PAUSE at around 15.30

15.21: Berg are done with the interview.

15.19: Nielsen: I can not answer.

15.19: Berg: it Might have been so that he would be on a bigger cake if it would go better for the Ghost?

15.19: Nielsen: Maybe 10 000 a month, was too low, I thought in all cases.

15.17: Berg: do you Know how the compensation Hjertstedt looked.

15.17. Nielsen: It could do but it would also have been able to see the different. There was never a solution.

15.15: Berg: the Percentage would be equally distributed?

Berg has made a small breakthrough in the interview with Niels Nielsen because Nielsen tells us that some money would go to the musicians who were at the scene. It is also the first witness (in addition to any of the plaintiffs), which has been touched on that some money would be divided up in six people (from the Swedish arts council). However, there was discussion about that when all the costs were completed, so the money would be divided up but not exactly how. It never came to any solution about how the percentages would look like but that they would get paid was a discussion and a matter of course according to Nielsen.

15.03. Nielsen: My proposal was to sit down and draw up but could never come up with anything, there were wild discussions and it was never come to a solution.

Berg continues to ask about the issue of compensation and Nielsen have provided some interesting data. Forge has all the time claimed that there has never been a speech that everyone should share equally, i.e. one-sixth each. And in the application to the council for the arts told Forge that it was the band Ghost that was meant and that the money would go into his own companies. But Niels Nielsen says that because there are six names and six signatures in the application refers to the application of six persons.

15.00. Nielsen: the Application is for six people and there are six signatures, so it I guess.

15.00. Berg: But they shall take part of the one-sixth was here?

14.59. Nielsen: that six people going out on the tour and must be paid.

14.58. Berg: In the application it says that the band goes plus minus zero but the band goes minus, why was it important to include in the application?

14.58. Nielsen: the Application is sent, that these six persons

14.57. Berg: Is it correct that everything is done together?

14.56. Nielsen: Yes,if I not remember wrong, there was it from my lap-top.

14.53. Berg: do you Know if Tobias is applying for money from the Swedish arts council?

14.52. Yes.

14.51. Berg: And this was the whole group and discussed.

14.51. Nielsen: the number of Trips I have to make sure that it will be paid, such as buses, flights and hotels, and there was no money left over after everything was paid. But we are discussing what we should do if we have money left over, how should we allocate what happens if someone is ill, what happens if someone stops, there were speculative discussions all the time.

14.49. Berg: It was a lot of plays, so how would you allocate the economy from these gigs?

14.47. Nielsen: It is an open letter to all and it is he who responds.

14.47. Berg: But why send -- this to you?

14.47: Nielsen: No, I know nothing about it.

14.46. Berg: the Next meeting if economic allocation shall be banked through, you got information about this?

14.45: Nielsen: When it comes to plays, it is all that is meant.

14.45: Berg: It says in the email “our” best, not the band Ghost?

14.43. Nielsen: No.

14.43. Berg: you Got the information that there would be a collective decision?

14.41. Nielsen: No.

14.41: Berg: When you come into the band you will get any information about that someone is hired as a musician?

14.39. Söderlund Björk concludes her questioning. Michael Berg takes over.

14.39. Nielsen: Majority of the calls I have done so it has been -- so I can't see it any other way. He is the one who has raised the voice the most and talked to them.

14.37: Söderlund Björk: Perceived you -- as the spokesman for the other?

14.35: Nielsen: It happened, but not always.

14.35: Got Tobias paid any time?

14.35: It might separate if someone had done more, I have tried to be transparent to show what payments we have, and then I tried to pay.

14.34. Söderlund Björk: Of the sale of t-shirt, all of them got as much, or could it differ?

14.33: Nielsen: We've been on a long and big tour and we have not solved the main issue is how to solve the payment to those who are on the scene. For it has all the time made emergency solutions, and at this meeting, you should try to reach a solution.

14.31: There was also an email about a meeting on the economic bit, what did the e-mail and what happened at this time?

