Producer Agreements - What Music Artists and Producers Need to Know

[@Prod.bylamont]

Thank You soooooo much man I felt like I didn’t know where to start and I want music to be my career I appreciate you taking your time to share this knowledge 🔥🔥🔥

[@theartistguides]

You're welcome. I'm glad the video was helpful for you and I really appreciate your comment

[@tiowe4860]

you are VERY clear and accurate....unfortunately, Producers right now, we are in a state of SHOCK with these younger producers thinking they own everything. Thanks for clarifying.

[@theartistguides]

Thank you. Really appreciate your kind words. I hear what you're saying. I hope the video helps artists and producers have a better understanding of everything before they start working together.

[@ariadarabi]

Oh, I've had this issue in the past. I'm an ex-producer that worked with a vocalist. He really liked what I was working on and asked if he could lend his voice. Of course, I accepted and we worked together. After the song was written, I sent it to him and he happened to release the track without asking if I thought it was ready for the public. I would've said no, but regardless, I wasn't asked. After he released it, I didn't see a single penny from him. It's still up there on Spotify and he's earning commission while my foolish self hasn't seen a cent. I let him have the track. I took this as a lesson and, truth be told, my song is probably the only good song he has lol. I've since made a new artist profile and I will always write everything down from here on out. I will also never send unfinished work to people as I am now aware that they'll just claim it was theirs.

[@theartistguides]

Sorry to hear of your bad experience. If the artist never paid you for the recording, nor got you to sign anything about you assigning your rights, then my guess is you would have had a claim to ownership of the sound recording copyright. In addition, it sounds from what you say, that you might also be entitled to a share of the songwriting (publishing) royalties. Has the song been registered with a PRO?Sometimes, though, I understand why it might not be worth the fight and hassle unless there is lots of money involved. If you've let him have the track then it seems very gracious of you. Best wishes with your music

[@azul4904]

you’re so well spoken and your voice is so soothing. thank you for the much needed advice!

[@theartistguides]

Appreciate your kind comment and I'm pleased the video was useful to you. All the best

[@richreitz5815]

Been confused about this all my life. Best explanation I have ever heard. Thanks so much!

[@theartistguides]

Glad our video helped. We appreciate your kind words, and thanks for your comment

[@prodbymunroe]

A key note is a producer and a beat maker are 2 different things completely. Thats something you should also explain to your listeners

[@ghost-user559]

Not really, but maybe. If they truly just provide percussion, then yes they are a percussionist or “beat maker”. But in reality “beats” is just vernacular now for a musical composition. Usually this includes performances of synths, keyboards/piano, strings, maybe guitar and bass, as well as sampling vocals. At that point it’s just another word for a composer, as the end result is a complete instrumental composition. I’ve never seen any “beat maker” who only provides percussion. Generally when people say “producer” in the modern sense they mean “composer” and generally when they say “beat” it refers to an instrumental composition. The distinction between the original use of the term “producer” is that at one point before digital it meant the person who recorded the song. Now with digital collaboration, the producer is more so the remote composer, and the sound engineer/producer is just a local work for hire person who physically records the vocals.

[@kadongokamumusic]

Thanks for this good message and clarification. I am from Kampala Uganda, there's a radio presenter in Uganda called DJ. Bantam who said exactly what you are saying, I happy that it's the same here

[@theartistguides]

You're welcome. Thank you for taking the time to comment. It's great to hear from you in Uganda! I'm glad the video was useful, and that the information is relevant to how things work in your country. Best wishes

[@MDCB1]

Gratitude

[@theartistguides]

Thank you!

[@phases_of_nora13]

When you say owning the recording are you also talking about if the producer makes the beat usually they give full ownership of that as well?

[@theartistguides]

There is not an exact answer, and there can be all types of arrangements and ownership. However, generally, whoever it is that will be releasing, marketing and selling the sound recording, will need to have control, which usually means the artist having "ownership" or part ownership of the sound recording copyright. It is very standard that the producer would then receive royalties from the artist on any income created from that recording. Hope that helps.

