Become a part of the TranceAddict community!Frequently Asked Questions - Please read this if you haven'tSearch the forums
TranceAddict Forums > DJing / Production / Promotion > Production Studio > help with contract
Pages (2): [1] 2 »   Last Thread   Next Thread
Share
Author
Thread    Post A Reply
Kid_presentable
Supreme tranceaddict



Registered: May 2005
Location: Sydney,Australia
help with contract

bassicly alot of this stuff I don't understand...if anyone with some experience could explain what im signing here it would be sweet:





At the request of ***********, (the “Label”), you will create
master recordings of one (1) musical compositions (the “Track”) embodying the performance of yourself, ****************(the
“Artist” or “you”) to be delivered to the Label on January 1, 2008. In consideration
of your services in connection with the Track, you will be entitled to the following
compensation (the “Compensation”):
• Royalties.
o 50% of record sales net revenue and ringtone licensing net revenue
(after all costs associated with production, manufacturing and
distribution have been fully recouped),
o 50% of digital download sales net revenue (after all costs associated
with production, manufacturing and distribution have been fully
recouped); this includes Label’s direct sales and sales via third party eretailers
(e.g. iTunes, Amazon, Real Rhapsody, Napster, Beatport,
etc.), and
o 50% of all other net licensing proceeds, should a 3rd party licensing
agreement arise with regard to the Track.
Royalties shall be paid by the Label for a term extending in perpetuity from the
date of this agreement, accountable and payable to the Artist within ninety days
after every six months (the “Royalty Period”) from the dates ending June 30th and
December 31st . Royalties will only be paid to the Artist if the Royalty amount due
for the Royalty Period totals to $50 USD or greater; if the amount totals to less
than $50 USD, that period’s royalties will be added to the total in the following
Royalty Period until the total of the Royalty Period exceeds $50 USD. All
Compensation monies will be payable to the Artist by the Label in US dollars if and
when they materialize and/or are received by Label from its payees. All
Compensation shall be remitted to the Artist’s legal name and mailing address, as
stipulated in Section 4, subsection B, sub-subsection V below. Any Local, State,
Federal Government, or any other applicable taxes on the Artist’s income, as a
result of any Compensation paid by the Label, will be the Artist’s sole
responsibility. Label shall have the right to hold reasonable reserves. Upon
reasonable advance written notice, financial disclosure will be made available to
the Artist at his/her sole cost and expense with regard to record sales and/or
licensing agreements solely in connection with the exploitation of the Track. The
Artist shall the right to review any particular statement one time for up to two
years following the date Labels send you that statement.

You, the Artist, represent and warrant that:
1. You have the right and power to enter into and fully perform this
agreement. You will not enter into any agreement that would interfere with
the full and prompt performance of your obligations hereunder.
2. The musical compositions have not been previously recorded.
3. The Track will be considered a work made for hire for the Label. Since the
Track are deemed to be a work made for hire, they will be deemed
transferred and assigned to the Label by this agreement, together with all
publishing rights in the musical compositions, in consideration of the
Compensation.
4. The Track will be delivered by the Artist to the Label within one (1) calendar
day of the signature of this contract. The delivery of the Track must meet
the following criteria:
a. The Track must be delivered via one of the following methods:
i. Digital transfer of the Track in the form of a .wav or .aiff digital
file encoded at 44.1KhZ and 16bit resolution, by the Artist to
the Label.
ii. Physical delivery of an audio CD containing the Track, by the
Artist to the Label.
b. Accompanying the delivery of the Track by the Artist to the Label, the
Artist must furnish all of the following:
i. Desired name of the Artist on the release of the Track.
ii. Desired name of the Track and accompanying versions
(commonly referred to as “mixes”).
iii. Written duration of the Track including a two (2) second pause
of silence inserted by the Artist at the beginning of each Track.
iv. Any credits that the Artist wishes to appear in writing in
conjunction with the Label’s release of the Track. The Label
reserves the right to modify the wording of these credits or
abstain from publishing them altogether.
v. The following information, in writing, regarding the Artist:
1. The Artist’s full legal name.
2. The Artist’s full legal mailing address and telephone
number(s).

