Question on contract

[staceydee]

Hi!I'm new to the forum so, hope I'm doing this "right!"Anyway - I'm looking for some specific input on a company that just offered me a deal.Has anyone else either signed with or have info regarding [company name removed]???I did talk to someone in the Taxi office and they said they do a lot of business with them and that they are legit. I'm concerned because they want a rather hefty portion of publishing/copyright. BUT, if they can get me some placements and generate income, well - as they say - a small % of something is better than all of nothing!There is also no reversion clause with concerns me as well.So basically, if I sign the deal, they will own most of these 2 songs for life!Any input would be greatly appreciated!thankss

[scottyrock]

stacyI had the same problem with them awhile back. I declined to sign over the rights to my songs. no other library I've worked with has ever even asked me. other companies are mostly non-exclusive deals which means you license them to exploit your songs and they usually keep half/you get half but you can also pursue other ways to use the same song. fair enough. the company you named is definitely legit so you'll have to see if it's worth it for you, just remember if you sign over the rights to a song they may never get a placement for you but you cannot pitch that song to anyone else. something to think aboutscott

[hummingbird]

I think it likely they operate this way to avoid any hassle with future licencing. It would be hard to keep track of reversion times if you have any number of composers. The question is whether it's better to sign two pieces of music with an active company with good credits... and write more to pitch elsewhere, or hang on to those 2 pieces of music in the hopes that they will eventually get signed elsewhere...

[crs7string]

There are different thoughts on the subject of exclusive vs. non-exclusive.I prefer to work with libraries that have high standards, good relationships, and I'm fine with an exclusive deal. Why would they want to "tie up" your music if they don't think they can pitch it and make money for both you and them?The libraries are not our enemy. They are our business partners. I think if you put yourself in their position as a business owner, and think about the things they need to do to get our music heard it gives one a different perspective. I consider what they do to be the "heavy lifting" of developing relationships and selling their (our) tracks. That seems to be a lot harder than writing a track. ChuckBTW I'm in the process of signing a track to this library (I saw your post before the edit)

[staceydee]

Thank you ALL for your thoughts - very helpful!I REALLY appreciate it.swww.staceydee.com

[matto]

Hi Stacey and welcome to the boards.There is nothing wrong with this deal, exclusive deals are very common in the production music world. It's just a different business model with its own set of advantages and disadvantages, for both the artist and library owner.What you really have to decide is whether this deal is the right deal for YOU.Artists or songwriters whose main goal it is to get a record or distribution deal, or have their songs recorded by other artists, will naturally be more reluctant to sign an exclusive deal which may/will (important to study the fine print there...) prevent them from pursuing those goals with the songs in question. This is particularly true if you have a comparatively small catalog (one or two albums' worth) and are not a particularly prolific writer, and/or if you perceive the songs in question to be among your best.If you have few songs, each one will be more "precious" to you and what you do with each one will be more "important" cause you have a very limited amount of "supply" so to speak.(Contrast this against someone like Chuck who has a large catalog and continues to grow it quite rapidly and who will therefore find it much easier to "take a chance" on one of his songs.)On the other hand, you have to balance the above against the fact that 1-it is enormously difficult to get a label or distro deal, or get a song cut by another artist, and therefore a serious longshot, and 2-getting one or several nice tv or movie placements will not only generate some income for you, but it will also provide you with (a) legitimate credit(s) which will elevate you from the status of "wannabe" to the status of someone who is actually making money from their music (assuming you are not already making money some other way).That is a significant step which could definitely open more doors for you and have people take you more seriously.Only you can weigh these factors and decide if you want to go ahead and sign this deal, or if you want to hold out for a deal that allows you to keep, or reclaim (reversion), the rights to the songs in question.I always say the most artist friendly deal is not necessarily the one that looks best on paper, but the one that actually ends up making the artist money and generating credits. Sometimes this involves taking a calculated risk and "sacrificing" a song or two knowing nothing may happen with them. It's a tough decision.Many years ago when I signed my first library deal I was offered a deal for 5 songs. 4 of them were song I didn't think had a chance to get cut due to various consideration, including stylistic ones. The 5th I thought was a hit (and had feedback from a number of people other than my mom to that effect) so I did not want to sign it to this exclusive deal but hold it back and keep pitching it to have it cut. So I signed the four but not the fifth one... and it is now the only one of the 5 that has never made me any money... Yet, I don't feel bad about not signing it and don't consider it a mistake, because at that point I had to do what I was comfortable with, based on the knowledge and career direction I had at the time.I hope this gives you some perspective.matto

[mfowler]

Matto... that was very informative, thanks for posting it... Marlin

[Casey H]

Once again, why this is the best music forum on the planet. And Chuck, you are so right about libraries not being "the enemy". There are advantages and disadvantages to each library and contract which must be carefully weighed, but the overwhelming majority are not out there trying to screw us as artists and composers. (Stacey didn't imply that at all --- that's my own emphasis after reading around the internet)... Good luck, Stacey! Casey

[staceydee]

Matto - great info! Thank you!My lawyer is actually working with them now to see if we can get a little better numbers from them. I appreciate all your input (everyone) - thanks for welcoming me to the Forum!What a great community of people!thankss

[mojobone]

Seriously brilliant post, Matto, and I'd like to hear that song that never made money, sometime.