[@Jesus420.69]

I can’t believe you out all this out here for free. Thank you!

[@theartistguides]

Hope it is useful to you. Appreciate your kind comment. All the best

[@perreality]

I’m grateful!!

[@rebelsentertainment8465]

getting knowledge is always awesome....I appreciate the opportunity to learn much about music business

[@theartistguides]

You're welcome. Thanks for your comment

[@jenniejohanssonmusic]

Most helpful video I've watched since I decided to embark on my journey to release music as an independent artist.. Thank you!!!! Hugs from Madrid

[@theartistguides]

Thank you so much @@jenniejohanssonmusic for taking the time to comment and we are so pleased to hear you found the video useful! Really appreciate that!

[@riasure]

Really helpful advice here, thank you! I tend to find a lot of information in text books mostly relates to the USA and so I am especially grateful to find some information which is also applicable to the UK. Thank you once again and look forward to watching more of your videos😄👍🏾

[@theartistguides]

You're welcome. Pleased you found it useful. All the best

[@riasure]

Yes, I really did find it extremely useful, so thank you once again. I would be very interested to see any further content that you have for Producers and songwriters, who are not Artists. As much of music law seems to mostly be geared towards the artists, but producers and songwriters can sometimes feel overlooked and not represented in the same way and Information regarding them protecting their interests, less readily available (well at least in my experience). Best wishes

[@basedbyway2]

I need this same help for the area of type beats vs artist, via yt ofc.

[@RyanAndersonWilliams]

Thank you for sharing this free game in the music law space! I found it very insightful and useful.

[@theartistguides]

You're welcome. Thanks for your comment, it's much appreciated.

[@libraaima]

Thank you for sharing your knowledge 🙏

[@theartistguides]

You're welcome. Hope it was useful

[@SplashWaveTV]

Top tier knowledge for free. Legend

[@theartistguides]

Thanks for your comment and kind words!

[@smdmusicagency]

Brilliant explanation. Thank you

[@theartistguides]

You're welcome!

[@kadongokamumusic]

Indeed

[@mpcjunkie72]

what a great video! Question - I am a dance music producer. I make my tracks at home but my skills stop at mixdown of the song. I do not have the ears or skills to mixdown and master a song (make is sound really punchy). An indie label wants to pick up some tracks but they want 50/50 ownership since they'll pay for mixdown and mastering. I think that is fine (final mixdown product) but I made the track and idea so is it typical for a label to also own 50/50 of the dance track composition/idea? I'm mainly asking what is "standard."

[@theartistguides]

Thanks for your comment. Glad you liked the video. To try and answer your question: it is difficult to quantify what is "standard". There are always so many differences with all types of deals and circumstances. But, when labels pay costs for the creation and making of a recording, they often then ask for ownership of the "master" (i.e. the sound recording) rights. They would not typically have a claim to the song (composition) rights though, as they haven't really "written" the composition. But there may be other reasons for you both agreeing to this, and it is less about what is "standard" and more about whether a deal is beneficial for both parties. Sorry I can't give you an exact answer on your decision, but I hope that helps a little.

[@andsmeist]

my god this was GREAT. THANK U

[@theartistguides]

You're welcome! Glad you liked it, and thanks for your kind comment

[@henrycleinow698]

thanks for the helpful video. But what about Engineers? (Mixing & Mastering), is it usual to just collect a one time fee and move on, or does the enigneer also get some percentage of the royalties?

[@theartistguides]

You're welcome. Thank you for commenting. Usually, engineers, and/or persons doing the mixing and mastering do not receive royalties, and are mostly paid with a one time fee. There can be occassions when a mixer receives royalties, but there needs to be a good reason for this, and it is not a common thing to happen.

[@eliseintheclouds]

Thank you so much for this lesson! I've learned so much in such a short time! Your explanations were succinct and thorough. Felt myself at uni again :)

[@theartistguides]

Thanks for your comment, we really appreciate what you said and are happy to know it was useful to you. All the best with your music

[@kaiengel2884]

What a great video! Thanks for your work, I’m send this over to my artists right now.