5. The Label will not be required to make any payments of any nature for, or in
connection with, the exploitation of the Track other than the
Compensation.
6. The Track may be declined for publication by the label for any reason upon
completion of production, which will forfeit the Artist’s claim to any
Compensation set forth in this agreement.
7. The Track do not contain any unauthorized samples. It is understood and
agreed that any samples (including both master and publishing samples)
are your sole responsibility and have been cleared and/or paid for by you. If
any roll-over or royalty payments are required in connection with any
sample, you have furnished the Label with all documentation relating to
such payments prior to the signing of this agreement, provided that you
shall remain responsible for all such payments. The Track do not infringe or
violate the rights of any party. If any party has been employed by you in
any capacity toward the production of the Track (e.g. engineers, vocalists,
musicians, etc.), their agreement with you is deemed separate and you
warrant and represent that those parties have no further claim whatsoever
on the Track of any monies derived from it.
8. The Label and the Label’s licensees, successors and assignees shall have the
exclusive and perpetual worldwide right to the Track, and may grant to
other persons or parties the right to reproduce, print, publish or disseminate
in any medium your name and likeness for trade, promotion or advertising
purposes in connection with the making and exploiting of records
containing the Track.
9. You will at all times indemnify and hold the Label and any of its licensees
harmless from and against any claims, damages, liabilities, costs and
expenses (collectively, “Costs”), including counsel fees, arising from breach
or alleged breach by you of any representation or warranty contained in
this agreement. The Label will have the right to set-off and appropriate any
sums otherwise payable to you, whether or not related to an agreement
between you and the Label, and apply such amounts in reduction of the
Costs.
10. The above covenants will be governed, enforced and mediated by the
courts of the State of New York, the United States of America.

Old Post Dec-28-2007 07:17  Australia
Click Here to See the Profile for Kid_presentable Click here to Send Kid_presentable a Private Message Add Kid_presentable to your buddy list Report this Post Reply w/Quote Edit/Delete Message
Watts
Supreme tranceaddict



Registered: Sep 2006
Location: Shibuya, JP

The first section outlines the royalties you'll get from having your track signed to this label. Section two states the requirements your track needs to meet before being presented to the label.

The final section has you giving your track away forever (seems to be some work-for-hire). If you wanted the track back you probably wouldn't be able to afford the legal expenses.

You should get a lawyer or find someone very knowledgeable in law to help you draft a new contract (or at least a new third section).

Last edited by Watts on Dec-29-2007 at 05:38

Old Post Dec-28-2007 14:51  Japan
Click Here to See the Profile for Watts Click here to Send Watts a Private Message Add Watts to your buddy list Report this Post Reply w/Quote Edit/Delete Message
Freak
Insert witty comment here



Registered: Jul 2003
Location: On a plane probably...
Re: help with contract

quote:

3. The Track will be considered a work made for hire for the Label. Since the
Track are deemed to be a work made for hire, they will be deemed
transferred and assigned to the Label by this agreement, together with all publishing rights in the musical compositions, in consideration of the
Compensation.


Dont give them the publishing... they are making money from the mechanicals already....

Go see a specialist music business lawyer NOW

Old Post Dec-28-2007 15:00  United States
Click Here to See the Profile for Freak Click here to Send Freak a Private Message Add Freak to your buddy list Report this Post Reply w/Quote Edit/Delete Message
Storyteller
Supreme tracneaddict



Registered: Feb 2005
Location: The Netherlands

If they do proper publishing it is more interesting to do sign for publishing as well. However a lot of digital labels just `abuse` publishing to gain a bit of extra income.

It's not so much like you would need a lawyer or anything. Just some proper insight in the label you are signing to. Of course the terms of a contract are negotiable and the label manager should be more than able to answer your questions.


___________________

Storyteller Website | Storyteller @ Facebook | Storyteller @ Beatport | Storyteller @ Soundcloud | Stephen J. Kroos - Europa (Storyteller Remix)
Anthony Mea - Get It On (Storyteller Remix)

quote:
If less is more think about how much more more would be.
-Frasier

Old Post Dec-28-2007 15:10  Netherlands
Click Here to See the Profile for Storyteller Click here to Send Storyteller a Private Message Visit Storyteller's homepage! Add Storyteller to your buddy list Report this Post Reply w/Quote Edit/Delete Message
Kid_presentable
Supreme tranceaddict



Registered: May 2005
Location: Sydney,Australia
Re: Re: help with contract

Thanks for helping me out guys.

quote:

If they do proper publishing it is more interesting to do sign for publishing as well.



what are some examples of "proper publishing" ?


quote:
Originally posted by Freak
Dont give them the publishing... they are making money from the mechanicals already....


quote:

The final section has you giving your track away for ever


I don't even know what "publishing rights" are..or, what a label might do with the publishing rights?

from wiki:

As intellectual property, copyright ownership can be bought, sold, or inherited, as can rights to royalties under a publishing contract. Several bands and artists own (or later purchase) their own publishing, and start their own companies, with or without help from an outside agent. The sale or loss of publishing ownership can be devastating to a given artist or writer, financially and emotionally.

what would be the regular terms in a contract rather than the label having the publishing rights?

how should I aproach this problem, Should I just ask to retain all the publishing rights to the track? and if they agree, sign away? this is what im leaning towards doing at the moment.


