The *PRODUCER AGREEMENT* is the offical industry standard contract when an Artist or label hires a Producer for the engagement of their service's to produce and deliver the Masters as I don't understand why you said they are rare. I have one with a major label and one for Indie unsigned Artists. Dr. Dre, Timbaland, Pharrell Williams enter into Producer Agreements every day each time they are hired. Dr. DRE, Timbaland charges a Recoupable Advances per Master Recording that goes against Points on an Album. The Producer's Advances usually comes out of the Recording Budget funds as an All-in deal. Producers rarely ever own the Masters unless they are signing Artist's into a Demo-Deal with a Production Company.
It’s rare in the field I’m producing. Making my own stuff as an electronic artist. Yes as a classic producer making hiphop or pop it’s still the standard. Your absolutely right. 😜👍
@@Jonsine Yeah of course you don't need any contracts if you are self producing your own records. If a Record Producer is also a Co-Writer of the song, each Co-writer would need to negoicate their percentage share of the Songs Musical Composition. I have Song Split sheets when splitting the Writer and Publisher share. I'm also entitled to a share of the Artist digital sound recording royalties such as SoundExchange.
@@211MakinHits Yes but they are written by own lawyer for myself and my clients. I can't give them out as you have hire your own Entertainment Attorney for that. You can find or buy contract templates online but you would still need an attorney to draft and edit out clauses that fits your needs. Same with ones that are between Label Artists and the Producer, there's always an attorney involved.
@@eman0828 ok thanks. I dont mind paying though. I was just curious to see the literature especially being that you’re experienced with labels and indies.
Hahahajah..... When he said tag 2 producer friends on instagram... I was like wait i dont have a single producer friend... I m alone so i just tagged my normal friends who dont know shit about producing...... Hahahahhaha
at 5:03 that you mention about selling the copyright i think thats very doeable to buy out (the copyrights) paying a ghost fee with an NDA agreement . that way it is legal to get the copyrights from the creator by signing a deal that sais every income generated by this track, the producer or the creator gives up on all of the revenue generated by this peace of music and that they can use it however they want witthout the permission of the creator. something like that is happening with big labels all the time
In the USA, there are three contract types AFAIK. Copyright (automatic, but you need to register to get punitive damages), mechanical (royalties for CDs, streaming ,etc.), and publishing which handles peformance royalties and sync rights). It is sad, but streaming has radically devalued music and the amount of money that an artist receives for his/her efforts. Gone are the days when most artists can support themselves solely by creating music. Reportedly, artists only get about 10% of total industry revenues.
Mechanical royalties is the something as Publishing. Publishing consist of both Peformance and Mechanical royalties for the underlying musical composition. Then have, record royalties known as Points on the Album Sound Recording royalties such as SoundExchange for the exploitation and licensing the Masters.
@@eman0828 It is more complex in these days since you don't need to publish your songs to get streaming royalties and royalties for sales of MP3s and CDs. SoundExchange collects streaming royalties but does not collect publishing or composition royalties. Those are handled by ASCAP, BMI and SESAC.
@@TonyThomas10000 Nope you got that all backwards as I'm pretty experienced in the Music Publishing business as I'm in an Admin deal with *Downtown / Songtrust.* Publishing means you are granting the rights to distribute, license and exploit your musical works. When some one wants to use your musical works let's say, an Artist wants to create a *Derivative Works* of your existing musical works, they would need to obtain Compuserly Mechanical License which they are required to pay you as the Songwriter and Publisher Mechanical royalties. Mechanicals are usually handled by *Harry Fox Agency* and *MRI.* Generally an Artist or Record label obtains a Mechanical License to send royalty payments to Harry Fox, the Publisher collects that money from Harry fox on behalf of Songwriters such as Songtrust. SoundExhange is for the Master Recording as Record Producer's such as myself are enittled to a shared percentage of the Featured Artists Digital Peformance royalties. Peformance royalties from ASCAP and BMI are collected in two parts, the Writer Share which your PRO pays you directly and the Publisher Share which your Publishing Company pays you. Songtrust collects the Publisher on my behalf and ASCAP pays me the Writer Share separately. There is another type of Mechanical Royalty for On-demand Streaming which you don't need a Compuserly license for as *DSPs* such as Spotify withholds about 10% of the Reveue and sends that straight to Harry Fox Agency. Your Publisher snags that up from Harry fox.
