants three points. Or they can have just anybody record it (like Warton Tiers, maybe-- cost you 5 or 7 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about. Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but hell work it out with the label himself. Sub Pop made millions from selling off Nirvana, and Twin Tone hasnt done bad either: 50 grand for the Babes and 60 grand for the Poster Children-- without having to sell a single additional record. Itll be something modest. The new label doesnt mind, so long as its recoupable out of royalties. Well, they get the final contract, and its not quite what they expected. They figure its better to be safe than sorry and they turn it over to a lawyer--one who says s experienced in entertainment law and he hammers out a few bugs. Theyre still not sure aboull be great royalty: 13% [less a 1O% packaging deduction]. Wasnt it Buffalo Tom that were only getting 12% less 10? Whatever. The old label only wants 50 grand, an no points. Hell, Sub Pop got 3 points when they let Nirvana go. Theyre signed for four years, with options on each year, for a total of over a million dollars! Thats a lot of money in any mans English. The first yeas advance alone is $250,000. Just think about it, a quarter million, just for being in a rock band! Their manager thinks its a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so theyll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, its free money. Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. Thats enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour [g=183]bus[/g]! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody In the band and crew, theyre actually about the same cost. Some bands like Therapy? and Sloan and Stereolab use buses on their tours even when theyre getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. Itl be worth it. The band will be more comfortable and will play better. The agent says a band on a major label can get a merchandising company to pay them an advance on T-shirt sales! ridiculous! Theres a gold mine here! The lawyer Should look over the merchandising contract, just to be safe. They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo. They decided to go with the producer who used to be in Lettermans band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old "vintage" microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the [g=188]control room[/g]! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm." All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies! Here is the math that will explain just how ####ed they are: These figures are representative of amounts that appear in record contracts daily. Theres no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined, expenses are not. Advance: $ 250,000 Managers cut: $ 37,500 Legal fees: $ 10,000 Recording Budget: $ 150,000 Producers advance: $ 50,000 Studio fee: $ 52,500 Drum Amp, Mic and Phase "Doctors": $ 3,000 Recording tape: $ 8,000 Equipment rental: $ 5,000 Cartage and Transportation: $ 5,000 Lodgings while in studio: $ 10,000 Catering: $ 3,000 Mastering: $ 10,000 Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000 Video budget: $ 30,000 Cameras: $ 8,000 Crew: $ 5,000 Processing and transfers: $ 3,000 Off-line: $ 2,000 On-line editing: $ 3,000 Catering: $ 1,000 Stage and construction: $ 3,000 Copies, couriers, transportation: $ 2,000 Directors fee: $ 3,000 Album Artwork: $ 5,000 Promotional photo shoot and duplication: $ 2,000 Band fund: $ 15,000 New fancy professional drum kit: $ 5,000 New fancy professional guitars [2]: $ 3,000 New fancy professional guitar amp rigs [2]: $ 4,000 New fancy potato-shaped [g=118]bass[/g] guitar: $ 1,000 New fancy rack of lights [g=118]bass[/g] [g=182]amp[/g]: $ 1,000 Rehearsal space rental: $ 500 Big blowout party for their friends: $ 500 Tour expense [5 weeks]: $ 50,875 [g=183]Bus[/g]: $ 25,000 Crew [3]: $ 7,500 Food and per diems: $ 7,875 Fuel: $ 3,000 Consumable supplies: $ 3,500 Wardrobe: $ 1,000 Promotion: $ 3,000 Tour gross income: $ 50,000 Agents cut: $ 7,500 Managers cut: $ 7,500 Merchandising advance: $ 20,000 Managers cut: $ 3,000 Lawyers fee: $ 1,000 Publishing advance: $ 20,000 Managers cut: $ 3,000 Lawyers fee: $ 1,000 Record sales: 250,000 @ $12 = $3,000,000 Gross retail revenue Royalty: [13% of 90% of retail]: $ 351,000 Less advance: $ 250,000 Producers points: [3% less $50,000 advance]: $ 40,000 Promotional budget: $ 25,000 Recoupable buyout from previous label: $ 50,000 Net royalty: $ -14,000 -------------------------------------------------------------------------------- Record company income: Record wholesale price: $6.50 x 250,000 = $1,625,000 gross income Artist Royalties: $ 351,000 Deficit from royalties: $ 14,000 Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000 Gross profit: $ 7l0,000 -------------------------------------------------------------------------------- The Balance Sheet: This is how much each player got paid at the end of the game. Record company: $ 710,000 Producer: $ 90,000 Manager: $ 51,000 Studio: $ 52,500 Previous label: $ 50,000 Agent: $ 7,500 Lawyer: $ 12,000 Band member net income each: $ 4,031.25 The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour [g=183]bus[/g] for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this ####ed. Steve Albini is an independent and corporate rock record producer most widely known for having produced Nirvana's "In Utero".



gruß, mitti
 
ja ich kenn den artikel von albini.. echt klasse..

hier noch der hammer der AGB's:
Was ist der Benefit für Pole Publishing-Mitglieder?
Kommt es zur VÖ, hat das Mitglied den Credit auf der veröffentlichten CD und erhält die Songwriter-[g=119]GEMA[/g].

danke.. dann vertreib ich meine CD lieber selber...
 
