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Questions regarding freelance vocalists (pg. 2)
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| EddieZilker |
Dr. Gonzo: I think we should put her on the payroll, see what she comes up with.
Attorney: You think you can handle it ?
Alice: What ?
Dr. Gonzo: One phone call every day.
Don't worry if it doesn't add up. That's our problem.
Alice: Y-You'd pay me for that ?
Dr. Gonzo: You're damn right we would.
But the first time that you say anything about this to anybody...
you will go straight to prison for the rest of your life.
- What's your name ?
Alice: Alice.
Dr. Gonzo: Prove it !
Fear and Loathing in Las Vegas Movie Script
| quote: | Originally posted by cryophonik
Thanks Richard. Very good points, particularly these two:
[Omitted for expediency]
Makes me wonder if it's even worth the time, but I'll leave that up to her. ;) |
Definitely good points. I'd say that you and/or she will almost want something along the lines of a purchase order, where everything is clearly defined, down to the notes she'll be singing, how long it's expected to take, and even a quick audio mock-up of the song she's to sing to.
With the internet being what it is, it's conceivable that I'd be able to contract for a performance she could do in your studio - and that I'd also be (hypothetically) paying for your services, in that regard. |
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| cryophonik |
Yeah, good points Eddie. That's one of the reasons I'd really like to see an example contract (or purchase order) if anyone has one.
BTW, I've never seen that movie - I'll have to check it out. :) |
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| EddieZilker |
| quote: | Originally posted by cryophonik
Yeah, good points Eddie. That's one of the reasons I'd really like to see an example contract (or purchase order) if anyone has one.
BTW, I've never seen that movie - I'll have to check it out. :) |
Maybe I'll work something up, tonight, p/o and contract wise that could be a good general frame-work to build on.
The movie is one of my favorites - I've seen it an unholy amount of times, own the DVD, but will still sit and watch it when it happens to be on TV, anyway. You'll either love it or you'll hate it, but having read the book, while the movie takes liberties, I can say it's still mostly faithful with the original Rolling Stone article penned by Thompson. Terry Gilliam does a phenomenal job of bringing scenes in the book, to life.
Our 'old as dirt' copy of the book has hand-writing on the page right after the copyrights which says, "This book is ABSOLUTELY Accurate. I've been there." |
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| studiobob |
well ive worked with a few singers... some who hire for free, some who charge.
One singer charges £300 per track. She wants musical and creative/songwriting input but understands the final decisions come from the 'producer'. Now she is pretty established... plenty of records out with her on it. Not always her name on the record though. But she negotiates at the start what the split is gonna be and how much she charges in respect of that.
I also know singers who will be sent some lyrics and a copy of the track, full melodys/ riffs and chords all laid out etc. They go to studio session where she will be paid £20 an hour or whatever and then walk away at the end with a 10% royalty and a small fee for half a days work.
These things are best done on an individual basis until she gets really well known. IMO anyway :)
My advice would be to split all profits down the middle if the singer is going to be having artistic input and her name on the record. Especially at the stage of starting out. If she gets lucky and her name winds up on a few records then she can start being more picky about who she works with and what the relevant contract will be. |
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| cryophonik |
| Thanks studiobob - that's exactly the kind of information and advice I was looking for! Obviously, my friend won't be near the £300 range at this point, but that does give some perspective. And, yeah, she should probably give some consideration to the profit-sharing option, as well as the flat-rate option. The combination of paid studio time and a share of the profits seems like a pretty good option. Thanks for that! |
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| Mad for Brad |
| not sure how many sales you anticipate but 50 / 50 from an "all in deal" is absolutely insane. |
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| cryophonik |
| quote: | Originally posted by Mad for Brad
not sure how many sales you anticipate... |
At least a half million. |
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| studiobob |
| quote: | Originally posted by Mad for Brad
not sure how many sales you anticipate but 50 / 50 from an "all in deal" is absolutely insane. |
dare i ask why?? its not too bad if im an unknown singer and ive been given a fantastic song and lyrics to sing and a written song. Same as if im an unknown producer and i find a singer willing to help me write a vocal track for nothing but a shre of future earning...
just work out a deal that reflects what goes into the track :) it aint difficult. |
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| Mad for Brad |
unless she wrote the lyrics, or the melody, she has no claim to royalties. Including her in a 50/50 deal when you the producer has provided the time, the equipment and knowledge to make the track happen is silly. Of course this is probably the type of music that would sell under 1000 copies so I suppose it doesn't matter. If your track doesn't make enough to pay her a flat out rate , I suppose it doesn't really matter what you do. Nobody is going to be making money so divide the big 0 anyway you like,
Call a business lawyer at the end of his day and present yourself as a up and coming producer. You will probably get some free advice. Lawyers are in the business of making connections and if you don't come across as dumbass, they will usually give you 10 minutes. Again this trick only works if you sound the part. |
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| EddieZilker |
| quote: | Originally posted by Mad for Brad
unless she wrote the lyrics, or the melody, she has no claim to royalties. Including her in a 50/50 deal when you the producer has provided the time, the equipment and knowledge to make the track happen is silly. |
I only brought up the 50/50 deal for instances where there's significant creative input by a vocalist. If it's something prepared and she's just singing, then yeah, you're right. |
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| cryophonik |
| quote: | Originally posted by Mad for Brad
...and if you don't come across as dumbass,... |
Well, that's pretty unlikely since it is my middle name.
| quote: | Originally posted by EddieZilker
I only brought up the 50/50 deal for instances where there's significant creative input by a vocalist. |
And, that's exactly what I stated in the OP. She has years of formal training, writes lyrics, melodies, and even songs, plays several instruments, etc. and is more than capable of providing significant creative input. |
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| Mad for Brad |
| Lets say you write a hit, and you just have the production credit, you will lose out on alot of money because all the publishing rights will go to the artist , ie the person who wrote the lyric or melody. |
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