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Wendelstein GmbH | Sample Artist Producer Agreement
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Sample Artist Producer Agreement

Sample Artist Producer Agreement

It is usually the label that finances the pre-admission fees, with the producer transferring to the label a written transfer of ownership of the sound recording copyrights. For reasons of clarity (and expected label gain!), the artist is also invited in his record contract to do the same. When an artist is under contract with a production company, the duration of the contract can be measured by the time or delivery of a minimum number of recordings or both (for example. B a five-album contract that lasts no more than eight years). The production company is not obliged to publish the five albums. Normally, they commit to an album, with the option to continue the deal, based on the success of a previous release. The manufacturer should also attempt to include what is known as “side protection A” in a producer agreement. This means that if the producer contributed to page A, but another producer is responsible for the cuts or “B” mixes on a single or EP, the producer of pages A will not suffer a reduction in his royalties. This in turn depends on the bargaining power of the producers concerned and the willingness of the Part B producer to waive its royalties. Similarly, the producer`s royalty should not be reduced if the label has used additional producers to mix the disc. The costs of mixing and mastering, if carried out separately at the request of the label, should be borne by the label. 2. RECORDING SESSIONS The recording sessions of the Masters shall be carried out by the Producer under this Agreement at times and places which shall be fixed between them by the artist and the producer.

The recording sessions of the Master are carried out by the artist at the expense and expense of the artist. The artist bears all the registration fees (fees) of the master included at the deadline. Once completed, the producer will provide the artist with a copy of two-way distorted tape, CDR or digital audio tape (DAT) that will be commercially satisfactory for the artist to use on a disc (Record). Each master embodies the representation of a single musical composition by the artist, named by the artist, and is subject to the final approval of the producer in The Artist`s Selection, to technical satisfaction for the manufacture, outreach and sale of phono records. 3. INDEMNIFICATION (a) In consideration for the services provided by the Producer under this Agreement, the Artist agrees to pay the Producer at least one thousand dollars (USD 1000.00) per song or track, which will be created, produced and recorded by the Producer in accordance with this Agreement, half of which is five hundred dollars (500.00) prior to the performance of this Agreement and the remaining five hundred dollars (500.00) on the date of the total amount payable. before the execution of this agreement, regardless of the method chosen by the artist. (b) In addition to that referred to in paragraph 3a. the manufacturer also receives an amount equal to 3% (3%) of the recommended retail selling price (SRLP) of a data set embodying the master(s) divided by a fraction whose counter is the number of masters produced by the producer appearing on a dataset with the Masters and whose denominator is the sum of the number of licensed masters; that appear on the recording.

(c) Notwithstanding the foregoing, the producer`s royalties to be paid under this Agreement are calculated in the same way that the artist`s royalties are calculated in accordance with the artist`s recording agreement (recording contract) with the record artist (Record Artist) with respect to the masters listed below and published by The Record Artist. . . .

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