[@theartistguides]

Thanks very much. You're welcome. I hope the video is useful to you

[@EDawg_32]

Thank you for this video

[@theartistguides]

You're welcome. Thanks for your comment

[@Theblackman11395]

Thank you for this 🙏

[@theartistguides]

You're welcome. Thanks for your comment

[@ChrisPumphrey-rv9hv]

Great, thank you!!

[@theartistguides]

You're welcome. Thanks for commenting

[@Steve-i5295]

There is also another aspect to all this is that even if a copy right is not registered, it does still exist - you just have to pay the legal bill. So if you write a hit song and somebody steals it, you can still prove to a jury it is yours (such as publishing it online somewhere) and get damages. You can also ruin people's reputation in the process so never steal other people's stuff because you think they are stupid. They may be smarter than you think. Registering something not yours would also be committing perjury on a government document - and the judge likely will not be happy with you. Fraudulent government documents then potentially changes your case from a civil case into a criminal court case. A different judge. Don't mess with people.

[@theartistguides]

Thanks for your comment. You are right that the copyright exists, and you own it, regardless of whether it has been registered. We have done a video on music copyrights if you or anyone else is interested in more detail: kzbin.info/www/bejne/hKi7nHprj72DaNE One thing to add regarding copyright registration is that the US has a copyright register and it is advised to register music copyrights to help make legal battles easier. However, in the UK and many other countries, there is no similar copyright register or regsitration process for music

[@WizeChoice]

🚨New Subscriber Alert! ... Such an amazing video. Gratitude much!!!

[@theartistguides]

Thanks for subscribing, and for your kind comment. Glad you liked the video

[@remycooper9026]

Very well explained! Sharing this with some friends

[@theartistguides]

Thanks for your kind words. Appreciate you commenting and sharing. All the best

[@ThuroTypeMusic]

Great explanation. Can’t wait to share this with my artists

[@theartistguides]

Glad you like it. Hope your artists find it useful

[@daniellareed5081]

Thank you. Very easy to follow, great explanations and performance in the clip. Can you please do band- merch- and musicians agreements (touring) + basic negotiation techniques.

[@theartistguides]

Thanks for your kind comment Daniella. Those are good suggestions. I'll add them to our topics list. Thanks

[@daniellareed5081]

@@theartistguides Thank you. I haven't seen any good clips of these topics and your view on band contra musicians agreements would be very interesting. 🙏

[@parsazehtabian]

Thanks for this helpful video!! I'm a producer and beatmaker, so in most of my projects I am the person who made the beat. Do I get any royalties If someone buys an exclusive/non-exclusive version of my beat?

[@theartistguides]

If someone is "buying" your beats, I would think they are probably assuming that you will not be getting further royalties. But there is no right or wrong answer here, it totally depends on the arrangement you discuss when selling your beats. You just need to be very clear and upfront about what deal you are offering

[@malaysiaw1234]

Thank youuuu

[@theartistguides]

You are welcome. Hope it was useful

[@KainKorso]

This was very helpful. Thank you!

[@theartistguides]

Glad it was helpful! Appreciate you taking the time to comment!

[@KonieGabbidon-uz5jm]

This is wonderful thank you I learned so much from This.

[@theartistguides]

Thanks for your comment. It's good to hear it was useful to you. All the best

[@beemark7707]

Really helpful advice here, thank you!

[@theartistguides]

I'm pleased that it was helpful to you. Thanks for your kind comment.