As soon as you start a musical composition its automatically copy written. Hence theres a file saved with Date/Time. So you can proved you owned copyrights BEFORE whoever violated your copyrights...
Great tips about contracts, thanks 🙏 Btw: do you play Zelda BOTW sometimes? I know you’re very busy and that video games can take up some precious time also but I’m curious if you still play this awesome game on the Nintendo Switch. Best, Emiel.
*Publishing Rights* if the Producer is the Co-Writer of the song but that's 100% negligible as no one is entitled to 50% or 80%. Each Co-Writer needs to negoicate their percentage of the shared songs Composition usually through separate document called a Song Split Sheet. Most Def not the Masters as Record Producers rarely ever own the Masters as the Label or Artist owns the Master's. Record Producer's such as myself does get Record points on the album known as the Producer's Royalty that comes out of the Artist record royalties typically based on the *SRLP (Suggested Retail Listing Price)* pro-rated by the number of Masters on the Album that the Producer produced. Most Producer's negoicate around *3%.* Producer's are also entitled to a percentage of the featured Artist digital sound recording royalties from *SoundExchange.*
![[UNCUT] The Loyal Pin ปิ่นภักดิ์ EP.4 (4/4)](http://i.ytimg.com/vi/d3l5rxl5CVo/mqdefault.jpg)
The *PRODUCER AGREEMENT* is the offical industry standard contract when an Artist or label hires a Producer for the engagement of their service's to produce and deliver the Masters as I don't understand why you said they are rare. I have one with a major label and one for Indie unsigned Artists. Dr. Dre, Timbaland, Pharrell Williams enter into Producer Agreements every day each time they are hired. Dr. DRE, Timbaland charges a Recoupable Advances per Master Recording that goes against Points on an Album. The Producer's Advances usually comes out of the Recording Budget funds as an All-in deal. Producers rarely ever own the Masters unless they are signing Artist's into a Demo-Deal with a Production Company.
It’s rare in the field I’m producing. Making my own stuff as an electronic artist. Yes as a classic producer making hiphop or pop it’s still the standard. Your absolutely right. 😜👍
@@Jonsine Yeah of course you don't need any contracts if you are self producing your own records. If a Record Producer is also a Co-Writer of the song, each Co-writer would need to negoicate their percentage share of the Songs Musical Composition. I have Song Split sheets when splitting the Writer and Publisher share. I'm also entitled to a share of the Artist digital sound recording royalties such as SoundExchange.
Got a copy of your contracts for both a major label and indie? And or do you have any videos or articles that you would recommend to a producer?
@@211MakinHits Yes but they are written by own lawyer for myself and my clients. I can't give them out as you have hire your own Entertainment Attorney for that. You can find or buy contract templates online but you would still need an attorney to draft and edit out clauses that fits your needs. Same with ones that are between Label Artists and the Producer, there's always an attorney involved.
@@eman0828 ok thanks. I dont mind paying though. I was just curious to see the literature especially being that you’re experienced with labels and indies.
Following your moves bro. God bless you for your consistency on inspiring your viewers by sharing your journey and unimaginably valuable knowledge.
ASCAP and BMI in the USA.
Thank you!
What if a producer decides to reach out to an artist they are interested in working with? What contract would one use?
Good question. Nobody answer the good ones 🤬🤬
You can definitely transfer copyrights if you specify it in the contract. It's called "ghost producer" or "ghost collaborator"
In the USA for exsample yes. In Germany Copyright is by law not transferable
Hahahajah..... When he said tag 2 producer friends on instagram... I was like wait i dont have a single producer friend... I m alone so i just tagged my normal friends who dont know shit about producing...... Hahahahhaha
This is valuable information. Thank you for this.
Contact me please. @IMAGPRODUCTIONS imagclothing702@yahoo.com
Thank you sir.
Salute.
Thanks Jon, it's very informative buddy !!
Thanks this def helps God bless
at 5:03 that you mention about selling the copyright i think thats very doeable to buy out (the copyrights) paying a ghost fee with an NDA agreement . that way it is legal to get the copyrights from the creator by signing a deal that sais every income generated by this track, the producer or the creator gives up on all of the revenue generated by this peace of music and that they can use it however they want witthout the permission of the creator. something like that is happening with big labels all the time
In Germany impossible. Most other countries yes
@@Jonsine oh i see. Wow really? I mean they cannot buy out any work from songriters.
