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Questions regarding freelance vocalists (pg. 3)
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| EddieZilker |
| quote: | Originally posted by 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. |
Consider the value of what's being provided. With the exception of hook monsters, like Sandstorm, instrumental tracks don't do very well. Vocals in tracks, however, almost always kill. They don't even have to make sense. If they're on pitch, in key, on time, and pretty the tune has a dramatically increased chance of success.
If young Sally the IHOP waitron comes into my studio and sings her little lungs out for a tune she plinked out using one finger on the piano and the tune rocks - even though I provided the talent writing around Sally's childish eight-bar melody (which she could barely hold pitch to while she played the piano), Sally gets some credit and therefore royalties. She put out the idea in the first place and without Sally, I'm just another stupid producer putting up tracks that do, at best, one tenth the volume Sally's will do. |
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| Mad for Brad |
| just make sure it is all on paper because a little input can turn in to , I wrote the track. And in court, production doesn't count when it comes to who wrote what. 50/50 is still extremely unfair for the producer/writer. I still think a 50/50 cut insane. |
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| TranceLover007 |
| quote: | Originally posted by Mad for Brad
just make sure it is all on paper because a little input can turn in to , I wrote the track. And in court, production doesn't count when it comes to who wrote what... |
...... or where this idea come from.
Check this article about "Man At Work" who just lost there lawsuit just because of the flute close resemblance to 1935 Ms. Sinclair's tune.
Lawsuit
Cheers |
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| Mad for Brad |
| i remember that lawsuit, What a load of . |
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| Richard Butler |
I've been flamed on forums for wanting to be commercial (apart from the odd experimental 3am dance track).
I'm working with two local singers - and after reading this thread I'll be writing the lyrics and melodies (at least as far as the contract between us reads). |
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| Rodri Santos |
if someone wants to sue you can. There are 7 keys + sharps and flats , specially now that the melodys are so simple sooner or later someone will write the same melody unintentionally.
And how the hell you can't be inspired of others work? So if someone started using a 4 kick loop on EDM now everyone is plagiarizing?
It's good to have some legal safety but if you have to copyright every single part of your track you will go bankrupt before finishing it. |
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| Mad for Brad |
| quote: | Originally posted by Rodri Santos
And how the hell you can't be inspired of others work? So if someone started using a 4 kick loop on EDM now everyone is plagiarizing?
I. |
ALmost every copyright law based on what was decided at the Berne conference does not consider rhythm an element you can copyright unless you are using the actual recording which then of course has the engineering copyright.
Honestly, most in the underground EDM scene are not making enough money to even hire a lawyer for legal advice, I doubt anyone is going to sue even if the most perverse breech in copyright were to occur. |
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| cryophonik |
| quote: | Originally posted by Mad for Brad
Honestly, most in the underground EDM scene are not making enough money to even hire a lawyer for legal advice, I doubt anyone is going to sue even if the most perverse breech in copyright were to occur. |
Bingo. |
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| zodiac9 |
Would this happen to be Avonlea Montague we are talking about? If so, she is quite talented. I remixed one of her tracks.
I have no idea what demand there is for hiring vocalists, especially these days when there's no money in EDM. I suppose there is a demand, regardless, always some producer/DJ somewhere trying to make a name for themselves. She should charge a flat fee for recording vocals. Any lyrics or melodies she comes up with, should be sold with full rights to the buyer. If the producer can't afford that, then she could retain rights. Profit sharing from music sales is a losing game these days, she shouldn't waste her time with that.
$125-$300 sounds fair to me for vocals. I'm guessing that's around $30 an hour. Song writing is extra, have no idea what to charge for that. It can't be too much, because no one could afford it.
For what it's worth, if she needs collaborators, add my name to the list. I'm open to almost any genre. |
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| cryophonik |
| quote: | Originally posted by zodiac9
Would this happen to be Avonlea Montague we are talking about? If so, she is quite talented.
For what it's worth, if she needs collaborators, add my name to the list. I'm open to almost any genre. |
No, it's not Avonlea. I'm not working with her anymore, but if you want to collab with her, you can try contacting her through her myspace. |
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| Mad for Brad |
| quote: | Originally posted by zodiac9
$125-$300 sounds fair to me for vocals. I'm guessing that's around $30 an hour. |
if you intend to hire a professional , it is 100 minimum an hour , not a job. |
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| Rodri Santos |
For me more than 30$/hour feels to much, the producer will invest 20 hours on a track possibly and won't get 6000$ back , in my opinion if you've to pay for a vocalist you are losing money but you can trick someone, 30$ if she works for 2 hour recording 2 hour writing looks affordable i think but in my case i wouldn't pay for a vocalist.
30$ it's fine, if she works 8 hours a day like most of humans is earning 240$/day working 20 days a month is 4800$, good job. |
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