Hmm. I always though Work-For-Hire is the other way around esp for Producer's. I've been Songwriter/Record Producer for the past 14 years as I have my own Record Producer contracts with both *Work-For-Hire* and *Controlled Composition* clauses. 90% of all Record Producer agreements are Work-For-Hire because Producer's generally don't own the Master Recording as the Artist or Label or Production company generally owns the Master and the Producer is just Compensated for thier work. So in my own Producer/Artist Production Agreements, basically the Work-For-Hire means I don't own the Master's as I transfer the exclusive rights of the Master over to the Artist once the project is finished, how ever, I own the underlying musical composition embodied on the Master's as the contributed Co-Writer known as "Controlled Composition" such as making the beat or writing the Lyrics given that I'm a Record Producer that Co-Writes the Music wearing two hats as the Producer and Songwriter.
There's also a huge difference between a *Beat Maker* and *Producer* since making beats doesn't make you a Producer. Hence why I mentioned that I'm both a Songwriter and a Producer. Basically a Songwriter is a Composer that writes (Music) or (Lyrics). Beat Makers are technically Songwriters as they write and compose the oringal music as the Co-writer. When you register with ASCAP or BMI you are registering as a Songwriter. A Real Producer is some one that works directly with the artist and engineer in the studio overseeing the production and recording of the finish record like the Quincy Jones. That's basically what I do when I'm not making beats as I'm there to provide guidance and give my input through the entire project from start to finish. I'm calling out the shots basically coaching the Artist to rap or sing a certain way etc. When I'm making beats I'm wearing the Songwriters hat writhing and arranging the instrumental composition the(beat). Usually when I'm done with the entire project with Vocals and beat and everything arranged and mixed, I charge an up front fee for the Master's. Sometimes instead of a flat fee, I may charge a recoupable advance for the Master's and ask for "Point's" aka Producer Royalties, a percentage of Artist record royalties from record sales that can be 3% or 20%. No royalties are paid out to the Producer until all of the advances have been recouped by the Artist via record sales. Then I also get my back-end Publishing royalties as the Co-Writer for making the beat as me and the Artist split our share of the song ownership with a Songwriter Split sheet. I generally own 50% for making the beat and the Artist owns 50% for writing The lyrics. *Scott Scott, Timbaland, Dr. DRE, Pharrell Williams, Rodney Jenkins and Bryan-Michael Cox* are Traditional Record Producer's that Co-Writes the music wearing two hats as the Producer and Songwriter just like I do as they are real Producer's Not beat makers. That's why they get both Writing and Production credits for both roles. P-Diddy is a Producer and he doesn't make beats as you see him all the time in the studio calling the shots while the artist is in the booth, while Diddy sits behind the mixing board talking through a Talk back monitor. There are only three types of Music Producer's that exist in the Music Industry such as Record Producer, Executive Producer and Vocal Producer according to the Grammy Producer definition. *PRODUCER=DIRECTOR* *SONGWRITER=BEAT MAKER/LYRICIST*
Bro I just found out about you and watched all of your videos in one day haha. Dope stuff! I have a suggestion for a future video. Could you break down those 2 things: - To you, what the day-to-day of an artist who wants it bad should look like ? - What would you prioritise if you were just starting today ? What would be your step by step to going from 0 to big brand in the game as an artist ? What would be level 1, 2, 3, 4, 5... I'm asking that because there's a lot that goes into this business as I'm discovering it and I feel kinda lost when it comes down to my priorities. I feel like this could help others as well. Thanks for considering! Keep up those vids they really help !
Short Answer: Yes & No it depends on what you contributed, your status in the game, who is negotiating for you, and what upfront financial considerations you are willing to make for long term gains. Long Answer: I just recorded a 6min+ video on this. It will drop on ASL(Ask Sirr Love). Thanks for the question.
