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This episode of the series is aimed at producers in this situation, as well as independent artists and small labels. As discussed in the previous issue on “Sync” licenses, copyright protects “musical works,” including songs and all accompanying words, as well as orchestral works, librettos and other musical compositions. But copyright also protects “sound recordings,” i.e. recordings of musical compositions. A beat is usually both a sound recording and a musical composition, because the recording of a beat contains a musical work distinctly protected by copyright. “There are people in the industry who refuse all kinds of orders,” says Kattwinkel. “A lot of people don`t believe in them and are afraid. The problem is that if your registration is very successful, these people can get out of the log and pretend to be co-authors – and therefore co-owners of the work – regardless of what they actually helped to do, and claim some of the income. So if you can`t get your employees to sign a WFH agreement, you have to at least get something that says they`re not co-authors and they`re not going to track some of the revenue that comes with it.

If you don`t have one, it can cause real problems if you have legal action. Hello Steve, I would like to know if and (if so) as I can ask to keep the credit in a job for the lease. z.B. produced by manufacturer x It is also possible to rent exclusively for a label, so that if a major label registers/markets the line in the future, compensations can be renegotiated. I would use this as a plan b in case the song explodes and I have already transferred all the rights for a relatively meager fee. Thank you Even though working for leases is the norm, it is important to consult a copyright lawyer to help you understand, design and/or negotiate the language in the contract that protects your rights now and in the future. Morris Music Law lawyers are proud to stay abreast of all current developments in the copyright and music industry to ensure that our clients always receive up-to-date legal advice about their rental work. In the studio, it is ultimately a producer who is responsible for the final tone of a recording. Often, however, an artist buys a beat or licenses it and completes the production himself or with another producer. Once you hear the words “work for lease,” you might think that these legal documents do not apply to a serious artist like you.

But on the contrary, a lease job can protect you if you`re working on a song, performing in a place or hiring a fellow musician to work with you. The main obstacles to fame are all legal problems along the way, and understanding how a lease work may contain some of these problems. Our friends at Digital Music News stressed that it is essential that producers be particularly aware of the restrictions on a lease. As a producer, it is in your best interest to retain certain rights to creative work to build your portfolio. You must ask yourself whether it is worth giving up the creative rights or copyrights of a finished play.