posted 02 March 2000 11:42 AM         

Off at a tangent again, I�ve just put some interesting snapshots of my guitars @ :- http://homepage.tinet.ie/~doveandhawk/1415d.html http://homepage.tinet.ie/~doveandhawk/1340d.html
The two Emmons� serial `# are 1415-D and 1340-D (From 1970 I think) maybe someone could enlighten me, there was no previous owner to 1415 , but I�d love to know where 1340 came from originally.
BTW I�m in the throes of tackling some, and only some, of the suggestions made in response to my posting �The tune you�re most asked to play��, �Far Away� I am, but not �In a Monastery Garden� !!!

[This message was edited by basilh on 02 March 2000 at 11:46 AM.]

posted 02 March 2000 11:55 AM         

Joe

[This message was edited by Joe E on 02 March 2000 at 11:57 AM.]

posted 02 March 2000 02:14 PM         

That's the best per hour. I have done marathon session where I was paid a lot more, but those usually involved real work.

posted 02 March 2000 06:54 PM         

I made a vertical knee lever for the MSA out of parts from an aftermarket add-on automotive cruise control, a heater hose clamp, and a block of plywood- "kinda became my trademark" too... hillbilly suburbanite too poor to buy a lever kit... or a set of visegrips

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"Have we not all about us forms of a musical expression which we can take and purify and raise to the level of great art?"
-Ralph Vaughan Williams

"I AM ZUMBODY!"

Zumsteel U12 "Loafer" 8&6
www.voicenet.com/~vanallen/
ICQ 42635125

posted 03 March 2000 12:10 AM         

They used it for several TV shows that season and beyond, then used it in a Clint Eastwood movie and a couple or three others.
I still get annual residual checks 20 years later, but now they're for several dollars instead of hundreds or--in a couple instances--thousands.

posted 03 March 2000 08:11 PM         

quote:

---

About $8000 so far. I did a session for Universal that they use for what they call "source" music
.
.
.
I still get annual residual checks 20 years later, but now they're for several dollars instead of hundreds or--in a couple instances--thousands.

I'm sure Earnest has me beat on that figure, though.

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Nope, I never made thousands of dollars for a session. The only big pay that I can think of is for cases what Dan Tyack mentioned, where the steel player gets paid to wait for hours until his one cue comes up. Once in a while I wait thru a whole 3 hour session, and have to come back for another one before the one source cue comes up. And then, of course, we get no respect since the attitude is always "Now that we have the real music done, most of you real musicians can leave, the rhythm section has to stay and do the stupid hillbilly noise."

It's not really big pay, unless you measure dollars paid per note played.

And Pete, that's great that you got paid so many times for one date. That's unusual tho. In my experience, no musician is under any kind of royalty arrangement when you work under union contract. You get paid just once. Exceptions would include:

1. Jingles. After 3 months you get paid if they are still using it. More for national than for regional etc. But usually this is only $50 or so. And only one jingle in a hundred goes for more than 6 months.

2. "New Use" meaning that if the work was originally done under one contract (say Motion Picture) and they later use your work for something else (such as CD release of "Songs from the Movie xxx" which would be covered under the Phonograph Record Agreement) then you have to be paid the minimum scale for a record date even tho you didn't actually do one. This is nice but wouldn't explain 20 years of checks.

3. Some people negotiate a recording contract with a record company. This works if your name is Mariah Carey, but if you are Earnest Bovine they will just get somebody else to play the steel part.

posted 04 March 2000 01:13 AM         

I finally called up to quit the union so now they send me more and bigger bills. But that is for another thread.

posted 05 March 2000 11:09 AM         

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