[@teeshondra5708]

So helpful, thank you! I also would like to hear more about collaboration between artists

[@theartistguides]

You're welcome, thanks for commenting. Thanks also for your suggested topic. We will try and cover this in a future video. All the best

[@amosranking]

Your release was flagged due to the inclusion as a Featured artist on this release. As a result of this flagging, we will need you to please provide a Featured artist agreement ? Can you pls explain why this happen

[@og951]

So there should be a 2 section splits under the contract? one for publishing royalties ( 50/50) and one for mechanical royalties aka points % (80/20)

[@theartistguides]

Mechanical royalties are not "points". "Points" are a percentage share of the master recording sales income only, e.g. label income, streaming, sync, CDs etc. Publishing and Mechanical royalties are only paid to the songwriters. If the producer is not also the songwriter then they get neither of these two royalties. If the producer does happen to be the writer of a song they produce, then the contract should mention the split of the songwriting between artist and producer. In this circumstance, there is no need to mention or specify mechanical royalties because it's part of the songwriting split anyway.

[@og951]

@@theartistguides thank you sir 🙏 I got alot to learn

[@theartistguides]

@@og951 You're welcome. All the best

[@taylorross5227]

thank you for this! Why only 15 to 20 percent for producer if it's a self release ?

[@theartistguides]

You're welcome. The percentages mentioned are very approximate just to provide a guide. The producer's royalty percentage still seems to be based on the amounts that have historically been paid to producers in previous decades of the music industry, when it was mainly labels that hired producers and arranged contracts.

[@jordanmcglotten3499]

Truly excellent video!

[@theartistguides]

Thank you so much for your very kind comment

[@fuegoflow3242]

Thank you! What went to fast for me was the self release scenario 14:51 "Modern way to try to calculate the producer royalty is to base it losely on 3-6% and then calculate it on the Artist income minus a few costs. It does vary to what cost we deducted from the artists income before the producers royalty is payable." Is that a fixed number in the contract? I dont get how that could be a percentage of 15 to 20%... A percentage on the overall money of a song cannot be measured. The song kind of lives forever. Can somebody please explain that to me?

[@theartistguides]

If you have written the song, then the producer wouldn't usually have any royalties (or ownership) relating to the song itself (sometimes called the "publishing royalties"). This means, usually, the producer's royalty ONLY relates to income from the master recording (i.e. the money you get from your distributor). The 20% mentioned is an example of what might be a reasonable percentage to pay the producer from the master income after certain costs have been deducted. This means in reality you would be paying 20% of the "profit" you make from the master recording. It's difficult to simplify this in a short written explanation, but I hope that helps

[@leondenengelsen]

Great explanation, thank you for that. One question though. How can a producer be sure that the net. Royalties will be payed to him/her and how can he/she check this? Since the publishing and master copyrights are, in my case, taken care of by the Swedish national copyrights organisation, isn't it much easier and more safe for me to get a piece of both the publishing and/or the master instead of producer points? Of course in this case I did a substantial part of the songwriting.

[@theartistguides]

Thanks for your kind comment. And, that's a good question. In reality, it is always difficult to know if you have been paid correctly after agreeing to any royalty deal. It is becoming more common for producers to have direct contracts with artists as much as with labels and this can involve you having to watch what happens with the recording after release. It is wise to have in your agreement a right to receive royalty statements and to audit the artist or label if you suspect an underpayment. I understand what you say about it being easier for the producer to be given shared rights to the masters and songs, but this could be unfair to the artist and it comes with other complications for the artist of having shared copyright ownership, so I don't think that is a practical solution unfortunately. I strongly believe that royalty collection and distribution will be modernised by blockchain development in the coming years. Hopefully, sooner rather than later

[@leondenengelsen]

@@theartistguides Thank you so much for your answer.

[@jmdmusicstudios2026]

This video has been AMAZING! Thank you! I have a question: I usually work as a session music but I am due to produce a friend’s single as favour. They won’t be paying me but do you think me asking 30% (originally i wanted 50%) on the sound recording is unreasonable or unfair? I genuinely think it is a good song and once it’s mastered could be potentially great for a sync deal. I haven’t spoken to the artist yet about royalties as we are currently in at the demo stage.

