This article describes the variables involved and the types of agreement commonly used. Look at the models of the music producer convention below. When more than one part is managed is often called co-administration agreement. The group agreement should include provisions for the distribution of profits and losses. One provision may relate to revenues collected over the life, while each member is a member of the group, and another may relate to the termination of a member or the dissolution of the group. In most cases, a new group has the provision that all profits of the group be distributed equally among all members, with an exclusion for songwriting funds (which each of the respective songwriter members would retain). When an existing group adds new members, the provision may provide that a new member receives a lower percentage than the founding members. Your documentation can be easily managed online, z.B. on a Free Google Docs (recommended) account. Online management of these forms makes it easier for you, if necessary, to share with your co-authors and other members (management, accounting or legal aid, etc.) within your team. It helps you keep your documentation accessible and transparent to you and your team, allowing them to easily manage your future publishing and licensing opportunities. This site is such a great resource for us singers and composers! Thank you very much! One question, if I made a written agreement, could I list my full government name as an employer AND sign? Or can I legally list and sign my solo stage name as an employer? Or maybe the music producer thinks their contribution to composition justifies some of the songwriting credits. If this song contains reasons why the editors receive copyright on and on the composition and/or payment of funds attributable to the composition, we agree that our own shares in copyright and/or compositional funds be reduced proportionately.
If you`re not signed to a publishing house and you`re exploiting your songs yourself and you`re collecting the money they generate, you`re essentially publishing yourself. Even if there is no full group agreement, a band or music group can deal with the question of who owns the name with a form like this: Foreign Subpublishing Agreements: The foreign sub-publication contract is similar to a management contract. The only difference is that the publishing house makes a contract with another publishing house in a foreign country to represent its catalogue in this territory. If z.B. an American publishing house wants a publisher in England to present its catalogue in the United Kingdom, or if a publisher in France wishes to have its catalogue represented in the United States by an American publishing house, the agreement is referred to as a sub-publication agreement. As in the case of the administrative agreement, representation is limited to a fixed term (usually no less than 3 years) and the fees that foreign under-sales withhold for its services are negotiable within certain limits. Some companies allow authors to take over a publisher`s ability and claim a publisher`s share, even if they don`t have a publishing contract, but it`s important to note that this isn`t always the case. However, if you choose this route, you miss your mechanical royalties.
This is due to the fact that only publishers can collect these types of royalties. This term includes things like advance, royalty splitting – and other important aspects of budget thinking about expenses such as administrative fees, legal fees and allowances – all the things that accumulate and disrupt the fact that you receive your paid share.