Co-Production Agreement Music
Thus, the IETM/KAMS Co-Production Manual defines a co-production (link following this essential publication balg): a co-production in the performing arts involves two or more production partners who enter into a contractual agreement to support the creation and distribution of a production or process-oriented project. The term co-production is often used quite loosely to describe many different types of cooperation. and lines of responsibility for each partner from the start. It is important to identify and study the current capabilities of each partner and to explore ways to express their contribution in the contract and throughout the co-production process. It is also important to examine the requirements of assigned roles, as the aspects of jobs that are generally assumed to be the same at the global level may be very different in reality. This model is a co-production between two or more artists/companies – often with a different aesthetic/practice of genres (an example could be dance and musical theatre). In this model, each partner brings some of the necessary artistic skills, human resources and economy. It may be with a collective and shared responsibility (it is the ultimate understanding of co-production), but it requires companies that know each other well. Normally, a certain degree of distributed responsibility is agreed, for example. B for which part of the budget for which a person has the right to make final artistic decisions, who organizes the tour and when. Who is entitled to the rights to the benefit – and to whom is paid on sales revenue. It is advisable to be diligent in the details of contracts.
For a new artist, it is very difficult to charge American and Canadian mechanical royalties at more than 75% of the legal rate or for more than ten compositions on an album or two on a single. Since CD albums and singles are usually at least twelve or more. The artist should try to ensure that there are escalations built into the registration agreement, so that after the sale of a certain level, higher rates are paid for more compositions, but in the case of a production agreement, it is very unlikely that the production company will want to shake hands when it comes to insuring a large registration contract, and the best thing that is likely is the assurance in clause 12.4.