Nime schrieb:
und wenn ihr genommen werdet erhält er die Verlags- und ihr die Künstlerrechte ([g=119]Gema[/g]) an dem Song.
Bei solchen Dingen wäre ich ganz vorsichtig, da gibt es teilweise haarsträubende Verträge. Wenn man bendenkt, dass Michael Geller noch bis letztes Jahr zusammen mit Thomas Anders versucht hat, erfolgreiche Songs zu produzieren und zu veröffentlichen und wenn man auch bedenkt, das Michael Geller nach Berlöin gezogen ist, um dort Fuss zu fassen, kann man Eins und Eins zusammenzählen: es funktioniert nicht so wie es soll, man muss sich Geld auf anderen Wegen beschaffen und da ist ein em jedes Mittel recht.
Sorry, wenn ich diese Sache so negativ beurteile, aber es wurde in der Vergangenheit viel zu oft die Unwissenheit von Anfängern/Homerecordlern/Musikern ausgenutzt.
 
das Michael Geller nach Berlöin gezogen ist, um dort Fuss zu fassen, kann man Eins und Eins zusammenzählen


Genau, Berlin is schön und die Hauptstadt, aber was die Medien angeht naja viele kleine oder private studios ( Paul v. Dyk oder Lou Bega sind hier ansäßig) und in Adlershof die Außenstellen von SAT, PRO 7 und co ...

Wer in Berlin sein Glück versucht der muss schon alle Trick anwenden, da muss ich klar Tsching recht geben .....
 
uiui der Christian Geller eieiei ich sach mal nix, aber der Kollege hat echt schon alles versucht um erfolgreich zu sein..ich weiss nicht, habe bei der Sache irgendwie Bauchweh. :?
 
Vor allem: wieso schreibt einer, der eben nicht so dick im Geschäft ist (oder irre ich da?) in der Keyboards über das perfekte Songwriting? :)

T.
 
@mitti

fass es doch lieber in 1-2 sätzen zusammen was du uns mit deinem posting sagen willst :p

ansonsten kann ich da tsching nur beipflichten....and who the f*** is Michael Geller?

edit: und wer zum t***** ist Christian Geller??
 
Naja - ist natürlich jedem selbst überlassen wie er darüber denkt. Aber es bietet halt ne Möglichkeit, Fuss zu fassen. Es ist ja auch nicht für Musiker gedacht, die bereits ne Band haben oder ein eigenes Album produziert haben. Sondern für diejenigen, die vielleicht nen Song geschrieben oder nur nen Beat gebastelt haben, selbst nicht singen können und keinerlei Kontakte haben. Wenn du gerade was passendes für eins seiner Gesuche hast - probieren schadet doch nix. Die Chance seinen Namen in die Runde zu bringen ist auf jeden Fall größer als wenn man seine Demo's einfach an die Major's verschickt. Das man sich die Verträge dann ganz genau ansehen muss ist klar.

Ahja, aus der Keyboards habe ich die Information auch. Und ich dachte mir, zumindest zum Diskutieren lohnt sich ein Thread auf jeden Fall.
 
weil er das honorar braucht?
Vor allem: wieso schreibt einer, der eben nicht so dick im Geschäft ist (oder irre ich da?) in der Keyboards über das perfekte Songwriting? :)
 
@pussycat - "weil er das honorar braucht?"

Kompliment, Watson. Da wäre ich jetzt nicht drauf gekommen :) Ich meinte allerdings eher, daß jemand, der mit den eigenen Songs wenig erfolgreich ist, Anleitungen im Aongwriting gibt. Aber ist der denn wirklich so erfolglos?

T.
 
kombiniere: wenn er erfolgreich wäre, würde er nicht so artikel für zeitungen schreiben, holmes. 8)
 
Auszug Keyboards: "Über 6 Mio. verkaufte Tonträger, die seine Kompositionen enthalten und 236 Chartwochen sprechen für sich."
 
na ja ist halt gerade nicht die beste Zeit für Songwriter und "Musikproduzenten".....
 
na ja ist halt gerade nicht die beste Zeit für Songwriter und "Musikproduzenten"
*gääähn* Ich sag nur: ALLE pessimisten behaupten sie seien Realisten :roll:
Kann man auch gleich auf diesen Thread hier übertragen :p
 
na ja Du musst es wissen :D
Ich weis snur, das sehr viele der ehemlig gut verdienenden Songwriter für Stars und Sternchen ums Überleben kämpfen, denn die fetten Jahre sind vorbei,viele mustsen ihre Studios verkaufen/verkleinern etc....gerade im Dancebereich geht esmomentan ganz krass ab!! Ein DJ-Produzent nach dem anderen ist pleite weil sich nichts mehr verkauft......Christian Geller hat viel gemacht...wenn auch viele B-Seiten u.a. für No Angels etc (man denkt ja bei Erwähnung von Stars imemr die betreffenden Leute hätten an den Hits mitgeschrieben...aber das auch jemand die Lückenfühler zwischen den Singles beigesteurrt hat vergessen viele!), und sicher auch gut verdient, dennoch sind die fetten Jahre vorbei. Grosses Geld ist nicht mehr zu verdienen, ist kein Pessimismus sondern Wahrheit..wer das gegenteil behauptet ist leider naiv!
 
http://www.songswanted.com/

das ist die seriöse variante :D

da schauen wirklich erfolgreiche produzenten rein wenn sie auf der such sind.
 
ich hab mir die seite und den nutzervertrag mal durchgelesen: das wirkt doch ganz seriös auf den ersten eindruck. das konzept finde ich durchaus interessant.

ps: die fetten jahre sind ja jetzt schon ein paar jahre vorbei, wir auch irgendwann wieder besser.
 
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