another copyright question..

[avillaronga]

Quote:I totally got you Antonio, and my intention is to be agreeing with you, and elaborating on why the term WORK-FOR-HIRE sucks. Sometimes it's just so damn tough (for me) to write on a forum without the vibe being misconstrued. Sorry about that, pal.I am indeed laughing. I know you were saying the same thing... I was re-agreeing Someone needs to come up with "tone of voice" markings for this type of communication (emoticons are not enough sometimes...) (See, I'm laughing too...)

[telaak]

sorry if I caused any problems with this thread..definitely not my intention..anyway..been realy busy w/my day job {chef for hire/caterer}..tis the season I start tracking drums tonight and everyone on this project is cool about working for spec..I haven't had time to get the percentages right for the releases..I have a drummer, producer/engineer, female background singer and my contribution will be producer/coproducer, guitar/bass/vocals/keys..if anyone wants to break that down with their expertise i'd love to hear it..we're all non union and the producer/engineer is also donating his studio time..on a side note...I learned quite a bit from the arguing..so if this meltsdown again it'll still help thanks..john

[matto]

Quote:I start tracking drums tonight and everyone on this project is cool about working for spec..I haven't had time to get the percentages right for the releases..I have a drummer, producer/engineer, female background singer and my contribution will be producer/coproducer, guitar/bass/vocals/keys..if anyone wants to break that down with their expertise i'd love to hear it..we're all non union and the producer/engineer is also donating his studio time..Hey John,you're really the only one who knows exactly what each contributor is doing on a song by song basis so you're the only one who can come up with the percentages. With the information I previously gave you it should be pretty easy to figure out a fair solution.Since you'd also be receiving the sync half of any license fees plus your writer's royalties in case of any broadcasts (to keep for yourself assuming you're the sole writer), you can afford to be generous with the percentages on the master half of the license fees.I think it's also important that it is clear to all of the contributors that IF "something" happens with this music, that something is not likely to make them rich... but that they will receive a fair share of whatever it is that these recordings are making for you.Chef for hire huh? I love the variety of day jobs people have on this forum! Best of luck, in the studio and at the stove !matto

[mazz]

Quote:[quote author=telaak board=general thread=1196594805 post=1197207880]Since you'd also be receiving the sync half of any license fees plus your writer's royalties in case of any broadcasts (to keep for yourself assuming you're the sole writer), you can afford to be generous with the percentages on the master half of the license fees. Best of luck, in the studio and at the stove !mattoI think that this points out what appears to be commonly misunderstood, which is: the underlying composition is considered a seperate entity from the recorded version of that composition. That's why you hear sound alikes on commercials. It's much easier to get the sync rights to re-arrange and record the song than it is to get the rights to the original recording!So much to learn, thanks for bringing this up!Mazz

[telaak]

you guys rock ! it's NOW completely clear as to how to handle this..and Matto..yeah chef for hire is my day gig..after being a country club chef/fine dining rest. chef {and owning a cafe for 5 years-lost my ass}, I stumbled into pimping myself out for upscale parties and such...that combined with a 5 day a week lunch service that caters to hair salons NOW allows me to spend time on music..tough to do when I was working 80 hours a week as a country club/rest chef...THANKS !john

[telaak]

one more thing..if i'm not using the term "work for hire" what should be said ?..and for the sake of argument if that term is used only on the master license release...it doesn't pertain to the composition or sync license...so it's just a way of saying something..right ?off to work..john

[telaak]

another odd question..my last project was produced/engineered by one person - paid {who i'm getting a release from} and mixed at another studio affiliated with the producer who I also paid..do I need a release from the engineer who mixed it as well ?thanks..john

[vicky]

thanks...I was just about to post a similar contract, and ask about it...ThanksVicky

[Casey H]

telaakCheck your pronouns... e.g. "You"... I think you have it confused somewhere in there... I'm not going to suggest any more specific wording for a contract on a public forum. We may be treading into dangerous waters here where opinions get misconstrued (not necessarily by you) as legal advice or "gospel". Everything here gets read by a lot of people, both as forum members or by Google. And everyone reading doesn't see all the history or disclaimers.That's just me... It's starting to make me nervous. I am very happy that you, one way or another, are getting this taken care of.Best of luck!!! Casey

[telaak]

Quote:telaakCheck your pronouns... e.g. "You"... I think you have it confused somewhere in there... I'm not going to suggest any more specific wording for a contract on a public forum. We may be treading into dangerous waters here where opinions get misconstrued (not necessarily by you) as legal advice or "gospel". Everything here gets read by a lot of people, both as forum members or by Google. And everyone reading doesn't see all the history or disclaimers.That's just me... It's starting to make me nervous. I am very happy that you, one way or another, are getting this taken care of.Best of luck!!! CaseyThanks Casey..I think I fixed it see *MY* on both contracts..I hear you about the legal stuff..i'll go back & type a disclaimer on the release...never thought of it that way...if it still looks wrong someone feel free to edit W/DISCLAIMER..later..john