WFH from music 'warehouses'... still need?

[funsongs]

It was cool, IMHO, that airgigs.com was involved with this year's Virtual Road Rally 2021.
Since I've hired musicians using that service, the question has come up about obtaining WFH/release documents
FROM THE INDIVIDUAL who played on a particular cue or song (in my case, toplining for, or collaborating with, a TAXI member).
Some of those hired have stated "...no WFH is needed, as airgigs is a WFH platform."

How does this work?
Will the end users/TAXI's clients - accept that in lieu of signed releases from every person who played on the project?

Also - the same question has come up when hiring a full demo or master studio band (i.e. BMG, A Writer's Paradise, Nashville Demos, etc.)

[irthlingz]

"While we cannot offer legal advice, many AirGigs buyers who plan to release their tracks commercially require "work for hire" contracts from the musicians they work with. You can contact any musician on the platform before ordering, provide project details, explain your requirements and upload your contract."

https://help.airgigs.com/help/do-i-have ... -royalties

[funsongs]

"While we cannot offer legal advice, many AirGigs buyers who plan to release their tracks commercially require "work for hire" contracts from the musicians they work with. You can contact any musician on the platform before ordering, provide project details, explain your requirements and upload your contract."

https://help.airgigs.com/help/do-i-have ... -royalties

Thanks for that.

[hummingbird]

You must have the paperwork that shows you own the Master.

I am not a lawyer, but anyone who tells you you don't need a signed WFH when you have hired them to work for hire doesn't understand the film/tv part of this industry imho.

Anyone who worked on the Master could potentially claim part of it, without a signed WFH. That means the individual musician (not the warehouse) signs an agreement that states their work belongs to you because you gave them something for it and they have no claim to their part of the composition or the master recording.

[Casey H]

Always get a signed WFH from the musician themselves, not just the studio, AirGigs, etc. Do it right and you'll never have any problems.

Casey

[AlanHall]

Always get a signed WFH from the musician themselves, not just the studio, AirGigs, etc. Do it right and you'll never have any problems.

Casey

The blurb directly from Airgigs is pretty telling (emphasis mine)

"While we cannot offer legal advice, many AirGigs buyers who plan to release their tracks commercially require "work for hire" contracts from the musicians they work with. You can contact any musician on the platform before ordering, provide project details, explain your requirements and upload your contract."

https://help.airgigs.com/help/do-i-have ... -royalties

When I get around to using WFH (and from the youtube videos I've seen, it's a great way to flesh out a composition) I'll definitely have a signed contract in hand before ever paying for or receiving a performance. Seems like a simple enough idea

[Casey H]

Just today, for the first time I worked with a co-writer who hired a vocalist through AirGigs. There is no problem sending your WFH form directly to the performer for their signature via AirGigs. AirGigs doesn't even get involved, they just provide the means for you to contact the vocalist.

[AlanHall]

Just today, for the first time I worked with a co-writer who hired a vocalist through AirGigs. There is no problem sending your WFH form directly to the performer for their signature via AirGigs. AirGigs doesn't even get involved, they just provide the means for you to contact the vocalist.

Thanks for the info! +1

[DBarnett]

It sounds like the first order of business is to get the paperwork done, then go forward with the fun stuff
Good info, thank you

[AlanHall]

It sounds like the first order of business is to get the paperwork done, then go forward with the fun stuff
Good info, thank you

I just read last night about a similar system between composers and libraries (at this point, I have no first-hand knowledge of libraries!) where the first contract signed is a clearance document that establishes the business relationship - that the client (library) will accept submissions from the composer, and will offer certain recompense. We must be as diligent when (as clients) we approach a potential vendor (the WFH musician). Yes; without that, don't proceed with work or payment.