[@theartistguides]

Thanks for your kind words. That's a difficult question to answer exactly for you. There are too many factors that effect the answer. But if you are not charging a fee, then it seems fair you should get higher than average percentage on the sound recording income. I don't know what each of you are contributing, or what previous level of success or experience each of you may have compared to the other, or what kind of release the track might have, but your suggested percentage doesn't seem outrageous.

[@jmdmusicstudios2026]

@@theartistguides Thank you! I should have given a bit more context actually. This will be my friend's first release as an artist but she's a very talented vocalist (her and I have been friends for over 15 years) and I'm a smooth jazz saxophonist/artist with my track currently charting on International jazz radio. In terms of work in the industry I do studio session work and live events and after graduating music uni 5 years ago I am now trying my luck as a producer/composer too. :) In regards to my friend's single; she wrote the song but I will be the arranger and will play half the instruments on the song with other session musicians on the track that I will help source.

[@YariBeatsMedia]

nut out the details & put it into good practice.

[@theartistguides]

Thanks for your comment

[@kiragoldmusic]

Thanks so much for this video. But I have a question, if I purchase just a beat from producer and then do the recording by my self since I have equipment. Do I own the master record ( song recording))??

[@theartistguides]

There is no single answer to this. It depends on the arrangement between you and the producer you purchased the beat from. Generally though, unless the producer has specifically assigned the beat to you, or offered it on a free license, I would assume that they still have the (sound recording copyright) master rights to their beat. With regards to the song rights, unless you have discussed otherwise I would assume the producer has no rights to your "song" publishing.

[@tordfjermestad2538]

I didn't fully understand the difference between the 3-6% and 15-20% (old vs new, label vs self-released?). Does the producer get more points nowadays?

[@theartistguides]

No, the amount a producer gets should be approximately the same in both scenarios. Let's assume it's agreed the producer will be paid one-fifth (1/5) of the money an artist makes from the recording. All the percentage scenarios are then just different ways to express this because it depends on who is collecting the money in and deducting the costs. Therefore, this would equate to about 3%-6% if the artist is signed to a major label deal. However, If the artist is self-releasing then it equates to about 15%-20%. Hope that helps

[@Ericisyourmuse]

what if I compose and writing a guitar riff part for an indie artist, and that part become the main part for the song. can I claim as part of the songwriter?

[@theartistguides]

It's difficult to give a specific answer to your exact contribution, but generally, no, if you have provided a guitar part to somebody else's song, this would not entitle you to a share of the songwriting copyright/royalties.

[@danlaw1208]

This is useful advice

[@theartistguides]

Glad to hear that. Thanks for commenting. All the best

[@Chime_Nwachukwu]

Please i have a question, for royalties to be paid to the prod. will this still be the case even where the producer assigns his right for the sound recording to the artist for a fee, will he still get to be laid royalties for the work? Thanks look forward to your reply.

[@theartistguides]

If the artist is paying for the recordings to be produced, then yes, it is usual for the producer to assign the recording rights to the artist and also still receive future royalties from the artist. Hope that answers your question

[@Chime_Nwachukwu]

@@theartistguides okay but i gave a follow up please, on what ground then is he receiving royalties where he has assigned his right to the artist, how would be claim royalties, on what rights? Since he has nothing to do with the ownership of the recording of the songs having assigned to out to the artist for a few

[@theartistguides]

@@Chime_Nwachukwu it is usual in a producer contract to agree a royalty to the producer on future income of the sound recording, and it is the artist's (or label's) responsibility to pay it. It doesn't matter that the producer has assigned the recording rights, they still receive a royalty. The assignment of rights does not affect the entitlement to any royalty that was agreed.

[@Chime_Nwachukwu]

@@theartistguides alright. Thanks for the clarification.

[@Federal_Mad_Mix]

Now, does making the beats, which means writing the melodies counts as songwriting?

[@theartistguides]

I think making beats and writing melodies are considered different things. But either way, sometimes, yes, beats could be considered a contribution to the songwriting. However, this is not a definite answer, and it depends on the context, the level of contribution, how important it is to the development of the song (not just the track production), and can only be decided between yourself and any other co-writers. Everybody has different expectations and assumptions about what contributions count as a share of the "songwriting" splits, so the only way to be certain is to discuss with the other parties involved.

