any time you're working on music w/ another artist, producer, DJ, singer, songwriter, rapper, MC, session musican, you should always have some kind of document. I keep a short, mostly blank form for people to have at the studio. the date, whether it is work for hire, names, ...
the tentative song title, who produced it, length, BPMs, samples used, and for each artist regardless of role their full name, mailing address, social or taxpayer ID, phone #, email, SOCIAL MEDIA HANDLES (so important nowadays), cost if work for hire, paid or invoiced, PUBLISHING
entities for each artist and their roles (BMI, SESAC, ASCAP, etc.) everyone initial and sign the form, take a photo with your phone, send it to all the players/management, then file the original forms or have a manager do that. **this is what management is for by the way. this**
Later, especially when someone has to register the works, enter it on distrokid, report it to soundexchange, etc. you're going to need ALL the information I just mentioned. ALL OF IT. most indie/underground artists don't eat off publishing BUT what if THIS SONG is the one? ...
Don't be that guy/gal who didn't get the paperwork filled out at the session, doesn't have the info, says "fuck it" and doesn't do the splits with the other artists, doesn't have the work registered and THEN that's the song that ends up on a video game soundtrack or movie score?
Publishing, registering works, splits, royalties, mechanicals, performance rights ~ it is A LOT & some of it doesn't really apply to the average "underground" artist or indie. but in terms of today's music, keep in mind the Griselda cats were under/indie *recently* & now? Huge...
the only success I ever had w/a publishing company where the amount of work = amount of reward was 4 my Beloved friend Jamarr/Bad Azz (rest in Peace). I registered 2 works, updated his addy & tax info, later he he got 12 racks from them. BUT he had HITS with Death Row, Snoop etc.
There are books and websites out there with examples of work for hire agreements, etc. Use your googles. Partner up with a law student or a paralegal, have them look over things for you. I have a paralegal certificate from UC Berkeley, used to be a notary public, etc ...
I was also born in to this industry, like my life growing up actually depended on how much money my father did or did not make as a recording artist, session player and touring musician. btw this is my 33rd year *working* in the music biz as a 46-y/o woman. do the math. FIN.
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