I also found this on wiki:

Traditionally, music publishing royalties are split fifty/fifty, with half going to the publisher (as payment for their services) and the rest going to the songwriter

would a 50/50 split on publishing be more appropriate?

thanks heaps for any help on this, im fairly lost at the moment.

Last edited by Kid_presentable on Dec-29-2007 at 01:21

Old Post Dec-28-2007 23:57  Australia
Click Here to See the Profile for Kid_presentable Click here to Send Kid_presentable a Private Message Add Kid_presentable to your buddy list Report this Post Reply w/Quote Edit/Delete Message
Kid_presentable
Supreme tranceaddict



Registered: May 2005
Location: Sydney,Australia

one more thing I have found:

YOUR PUBLISHING RIGHTS ARE WORTH MONEY -AND /OR DO NOT GIVE UP YOUR PUBLISHING RIGHTS WITHOUT A FAIR EXCHANGE OF MONEY FOR RIGHTS..!

I AM NOT TALKING 'SINGLE SONG CONTRACTS'-which is entirely a different scenario if you are an unpublished Writer with no track record at all.You can expect that they will ask for the Publishing-but by inserting a reversion clause in that contract-(and a term of not more than 18 months) -the rights will legally revert back to you if the Publisher is unsuccessful in placing your song.


maybe this is the way to go?

Old Post Dec-29-2007 01:32  Australia
Click Here to See the Profile for Kid_presentable Click here to Send Kid_presentable a Private Message Add Kid_presentable to your buddy list Report this Post Reply w/Quote Edit/Delete Message
Storyteller
Supreme tracneaddict



Registered: Feb 2005
Location: The Netherlands
Re: Re: Re: help with contract

quote:
Originally posted by Kid_presentable
what are some examples of "proper publishing" ?


Publishing mostly is placing your product at 3rd party companies. CD compilations, tv show background music, those sorts of things. There are more things which should be taken into account but that's generally it.

Proper publishing would be when this actually happens. In general with common digital labels, it doesn't. I consider publishing to be proper when the publishing services create more income than you would have had without them. Some income related to the track could be directly transfered to you if you sign up at the appropriate places instead of being collected by the publisher which will then take 50% as your contract says.

Anyway, if the label you are talking about doesn't have any tracks coming out through 3rd party products this publishing thing isn't interesting at all. It will not make much of a (financial) difference in such a case.


___________________

Storyteller Website | Storyteller @ Facebook | Storyteller @ Beatport | Storyteller @ Soundcloud | Stephen J. Kroos - Europa (Storyteller Remix)
Anthony Mea - Get It On (Storyteller Remix)

quote:
If less is more think about how much more more would be.
-Frasier

Old Post Dec-29-2007 17:16  Netherlands
Click Here to See the Profile for Storyteller Click here to Send Storyteller a Private Message Visit Storyteller's homepage! Add Storyteller to your buddy list Report this Post Reply w/Quote Edit/Delete Message
DJ RANN
Supreme tranceaddict



Registered: May 2001
Location: Hollywood....

Be careful with the publishing - if you're not sure ask a lawyer. It may not be cost effective for this track but if you plan on making money from in the future, it will be a great education and probably the best return you'll ever get from a few hundred bucks as it will mean you actually get paid in the end.

The work for hire part means they own the track. If it were to do really well (sales, downloads, cd compilations, TV adverts) you would have a bad deal and they would make a lot more. But unfortunately, this probably is a deal breaker. The upside to this is that labels work harder to promote the track if they are going to get more money for themselves but this is good for the artist as you get exposure.

It's not quite the same thing becuase you will at least get a percentage of the sales etc, but think of Timo Maas's mix of Azzido Da Bass - Doom's Night. He got paid 2k for that remix and never saw another direct penny. It did though make him very famous and put him on to the upper earning bracket of EDM producers and Dj's. The record probably made Azzido and the label a few hundred thousand each (at least).

To protect your catalogue (over time), the reversion clause idea is the way to go if you are going to give them the publishing.

You have to weigh up if the giving up of your ownership of the track is worth the exposure (and in many cases it is when starting out). Also maybe try to speak to another artist on the same label and see what deal they got (if they got fleeced or looked after etc.) - obviously don't ask someone that is so hooked up with them you won't get the truth.

Lastly, I am very sceptical of labels, full stop - you never truly know how many units they have sold, especially at this level (i.e. small unit sales) and in these mediums (ringtones, downloads on several different sites, and in different territories, so it really makes sense to go in prepared - it will cost a lot less in the long run to get sorted before you enter as deal, than it will cost to get it sorted after.