[@Federal_Mad_Mix]

@@theartistguides thanks for breaking this further. I appreciate this a lot . I’ve been on a back and forth with some clients these days about that particular issue. Thanks once again.

[@theartistguides]

@@Federal_Mad_Mix You're welcome. Hope it helps. Good luck with it, and all the best with your music.

[@ghost-user559]

@@Federal_Mad_MixYes, writing the song (melody and percussion) means you get songwriting credit. Generally half. The vocalist/artist gets the other half.

[@rayy1of1]

does w9's come before producer agreements?

[@NickLAnderson]

🙏🏼

[@ChristoforosChristofiMusic]

So, if I understand correctly, ownership of the master can belong to the artist 100% but the producer can get a share otmf the royalties anyway? 🤔

[@theartistguides]

Yes, that's correct. Anyone who owns the copyright to something can agree to pay somebody else, for any reason you are both happy with, a royalty relating to the income from the copyright. This doesn't mean the copyright ownership itself is shared. The artist would still own 100% of the copyright.

[@hotworkmusic]

Very useful info 🤘🏼

[@theartistguides]

We are happy to hear that. Thanks for your comment

[@creativegreatsvisuals]

WHAT IS THE AGREEMENT CALLED IF THE I JUST BUY A BEAT FROM A PRODUCER ? WHAT IS IT CALLED IF THE PRODUCER CO WROTE PART OF A HOOK ON THE SONG ?

[@Camelprint]

Please sir my producer is demanding for 50% publishing right, he specific on mechanical & performance royalties. I wrote the song alone and he made the beat from the beat sample I gave him and also recorded me.. am I suppose to assign him mechanical and performance royalties? Which royalty is his right?

[@theartistguides]

It's difficult to give specific advice, as we don't know your exact circumstance, and cannot provide legal guidance. Generally speaking, an artist would not give a producer a share of the songwriting (publishing rights). However, there are circumstances when this happens, e.g. the producer is contributing significantly to the song, or the producer is connected or highly successful and it is worth giving them a percentage of publishing. But otherwise, no, a producer has no automatic right to a share of publishing. Depending on what you have already agreed, it might be possible you can walk away and find another producer if you are not trusting of the situation you are in.

[@Eight-Bit-Hustler]

You said you gave him “the sample!?” As in a (finished) sample based beat that you made it paid for already!? And also wrote the lyrics (If so) then yeah, dudes tripping… But if you just said you wanted a certain song cleared sampled and composed and left it up to him to make on his own (with his skillset and using the gear I assume he paid for to make it)!? Then that’s pretty straight forward! You you wrote the lyrics he made the beat -50/50- This guy talking isn’t making beats! 😂 he’s an basically an audio engineer In Your case you and the Beatmaker/producer are both considered artists! (it’s totally different than a studio session or having something mixed or mastered) one person’s work isn’t anymore or less important than the others!? Just learn to make your own beats play your instruments and record yourself with your gear in the future! Then you can earn all the money and not have to deal with splits! Since you did it all yourself!? if you played the instruments synths chopped samples sequenced and it yourself or paid for the masters before the session and all he did was record your vocals on top then sure that was all you! if not you you both contributed your time money spent on gear overhead for the studio and provide your own skillsets and should be rewarded equally…

[@kaypeezar]

I record for free with my producer and our agreement is that i take the Publishing and he takes the masters and i take 60% of the royalties and he keeps 40% net because i pay for everything that helps sells the song. Is this agreement fair in our situation?

[@theartistguides]

It's hard to give a solid answer as there are so many different arrangements and variables to consider. However, if you are the writer and are keeping 100% of the publising, this seems correct. If you are the artist releasing the tracks, then it makes little sense that the producer "takes" the masters. I assume you mean the producer ends up owning the masters. I would say whoever is releasing and promoting the tracks should be in control of them. With regards to the splits; if you are not paying any production fee, then it might be acceptable that they receive 40% of the profit made from the master income. Again, I can't provide a spefic yes or no, but on the surface of what you are saying, this split doesn't seem outrageous.