14.30: Nielsen: It was a lot of plays in 2011 and the band's popularity soared and there was little margin to record album number two.

14.25: Söderlund Björk: If you look at the email (from the binder) October 31, how did it look like the time before?

14.23: Nielsen: There are three people that take up this question and -- takes it up the most times, and I take up the second most times, and Tobias takes it up a few times but I have not been with that we have come up with something, however, if you talk about it very much.

14.17: Nielsen: It was an extreme amount of plays, and it came to a limit that people could not take time off more and more, and could not afford, so this was something we talked about all the time, who is doing what. If you are playing live so you should simply get paid. If there will be money left over after the sale so there should be concrete salary and if it goes really well even bonus, 2011 was gage-levels low. But of course, we discussed what happens if we get 500 000 or what happens if we get a million.There must be a system that would be able to take part of it, if it would go well and be a lot of money any time.

14.13. Nielsen: I can't remember that meeting, and that's because there was a meeting april 2 because we are on the tour then, we have a concert april 1 in England and later in the evening we ride to the border between England and France, and subsequently, on april 2, we will make a bus ride of 20 timber and we will be home on the night of 3 april.

14.12: Söderlund Björk: the Plaintiffs have said that there was a meeting april 2 at the home of — and at this meeting of the -- it should have been decided that all the Ghost would have equal shares in the Ghost and that it would be divided one-sixth between all. What do you say about that meeting?

14.09: I can't remember that I was with at that meeting.

14.09. Söderlund Björk: It was a kaosartat meeting in march 2011, were you at that meeting?

14.05: Nielsen: I sent an sms to Simon and Tobias that they would check with Martin Hjertstedt, because we played in the same band, I know two drummers that are better than all the others, and he is one of them. It was my suggestion that they would check with Hjertstedt and I was very happy that it was he.

14.05: Söderlund Björk: How vidtalades Martin Hjertstedt?

14.03. Mauro was not on the first show that I was on the but he was during the chaotic forms in the second and did the first gig in Umeå. He came and played and went, he was with at the meetings and he has been a part mejlkonversationer.

14.02. Söderlund Björk: What did Mauro in the band?

14.01: Nielsen: Tobias can't record anything, so Simon was very helpful.

14.01: Söderlund Björk: it Was something more of a technical assistance he did?

13.58. Yes, he had a studio, we collaborated and Simon and Tobias worked in the forms they had worked before, and I jumped in one evening and also had Simon's hand to take out the “backing tracks”, he ran up a lot on guitar amps, and ensured that we had a track on that bit, there, I collaborated and Simon very much.

13.58. Söderlund Björk. Can you describe Simon during the time you were with the Ghost, he has been involved in the recordings?

13.57. Nielsen: in these questions, but they got involved in the gigs.

13.57. Engaged, the other in the work?

13.55. Nielsen: Yes, it is true.

13.55. Söderlund Björk: It is very secret in the email, does it mean that no one else knew about it.

13.54. Nielsen: It was very much about to switch it up and there was a proposal if we would do a tour together with In flames. We got a request to be with and it may seem that there was a very good offer, but I thought it was a big leap, therefore, so is trying to Tobias and produktionsteknikern to convince me that it is good.

13.52. Söderlund Björk: Tell me about the e-mail, there are a lot of secret there, can you tell us about it.

13.51. I can not answer.

13.51. Söderlund Björk: they Knew about the meeting?

13.51. No.

13.50: Were any of the others?

13.50: Nielsen: Tobias had an idea about how 2011 and 2012 would look like, I and the production manager and Tobias attended a meeting about this.

13.50. Söderlund Björk: You e-mailed me on Friday, can you describe it a little more?

13.48: Nielsen: There was much discussion and because I was new walked I around the part. In the end, in decisions about the gig, I felt that there was a final word and then it was Tobias Forge.

13.47: Söderlund Björk: Controlling the structure of the decision-making process in Ghost, what would the other say if skulled us say, who decided in the Ghost?

