OPTION 2 – Forget the music you`re not safe, write new songs and work with them. And then I have another dilemma… I acquired exclusive rights to an instrument by e-mail through an agreement, not necessarily a formal contract. He sent me the rods agree that I had 100% publishing rights that I told him it was binding after paying for the beat, which I did. But the problem is that this Seoul-based producer sold the exclusive rights to another person after selling them to me. Can I complain if he is noble? It happened over a year ago because I didn`t know what else to do. I recorded all the conversations as proof of everything I said here. Or is it a lost thing? Lesson learned… Before starting work on a registration, the manufacturer should attempt to enter into a producer agreement. This contract offers the only real protection if the record label decides to change the producers halfway through a project, revise your demos or simply not pay you. In this case, you need written evidence for the consent of the parties. A contract with your music producer is an important part of the recording process.
Music production contracts protect all participants in the recording by explicitly describing their obligations, rights and allowances. This clause relates to the obligation of the production company to be accountable to the artist. This agreement is intended to create and deliver accounts twice a year, which is customary, but it is worth trying to take into account the label every quarter, as this could support cash flow. Producers are paid by a combination of fees, advances and royalties and usually charge one sentence per “master” recording (usually a song on an album), depending on the status of the producer and artist concerned. It is important to note that an artist or producer who is evolving in his or her creative professional career may enter into other contracts with record labels, publishers and other artists. Some of these agreements may require certain assurances and guarantees from the artist regarding their rights to music and the ownership of the relevant intellectual property. This means that the artist or producer must have agreements with anyone who has contributed to the creation of the musical work so that one knows (from a legal point of view) who owns the copyright to the masters and/or compositions, and in order for them to make promises as in the case of recording contracts, production agreements almost always try to prevent the artist from recording a recorded song for the duration of an exclusive agreement for a period after the end of the agreement. The reason for this restriction is obvious, as it could be very damaging commercially to the record company if an artist is free to duplicate all his representations on recordings while he has made recordings to the production company with another record company depending on the duration of the agreement. However, the artist should try to limit the effect of the restriction to recordings published during the lifetime or within a short period of time.
Under the production agreement, admission fees are generally subject to the recovery of artists` licences (as would be the case in a traditional recording contract), only licence fees tend to be lower than those of a recording agreement. The production company usually shares the 50:50 net profit with the artist. For example, if a major record label pays a 20 per cent royalty to the production company, it entitles companies and artists to a 10 per cent royalty. On the other hand, under a standard admission agreement, the 20 per cent artist`s licence could result in a 4 per cent reduction in production licence fees, so that the artist has a 16 per cent more respectable.