The 5 errors of a musical project (in legal)

5 unnecessary but correctable errors. It's a matter of paying attention to the details.

Label: Right of EntertainmentLet us not talk about the artistic, because that corresponds to others. Here is a small list of errors in practice, of any musical project, which I often encounter.

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  1. Find a manager without knowing what it is for.
    There are two types of groups, those who know what a manager does and those who do not. Those who do not, usually expect that signing with you will fix their lives. Let no more reason begin to rain silver.

    A manager is part of the team.

    Maybe you can better explore the spaces of the musical guild; Maybe he knows more people; or he is a charlatan and already; and you do not always have to believe the first charlatan who appears.
    A manager serves when the group knows what to look for, and with it they can trace that route.

    None do miracles, none is a guarantee of success. If the group is looking for a manager, you first have to define why. Sometimes that is not clear until the members of the group are professionally dedicated to responding emails And calls.

  2. Sign contracts at 10 + years without having a plan to accompany the execution.
    That a contract lasts many years has no problem. The mess is not sizing what is going to be done in that time. Know what is expected to be received and, more importantly, what are the ways to put that agreement in motion. No contract is fulfilled alone. Signing them does not do magic. A contract is almost always the framework of a business relationship. You have to enforce them, yes, but understand the way to do it. In the end, if the long-term commitment is not the most convenient, it is necessary to pose escape valves in the contract, by mutual agreement or with warnings; With options or conditionals. Without discouraging the parts, but also condemning them to immobile eternity.
  3. Do not define participation rates before receiving money.
    Everyone is a friend until he fights for silver. In any market, not just in the arts. Collaborative work is where it is more frequent. The problem is that we interpret collaboration as an act of trust such that we equate it with the most romantic version of love; Where the other understands us so we say nothing. On the contrary, the real confidence would be to be able to define who did what without anyone being offended. Understand that there are works that are 80 / 20 and they are still good. To send a e-mail With that it is not too much That fighting for silver is unnecessary, and that headache is saved with clear accounts from the Day 1.
  4. Register the works on behalf of everyone because they are very friendly.
    The word forgotten is "license". Many groups agree to register on behalf of all the work that composed only 1 of them. The reasons vary, but the main one is that they see the royalties of the songs as a place of return for the overall investment of the project. That is settled with a license; That the group agrees and registers. If the song has a single author that is the reality and that should be the record; That property rights have many headlines is a different story (and more appropriate).
  5. Record covers of whoever and worry after.
    Internet seems no-man's land. Everyone does what he wants and nothing happens to anyone; Until it happens.There are legal forms (and free -Soundrop; We Are The Hits-) of recording covers, with authorization, Honoring to the composer. Finding the right way is the ethical way of doing it. The fact that we are not discovered should not be an excuse. Maybe we do not react so calmly when a band in Ecuador decides to make a cover And do not deign to give credit well.

Rare Book Division, The New York Public Library. "Skull and crossbones.The New York Public Library Digital Collections 1843.