13.46. I gave 100 000 sek during 2011, which I then invoiced to the Swedish Drama the Pop (Tobias Forges companies).

13.45: Söderlund Björk: Who put out the money, la you out of money?

13.44. Nielsen: Total seen in 2011 exceeded the cost of revenue.

13.44. And the economy in the Ghost?

13.42. Nielsen: I have worked with the set which were all practically related to the plays. All the questions they have had, I have tried to answer but all the economic issues I have brought with Tobias Forge.

13.42: Söderlund Björk: How was the collaboration with the Ghost?

13.41: Nielsen: 2011 fickjag request to play bass but 2016 if I wanted to play the keyboard, and then it was a long time after that I have not worked with Ghost. I said no both times.

13.40: Söderlund Björk: did you get requests to play in Ghost?

13.39: Niels Nielsen: I got to know Simon Söderberg and at first I was not a tour manager without followed to manage the sound.

13.39: How did your involvement in the Ghost?

13.37: Ann-Charlotte Söderlund Björk initiates the interrogation of Niels Nielsen, who has been Ghosts, the tour manager.

13.33. The trial resumed and all is now in place in the courtroom.

LUNCH TO 13.30

11.34. The hearing ends.

11.34. The Witness: Yes.

11.32. Berg: So, if there would be profit from all the gigs, would the money be shared out to the rest of the band?

11.32. The witness: Among other things.

11.32: Berg: Economic success?

11.31: the Witness: because we wanted a manager who could take the band forward.

11.28: Berg: When it comes to this meeting, 2 march 2011 so there are notes that you would have a manager, why?

11.27: the Witness: I don't know, it ceded I to Tobias.

11.27. How would the band get compensation for all these gigs?

11.26: Yes, they were going to play.

11.25: Berg: There was a large number of plays, would the other be involved in these gigs?

11.24: the Witness: I understood that they were with because they were so interested in playing.

11.23: Berg: So the only time they would have received money if you would make a profit?

11.23: The Witness: No. There was no money.

11.22: Ann-Charlotte Söderlund Björk concludes the interview and Michael Berg takes over: Had you any liability against the other?

11.21: the Witness: I'm guessing that it is the greed that has taken them here today.

11.21: Ann-Charlotte Söderlund Björk: do you Have any idea why the plaintiffs are sitting here today?

11.20: No, don't say but they could come up with a proposal.

11.20: Ann-Charlotte Söderlund Björk: the other nothing to say about the band.

11.19: It was about practical things, on the driver and other things around.

11.19: Ann-Charlotte Söderlund Björk: You had a meeting of 2 march, what was it all about?

11.17. Why: because I don't like them personally.

11.17: Why?

11.17. The Witness: No.

11.16. Ann-Charlotte Söderlund Birch: Were you satisfied with them?

11.15: the Witness: It must have been just before.

11.13. Ann-Charlotte Söderlund Björk. When was the final line-up to face Germany-the gig.

11.12. The witness: I'm saying that it's not true. He did what we told him to do and he was the sound engineer.

11.11. Ann-Charlotte Söderlund Björk: Simon (Söderberg) says that he played the drums, what do you say about it?

11.11. The witness: No, we had not.

11.10. Ann-Charlotte Söderlund Björk: did you have any agreement?

11.09. The witness: I don't like bigger crowds, I don't like to play live.

11.08. What happened?

11.07: So would you be able to describe it.

11.07. Ann-Charlotte Söderlund Björk: He wanted to take over the world?

11.07: the Witness: I want to record an album and he wanted to do other things.

11.06: What was your role?

11.06: I played the bass guitar.

11.06. You were with to 2011, what did you do in Ghost?

11.05: the Witness: It was in 2006.

11.05: Ann-Charlotte Söderlund Björk commencing the interview: When you came in contact with Tobias?

11.04. Now resume the trial again, and a former band member to be interviewed (which we have chosen to keep anonymous).