Old Post Dec-29-2007 19:09 
Click Here to See the Profile for DJ RANN Click here to Send DJ RANN a Private Message Add DJ RANN to your buddy list Report this Post Reply w/Quote Edit/Delete Message
Freak
Insert witty comment here



Registered: Jul 2003
Location: On a plane probably...

quote:
Originally posted by DJ RANN

It's not quite the same thing becuase you will at least get a percentage of the sales etc, but think of Timo Maas's mix of Azzido Da Bass - Doom's Night. He got paid 2k for that remix and never saw another direct penny. It did though make him very famous and put him on to the upper earning bracket of EDM producers and Dj's. The record probably made Azzido and the label a few hundred thousand each (at least).

]

Bad example really...
That was a remix not timos track.
In pre download days it was not very common at all for remixers to get a % of sales, they got a flat fee, and that was it.
Another example of that would be armand van helden with professional widow... but then everyone knew the score with remixing in those days and used it as a means of exposure.

Old Post Dec-29-2007 19:17  United States
Click Here to See the Profile for Freak Click here to Send Freak a Private Message Add Freak to your buddy list Report this Post Reply w/Quote Edit/Delete Message
DJ RANN
Supreme tranceaddict



Registered: May 2001
Location: Hollywood....

quote:
Originally posted by Freak
]

Bad example really...
That was a remix not timos track.
In pre download days it was not very common at all for remixers to get a % of sales, they got a flat fee, and that was it.
Another example of that would be armand van helden with professional widow... but then everyone knew the score with remixing in those days and used it as a means of exposure.


That's my whole point with the Timo example. I said it not the same case (as in owning or writing the track yourself) but your example was only 3 years earlier and if anything should highlight moreso the fact that Timo stood to make a lot of money with the track if he had opted for points (publishing) rather than the flat fee. i.e He did it as a work for hire.

Old Post Dec-29-2007 23:32 
Click Here to See the Profile for DJ RANN Click here to Send DJ RANN a Private Message Add DJ RANN to your buddy list Report this Post Reply w/Quote Edit/Delete Message
Kid_presentable
Supreme tranceaddict



Registered: May 2005
Location: Sydney,Australia

my response to label:

quote:

I'm happy with the majority of the contract, but have some concerns regarding section 3 of the contract which states I am to forfeit all publishing rights to the label. Can you tell me why this is necessary, I feel that I should retain the publishing rights, or at least retain a percentage of them.


label response:

quote:
Publishing rights are traditionally assigned to the label to prevent the re-publishing of the material on other labels. Not that you would ever do this, but without this clause the artist would have the ability to essentially sign the track over to another competing label. It's a standard clause, especially in the world of digital labels in which the Territory is the whole World.

Old Post Dec-30-2007 00:01  Australia
Click Here to See the Profile for Kid_presentable Click here to Send Kid_presentable a Private Message Add Kid_presentable to your buddy list Report this Post Reply w/Quote Edit/Delete Message
DJ Z
Senior tranceaddict



Registered: Aug 2005
Location: TX

hey make sure they show you the actual # of sales on a periodic basis - like once a quarter, etc. EVEN IF YOU HAVEN'T SOLD A SINGLE TRACK. you need to know what's going on with sales at all times.

even if you dont hit the $50 mark, you should be able to see the detail.


___________________
PATRICK KROFT
PatrickKroft.com ~ DI.fm Tribal House DJ ~ Last.fm Tribal House

Old Post Dec-30-2007 00:14  United States
Click Here to See the Profile for DJ Z Click here to Send DJ Z a Private Message Visit DJ Z's homepage! Add DJ Z to your buddy list Report this Post Reply w/Quote Edit/Delete Message

TranceAddict Forums > DJing / Production / Promotion > Production Studio > help with contract
Post New Thread    Post A Reply

Pages (2): [1] 2 »  
Last Thread   Next Thread
Click here to listen to the sample!Pause playbackPaul van Dyk - Eins Live Rocker (23-07-2006) ID [2007] [1]

Click here to listen to the sample!Pause playbackBlack Atlantic - "No Need To Hide" (Dub Mix) [2005]

Show Printable Version | Subscribe to this Thread
Forum Jump:

All times are GMT. The time now is 21:55.

Forum Rules:
You may not post new threads
You may not post replies
You may not edit your posts
HTML code is ON
vB code is ON
[IMG] code is ON
 
Search this Thread:

 
Contact Us - return to tranceaddict

Powered by: Trance Music & vBulletin Forums
Copyright ©2000-2026, Jelsoft Enterprises Ltd.
Privacy Statement / DMCA
Support TA!