Music Producer Agreements

After all this hard work, it`s good to get paid. An equally important contractual clause is therefore one that gives producers the right to obtain regular licence declarations and to check the label`s books. In practice, audits can be expensive and should only be done if the manufacturer has reason to believe that there has been a significant underpayment during an accounting period, but it is an important weapon to stay in your arsenal of weapons. In the studio, it is ultimately a producer who is responsible for the final tone of a recording. Often, however, an artist buys a beat or licenses it and completes the production himself or with another producer. Here`s mine: I`m a music producer and I`m in the middle of negotiating a production agreement with an artist and her management team. I have to deliver six masters without payment in advance. I have to cover all the costs of recording, mixing and mastering. I will also essential cowriting and everything about the songs except their singing and lyrical writing. We`ve been working on a song before, and basically what happened at the end was that she spent six hours in the studio stopping singing while I worked on the track for two months.

She wants to own 50% of the master recordings and parts of the writing/editing. Their reasoning is that this gives their management team a better chance of getting a distribution/label agreement for them. In my opinion, and I might be wrong if she only received the normal share of the artist of 15 to 20% on master`s records. The writing/publication should be 50/50. I think the right of administrator to buy for 12-18 months for an agreement is fair. Thoughts? Could I also recover my expenses from their sales/labelling advance or total revenue? Thank you in advance. Cheers, Andy My producer says I`m going to own the sound recorder and he`s going to own the production masters after I pay him a tax, is that reasonable? For many years, producers have generally not created new music. They were recording songs and tried to improve songs created by a songwriter who could have been the artist.

But that has changed. Often in pop, R-B and especially hip-hop, producers create new music by providing beats or even full musical backgrounds on which an artist sings or on which a rapper “spits”. In this case, the producer creates two copyrights: the sound recording and part of the musical composition. GLENN LITWAK is an experienced entertainment lawyer based in Santa Monica, CA. He has represented platinum sellers, Grammy-winning music producers, composer-composers, management and production companies, music publishers and independent record labels. Glenn is also a regular speaker at music industry conferences across the country, such as South by Southwest and Billboard Music in Film and TV Conference. E-mail to Litwak gtllaw59@gmail.com or visit glennlitwak.com. This is perhaps the most important point to consider: is your producer a co-author? See my article here for instructions on such a provision. I recommend you have this discussion about whether you intend to write with the producer before the recording begins. I know that sometimes co-writing only takes place in the studio, whether you plan it or not, but it is advisable to discuss this in advance to ensure that mutual expectations meet. My advice: if the producer is actually a co-author, you have to make sure that he assigns you management rights in the compositions.

This entry was posted on Sunday, December 13th, 2020 at 1:25 am and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. Responses are currently closed, but you can trackback from your own site.

Comments are closed.