[@samanderson279]

Hi there, this is a great video. We sent you an email to get some help on a producer contract. But maybe it will help the community to post here too. The scenario is this: I have written and recorded a song, including guitars, MIDI Bass, MIDI Drums, lyrics and vocals, backing vocals and I would like to employ my friend as the Producer to take the song to the next level. The intention of the collaboration is for him to bring his full arsenal of skills as an engineer, songwriter and musician. At what point would a co-writing relationship start considering there is a full song written and recorded but he will record and add instruments i.e the Bass Guitar/Programme Drums, Backing Vox, other instruments and potentially rearrange or edit the composition, mix, and provide creative guidance to make the song the best it can be? Who would own the master recordings? Who would own the copyright to the musical composition? Which royalties would the Producer Points be applied to? How do we credit the songwriting involvement, if any? My desire is to own the master's and the song copyright and give him a 20% share on the master recording royalties, and an upfront fee (that we've agreed on). He feels he should have ownership rights on the master recording, get a co-writing credit (I'm open to this) and a % of the musical composition royalties. We both have a good negotiating relationship and know it comes down to what we decide is fair to each other but we can't seem to find clarity on the above. Thanks!

[@theartistguides]

Thanks. Glad you liked the video. This is an impossible question for us to answer with any certainty. There are too many factors involved, and also we cannot give you legal answers regarding how you should split copyrights. From what you have said though, there is no real definite point at which the producer becomes a co-writer. It is always down to the situation. If the producer is simply recording and arranging an existing song, then usually they would not be credited as a co-writer. If you feel that the producer has actually changed the song or significantly changed the composition then maybe you do credit them with a split/share, but you will have to both decide what you think is fair percentage of the songwriting (publishing income) to share. With regards to the master (recording) rights, it is usually the artist who has ownership and control, because they are the ones who will release and promote it etc. and it is usual that the producer gets royalty on the master income. The 20% you suggested seems reasonable considering you are paying an up front fee as well.

[@samanderson279]

@@theartistguides Thanks so much for taking the time to respond, albeit a complex scenario!

[@joshualynchjl]

❤

[@theartistguides]

Thank you

[@earthtonhom1626]

Where can we find free templates to use as a reference?

[@theartistguides]

This can be a challenge. Generally, you want a template that is written in your own country. But by reading a few variations of different templates it will give you an idea of what is covered. There are lots online though that can get you started. If a producer and an artist are just starting out then writing up your own agreement in simple (non-legal) language that you both clearly understand and just covering some of the key points I have mentioned will be way better than having no agreement at all. The main thing is you both have a conversation and both understand what you are agreeing to.

[@Walkwithlauncher]

Hey I recently purchased beat from a producer in my music labels name. I had no plans to give the producer publishing or any royalties, since he been on my neck for a fee to purchase the beat so I can own it myself. Now he asking for 50%publishing ??? Can I tell him no and keep 100% for my label and artist on the beat. 🙏 thankyou

[@theartistguides]

I don't have enough information to answer this for you. And also, I couldn't advise you on a legal decision. But, when purchasing beats, there can be various scenarios regarding whether you own the recording copyright exclusively (so nobody else uses the same beat) and whether you additionally pay any royalties on the recording copyright income (e.g. the income from distribution/streaming). There may also be a scenario where the producer asks for a share of the songwriting (publishing income). There is no one single correct answer to your question. It all depends on what you agreed at the time of purchasing the beats in the first place.

[@ghost-user559]

The standard right now in the independent scene, as reflected by the Beatstars standard Exclusive contract is that the Beatmaker/Producer is given 50% of the publishing, as it is they who composed half the song (the percussion and melody). They are not given a Masters split in the standard arrangement although some do negotiate for this.

[@earthtonhom1626]

Are you saying bpd or ppd?

