Single Stop Shop versus Collaboration

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Hookjaw Brown
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Single Stop Shop versus Collaboration

Post by Hookjaw Brown » Sun May 13, 2012 8:19 am

After watching the last Taxi.TV with the new VP, the comments about Music Editors desiring "Single Stop Shops" over multiple writers gave me pause. I find that co-writing if much more fun, quicker and makes for a better Song, lyrically and musically.

I notice that even composers like to collaborate.

Does this mean that to be successful, we will have to imitate Bach and rehash ad nauseam our music, sitting at a workstation?

Secondly, in 2009, I was having a hard time getting metadata to stick, so to speak, to my recordings. It is much easier nowadays, so therefore the Editors want More Of It! Course, when they have a one hour lead time, there is a bit of pressure to produce. :lol: :lol:

Thoughts?
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Re: Single Stop Shop versus Collaboration

Post by mazz » Sun May 13, 2012 8:47 am

I didn't see the show but my thoughts on it are this:

A piece can have multiple writers on it, but the clients don't want to have to contact each writer individually to determine if the piece is available.

If you co-write, you need to sign an agreement that each of you has "power of attorney" to speak for the other. You can agree to give reasonable notice to the other writer that you are pitching the song and, of course, if it's signed exclusively elsewhere then of it's off limits, but you both should know that ahead of time anyway. But if you know that a piece is free and clear and you can't contact the co-writer in time to make the deal, then you have the legal authority to sign the piece on their behalf and according to the terms of the agreement, they have to go along with it.

You should have a co-publishing agreement also related to the pieces you co-write. You can probably roll them into one, although since I'm not an attorney I can't say for sure. I'm sure there's some info out there in all the great books available that could speak to this.

This essentially makes each of you a "one stop shop". Each of you controls 100% of the pieces you co-wrote and can speak for the other if necessary.

My 2c (not legal advice).

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Casey H
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Re: Single Stop Shop versus Collaboration

Post by Casey H » Sun May 13, 2012 8:57 am

One of the good parts about music libraries is they are one stop shops for the end users, regardless of the number of writers. When you and your co-writers enter an agreement with a library, you give them POA to execute licenses on your behalf.

Some libraries will split license fee payments among the writers. Others will only pay one party who agrees to then pay the other writers their share. It's a non-issue for writer's PRO royalties, since that is automatic is the PRO registrations properly list the writers.

And, as always, everything Mazz said about collab agreements, etc is right on the money. :)

:geek: :D Casey

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Re: Single Stop Shop versus Collaboration

Post by sedge » Sun May 13, 2012 9:55 am

yer, I saw that as the same with any product licencing.

If there is more than 1 claim to the creation, makes sense to create a legal company, give it a name ( Hookjaw songs inc ) and all members can communicate, as one, through that.

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Re: Single Stop Shop versus Collaboration

Post by Casey H » Sun May 13, 2012 12:20 pm

Also, my 2 cents but not legal advice.

The overwhelming majority of placements Taxi members (and other composers in most cases) will get will be through music libraries. In THAT scenario, you do not need to over-complicate things by forming a company, etc. You SHOULD, however, sign a collaboration agreement. This covers things like what your agreed upon splits are, who can sign contracts, what happens if one party can't be reached, power of attorney, etc. In fact, you should ALWAYS do this early on even if there is no deal in sight.

If you and co-writers are pitching directly to music supervisors, that MIGHT require more dotting the i's and crossing the t's. However, I don't want to overstep my expertise and say more. I would suggest not rushing into anything (other than a collab agreement) simply because you got a forward to a 'direct to music sup' Taxi listing.

Best,
:) Casey

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Re: Single Stop Shop versus Collaboration

Post by eeoo » Sun May 13, 2012 12:33 pm

Casey, is there a standard collab agreement available anywhere?

eo

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Re: Single Stop Shop versus Collaboration

Post by Casey H » Sun May 13, 2012 12:54 pm

eeoo wrote:Casey, is there a standard collab agreement available anywhere?

eo
There are a number of templates on-line which you can customize. It's important to understand the business side and the issues involved so you are better equipped to tailor a template to your needs.

In the past, links to templates have been posted here on this forum. One is on John Braheny's website www.johnbraheny.com ... I haven't looked at it for a while.

Some things to consider (Not necessarily a complete list):

Ownership split on the composition
Ownership split on the master
Sharing of expenses
Who can sign contracts, licenses, etc.
What if a co-writer can't be reached within a reasonable period of time?
Who has POA to sign agreements (might depend on contrac type) and under what circumstances?

Again, not legal advice. ;)

Casey

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Re: Single Stop Shop versus Collaboration

Post by eeoo » Sun May 13, 2012 1:46 pm

Thanks Casey!

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Re: Single Stop Shop versus Collaboration

Post by Hookjaw Brown » Sun May 13, 2012 3:35 pm

Great advice. Similar to making sure the "work for hire" agreements are done also. The POA for pitching songs simplifies things.

Thanks
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Re: Single Stop Shop versus Collaboration

Post by pgboynton » Mon Jun 21, 2021 5:34 am

Casey -
You have posted information on a number of topics I've searched for here recently on the forums. Very helpful! Thanks in advance for any further input you may have on this question:
In the 80s and 90s I wrote a few songs that were recorded with vocals by colleagues in the Broadway community. These performers later went on to great careers in musical theater and are now Tony Award winners. One is also a prominent TV star and 'personality'.
TAXI screeners have suggested these songs would be good for TV/Film submissions looking for vintage 80s-90s songs - there's a submission request right now that I'm considering. Having the copyright and owning or controlling the master are required.
Of further note, the two arranger/producers of these demos back in the day have gone on to have very successful careers working with the likes of Madonna, Suzanne Vega, Christina Aguilera, Michael McDonald, etc.
I'd like to find a resource that suggests what the industry standard is for offering a percentage of any possible income from the placements for both the arranger/producers and the vocalists. Everyone got paid back when they were recorded decades ago, but there was no WFH agreement or talk of who 'owned' the master. I'm more interested in getting something placed (!) than in the income that could be generated, and would be happy to share potential monies. Financially, ethically and legally I want to acknowledge their contribution. especially as they are friends.
There must be a resource that explains the ins and outs of this and suggests sharing percentages and written agreements. Jason Blume's book on the biz of songwriting has given me a start, but no specific resources.
Thanks for any help folks may have had through their own experience with this.
-Peter

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