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 or visit 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.

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