[@theartistguides]

PPD, “published price to dealer”. It's a European description. In the US they have something similar called SRLP. These are basically agreed prices a recording is being sold for, and upon which the artist's royalty from the label will be calculated. The producer's royalty (points) is a small share of the artist's royalty.

[@BeatsByRaphs]

🔥

[@moneicorobinson3818]

Do you have examples to sell? Thanks!

[@theartistguides]

Hi Moneico, no, sorry we don't. Most of the Agreements we have are drafted by lawyers, so we can't really sell them to other people. However, you should be able to find free template examples online that are usable. Use one that has been written in your country. We do provide coaching sessions online if you want help on this or any other help in general. Visit theartistguides.net/coaching for info and booking

[@beemark7707]

I have a question... I am a rapper and I am looking for templates or examples for music production and distribution contracts to improve my knowledge of the clauses in them and so that I can draft the contract myself. Can you help me with that and send me templates or examples for these contracts if you have them or make a video to explain them so that everyone can benefit... Thank you very much 🥰🙏

[@theartistguides]

Unfortunately, this is something that we cannot do for you for a variety of reasons, even though we wish we could help you. You can find some examples of contracts online by searching. What you can find online tends to vary in how they phrase things and what they concentrate on, but by researching a few examples I find that it gives a pretty good idea of what you could include in your own version. Sorry we can't solve this problem for you. Good luck with it

[@MennaBusiness-w9t]

If I'm an artist who records his own voice and composes the song but mix & master my song using AI, will this have copyright issues?

[@theartistguides]

It is likely that you will not have copyright issues for mixing and mastering, but you must check the users agreement for the AI you use. There are some AI music software that do claim a share of what you create.

[@MennaBusiness-w9t]

@@theartistguides Thanks for your reply 🥰

[@FriedrichGaulke]

hi! i'm in a situation in which my producer produced the track, recorded my vocals and mixed the song. he's asking for 50% of the master rights as well as 80% of the composition rights (lyrics are remain fully mine, so 40% of copyright). is that standard? in which case would it be and in which case wouldn't it be? thank you for your opinion

[@FriedrichGaulke]

maybe as an addition: we're both still newcomers, but i am the main artist. I handle the contact to labels, the preparation of the release, social media content, as well as a large financial share for promotion.

[@theartistguides]

@@FriedrichGaulke It's always difficult to provide advice on questions like this. Every situation is different. I would say that no, the scenario you have listed is not "standard" and does seem expensive. Unless the producer contributes to the writing (e.g. chords, lyrics, structure, creating beats, significant creative arrangement etc.) then no they wouldn't usually get any of the songwriting copyright, or song royalties. Also, 50% of the master royalties seems quite high as well. Having said all of this, there are deals where it is worthwhile for artists to pay more to the producer or share song copyright if the result is vital to your success. Some producers might be worth it. The numbers you outlined seem costly, but there is no one deal that sets a standard. Deals can be anything that two people feel happy to agree on. Sorry I can't be more specific, but I hope that helps.

[@HandlemeZee]

Okay as an artist that’s a scam lol 😂

[@Hazrulhaziiq]

What if i pay for recording and mv but im not a writer?

[@theartistguides]

There is no clear answer to what you have asked. There are too many possible scenarios. If you wish to give more information, then I will try and help you with an answer

[@MBSalone]

Hey just because a producer is working with a artist doesn't mean they are recording them too, just putting that out there, there may be an engineer and the engineer may help with the song too, i know i do as a producer and engineer

[@theartistguides]

Thanks for your comment. We have situations similar to what you have mentioned with the producer/songwriters we manage. If the producer is not recording the artist, and is only a co-writer on a song, then we don't need the type of producer agreement we discuss in this video.

[@HallieTheBaddie]

Hi I love how you broke down these terms and situations. Can I please email you? I have two scenarios where I would really know how the producer and artist agreement should go moving forward so everyone can get the credits and splits they deserve. I would love to hear your opinion about my situation and what I can do .