In the USA, there are three contract types AFAIK. Copyright (automatic, but you need to register to get punitive damages), mechanical (royalties for CDs, streaming ,etc.), and publishing which handles peformance royalties and sync rights). It is sad, but streaming has radically devalued music and the amount of money that an artist receives for his/her efforts. Gone are the days when most artists can support themselves solely by creating music. Reportedly, artists only get about 10% of total industry revenues.
Mechanical royalties is the something as Publishing. Publishing consist of both Peformance and Mechanical royalties for the underlying musical composition. Then have, record royalties known as Points on the Album Sound Recording royalties such as SoundExchange for the exploitation and licensing the Masters.
@@eman0828 It is more complex in these days since you don't need to publish your songs to get streaming royalties and royalties for sales of MP3s and CDs. SoundExchange collects streaming royalties but does not collect publishing or composition royalties. Those are handled by ASCAP, BMI and SESAC.
@@TonyThomas10000 Nope you got that all backwards as I'm pretty experienced in the Music Publishing business as I'm in an Admin deal with *Downtown / Songtrust.* Publishing means you are granting the rights to distribute, license and exploit your musical works. When some one wants to use your musical works let's say, an Artist wants to create a *Derivative Works* of your existing musical works, they would need to obtain Compuserly Mechanical License which they are required to pay you as the Songwriter and Publisher Mechanical royalties. Mechanicals are usually handled by *Harry Fox Agency* and *MRI.* Generally an Artist or Record label obtains a Mechanical License to send royalty payments to Harry Fox, the Publisher collects that money from Harry fox on behalf of Songwriters such as Songtrust. SoundExhange is for the Master Recording as Record Producer's such as myself are enittled to a shared percentage of the Featured Artists Digital Peformance royalties. Peformance royalties from ASCAP and BMI are collected in two parts, the Writer Share which your PRO pays you directly and the Publisher Share which your Publishing Company pays you. Songtrust collects the Publisher on my behalf and ASCAP pays me the Writer Share separately. There is another type of Mechanical Royalty for On-demand Streaming which you don't need a Compuserly license for as *DSPs* such as Spotify withholds about 10% of the Reveue and sends that straight to Harry Fox Agency. Your Publisher snags that up from Harry fox.
@@eman0828 It has been a while since I studied up on it. It is way more complex that I even thought! Thanks for the clarification!
@@eman0828 This article says there are three: Mechanicals, Performance and Sync: www.nashvillesongwriters.com/how-songwriters-get-paid
How these contracts go like - i am ready to split 50-50 with my singer but i want them to be a Featuring artist?
🎄🎁🎉☀️
Great topic! Do you feel it is generally better to go with a large or small label, or any label at all and just self promote?
Love your videos. they have helped me a lot. Thanks so much :) .
idk what to make my dj name. would Adrien Terron, 5.50 or Aden Toir be cool?
how the music is copyright protected as soon as we create the project?
As soon as you start a musical composition its automatically copy written. Hence theres a file saved with Date/Time. So you can proved you owned copyrights BEFORE whoever violated your copyrights...
95 per cent - 5 per cent ...... ohhh my
Great tips about contracts, thanks 🙏
Btw: do you play Zelda BOTW sometimes? I know you’re very busy and that video games can take up some precious time also but I’m curious if you still play this awesome game on the Nintendo Switch. Best, Emiel.
gutes thema!
So when you say the producer just 50% in the office to 50% they get 50% of what? also is a publishing separate on what the producer gets?
*Publishing Rights* if the Producer is the Co-Writer of the song but that's 100% negligible as no one is entitled to 50% or 80%. Each Co-Writer needs to negoicate their percentage of the shared songs Composition usually through separate document called a Song Split Sheet. Most Def not the Masters as Record Producers rarely ever own the Masters as the Label or Artist owns the Master's. Record Producer's such as myself does get Record points on the album known as the Producer's Royalty that comes out of the Artist record royalties typically based on the *SRLP (Suggested Retail Listing Price)* pro-rated by the number of Masters on the Album that the Producer produced. Most Producer's negoicate around *3%.* Producer's are also entitled to a percentage of the featured Artist digital sound recording royalties from *SoundExchange.*
Hi Jon! I would like to ask do DJ's need to have an individual activities contract from tax authorities?
Thank you!
Sir am also a singing pls give me contract work dear sir 🙏🙏🙏🙏
First