Hmm. I always though Work-For-Hire is the other way around esp for Producer's. I've been Songwriter/Record Producer for the past 14 years as I have my own Record Producer contracts with both *Work-For-Hire* and *Controlled Composition* clauses. 90% of all Record Producer agreements are Work-For-Hire because Producer's generally don't own the Master Recording as the Artist or Label or Production company generally owns the Master and the Producer is just Compensated for thier work. So in my own Producer/Artist Production Agreements, basically the Work-For-Hire means I don't own the Master's as I transfer the exclusive rights of the Master over to the Artist once the project is finished, how ever, I own the underlying musical composition embodied on the Master's as the contributed Co-Writer known as "Controlled Composition" such as making the beat or writing the Lyrics given that I'm a Record Producer that Co-Writes the Music wearing two hats as the Producer and Songwriter.
There's also a huge difference between a *Beat Maker* and *Producer* since making beats doesn't make you a Producer. Hence why I mentioned that I'm both a Songwriter and a Producer. Basically a Songwriter is a Composer that writes (Music) or (Lyrics). Beat Makers are technically Songwriters as they write and compose the oringal music as the Co-writer. When you register with ASCAP or BMI you are registering as a Songwriter. A Real Producer is some one that works directly with the artist and engineer in the studio overseeing the production and recording of the finish record like the Quincy Jones. That's basically what I do when I'm not making beats as I'm there to provide guidance and give my input through the entire project from start to finish. I'm calling out the shots basically coaching the Artist to rap or sing a certain way etc. When I'm making beats I'm wearing the Songwriters hat writhing and arranging the instrumental composition the(beat). Usually when I'm done with the entire project with Vocals and beat and everything arranged and mixed, I charge an up front fee for the Master's. Sometimes instead of a flat fee, I may charge a recoupable advance for the Master's and ask for "Point's" aka Producer Royalties, a percentage of Artist record royalties from record sales that can be 3% or 20%. No royalties are paid out to the Producer until all of the advances have been recouped by the Artist via record sales. Then I also get my back-end Publishing royalties as the Co-Writer for making the beat as me and the Artist split our share of the song ownership with a Songwriter Split sheet. I generally own 50% for making the beat and the Artist owns 50% for writing The lyrics. *Scott Scott, Timbaland, Dr. DRE, Pharrell Williams, Rodney Jenkins and Bryan-Michael Cox* are Traditional Record Producer's that Co-Writes the music wearing two hats as the Producer and Songwriter just like I do as they are real Producer's Not beat makers. That's why they get both Writing and Production credits for both roles. P-Diddy is a Producer and he doesn't make beats as you see him all the time in the studio calling the shots while the artist is in the booth, while Diddy sits behind the mixing board talking through a Talk back monitor. There are only three types of Music Producer's that exist in the Music Industry such as Record Producer, Executive Producer and Vocal Producer according to the Grammy Producer definition.
*PRODUCER=DIRECTOR*
*SONGWRITER=BEAT MAKER/LYRICIST*
There are some work for hire agreements where you retain some ownership. I think Scott Storch did a lot of these.
Bro I just found out about you and watched all of your videos in one day haha. Dope stuff! I have a suggestion for a future video. Could you break down those 2 things:
- To you, what the day-to-day of an artist who wants it bad should look like ?
- What would you prioritise if you were just starting today ? What would be your step by step to going from 0 to big brand in the game as an artist ? What would be level 1, 2, 3, 4, 5...
I'm asking that because there's a lot that goes into this business as I'm discovering it and I feel kinda lost when it comes down to my priorities. I feel like this could help others as well.
Thanks for considering! Keep up those vids they really help !
I love this feedback. And these are great suggestions.
Do you have producer agreement templates?
I actually do. We plan to release them on the new subscription site. Join the membership so you can get them when we make them a available.
Generally are engineers entitled to any royalty of sound recording or composition?
Richard Rodriguez yeh if your mike dean. If not , than most likely not. You gotta negotiate that based on your status in the industry
Short Answer: Yes & No it depends on what you contributed, your status in the game, who is negotiating for you, and what upfront financial considerations you are willing to make for long term gains. Long Answer: I just recorded a 6min+ video on this. It will drop on ASL(Ask Sirr Love). Thanks for the question.