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Should Steel Orchestras like the Big 5 consider negotiating co-ownership of rights to Panorama arrangements?

The composer derives income from licensing the use of his compositions in performance, publication, and recording. If the orchestras are making (new music) the arrangements popular and desirable world wide, is not fair that a certain percentage of the publishing, performance and recording rights belong to the bands? 

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See you Mr. Merrytones and this crackshots business, that is a different agency and grievance. 

That involves collective barging and big, big agents and lawyers. Ask Russel Providence to speak to this matter. Not me. That is concussion and bus head area.


Let me apologize to followers of this so important thread for deviating into other areas...but then again the crackshot issue is one important reason why steelbands may refuse to grasp the importance of copyright protection.

To make a long story short, the only importance of Small bands to Panorama is the steady stream of available players for the larger bands. If it wasn't obvious before, this year has shown it quite clearly. As it stands now in Panorama a player can perform with a band in each category. The real impact of that decision is the Smaller bands are now ripe for picking by crackshots. They have no membership to boast of anymore so they need players obviously. Take the once kinda safe Merry Tones. Of the 44 players that represented them up to the semis about twelve were actual band members. The rest were sourced by the arranger. This "rest" was made up of people who in some instances played for 4 and more small and single pan bands as well.

So now we come to the issue at hand. Imagine steelbands now have to pay COTT for use of a tune…Pay an arranger… Pay players of course, added to the myriad of Panorama expenses… Do you think they will readily accept that? I could tell you the answer for free. Even is as you suggest, the Big 5 et al lead the charge because they could afford the extra expense, unless enforced by COTT and the various composers, calypsonians etc., the smaller bands, from Medium down to Single Pan would cringe at the idea, even if it would be to their benefit in the long run.

Do the ownership rights go to the arranger or the Band???

These arrangers are not part of a MUSICIANS  UNION.

Reply by Fabien Alfonso yesterday

"Who's responsibility is to ensure compensation is received, the arranger, Pan Trinbago or is the arranger considered an independent contractor?" Once the registered arrangement is recorded, COTT is responsible for collecting the fees associated with the public performance (live or recorded), broadcast and internet airplay of the new arrangement. However, the royalties will be shared between the arranger and the original composer.


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