CONTRACTS

Each project is different and has different needs and the time needed to complete them can vary. Together, we will complete a project overview, address challenges and potential hurdles as well as resources needed, workflow execution, communication methods, establish deadlines, and agree upon a quote and any additional fees to be paid in the event the project goes outside of the initial scope as well as cancellation fees. Thereafter, I will draw up a contract detailing all of the above.

No work will begin until the contract is signed and returned to me.

DELIVErABLES

You will receive a final mixdown of each commissioned music track in various formats - high quality MP3, WAV, FLAC & AAC. If stems are requested (no additional cost) they too will come in the various formats listed previously.

If the music was composed specifically to picture, you will also receive a high-res reference video clip (no additional charge) with the music track synced-to-picture. This will provides the editor a reference to where to lay the music into movie via his /her editing software. Formats will be QuickTime and an MP4.

PAYMENT

Once the quote is agreed upon, I am to receive half up front and half at the end. In cases where the quote is a large amount, arrangements can be made to making payment installments. I accept cash, 9with receipt), checks, cashiers checks, Zelle, Venmo, PayPal and soon I will be using Stripe. 

No work will begin until I have received the first agreed upon payment. Conversely, you don't pay the last agreed upon portioni until the project is delivered to you.

CANCELLATION

In the event the project is cancelled after work has commenced, all work performed will cease immediately. You will be charged a cancellation fee that is 25% of the quoted price for the project. Additionally, you will only get exported versions of the music in whatever state it is up to the point of concellation. Working files will not be handed over as to avoid you taking the project elsewhere to have someone else build upon my files. Your new client will have to start rrrrtch and can yse the incomplete music exports as reference only. 

If you have another composer or musician incoprporate any of the work I created during the active part of the project without my consent, I will  take legal action against you.

Usage & Ownership

Those that can pay the market rate (reminder it is around 20K), here is how it usually works:

• Standard 50/50 Split: The standard arrangement dictates that the composer (as the writer) and the publisher each receive 50% of the performing rights royalties. BMI operates on a 200% system, where 100% goes to the writer and 100% to the publisher, still resulting in a 50/50 split.
   
• No Publisher? If the composer hasn't assigned their publishing rights to a publishing company, they are considered both the writer and the publisher, in which case they would receive both the writer's and publisher's shares. BMI would then pay out the entire 200% to the composer. 

Additional types of splits that can be negotiated:

• Work-for-hire: In a "work-for-hire" agreement, the studio may retain full ownership of the music, and the composer receives a flat fee. However, the composer is still typically entitled to the composer's portion of public performance royalties. This is one I do not prefer to engage with as I lose my rights to my music.
   
• Negotiated splits: While 50/50 is standard, the exact splits for both performing and mechanical royalties (generated from reproductions and distribution) can be negotiated, especially when other parties are involved, such as:
  • Co-writers: If multiple composers collaborated, the writer's share would be divided amongst them.
  • Producers: Producers may negotiate for a share of royalties, particularly if they contributed creatively to the song's composition.
  • Artists: Performers may also seek a share, especially if they are involved in the songwriting process. 

For any project that cannot compensate me at the going market rate, I will retain ALL the copyrights for the recordings I produce, the composition itself and the publishing rights in exchange for charging a lower rate. You will get in perpetuity, full usage rights license to use the music in perpetuity as long as the usage is strictly restricted to the project for which the track was used for (including marketing for that project). If you decide to use the music in an unrelated project, you may do so, however, an additional fee may be assess for licensing the music in that alternate project. I must be credited everywhere the music is used.