But, unlike artist major label deals, once the recording costs are recouped, the producer gets paid from “record one.” Meaning, from the first sale/stream. Producers get their up front fee (advance) and then their points kick in after the recording costs are recouped. If you divide 4 by 18, the producer is getting about 22% of what the artist gets. So, if an artist gets 18 (percentage) points for a major record deal and the producer gets 4, those 4 get subtracted from the artist’s points. “Points” are simply defined as percentage points of the artist’s royalty for major label deals. 3 points are typically for developing producers, recognizable names typically get 4-5 points and anything over 5 points are typically for superstar producers. How Much Do Music Producers Make? Producer Points and Royaltiesįor major label deals, producers get “points.” Typically anywhere from 3-7 points. Sometimes marketing costs are included in that too. “Net” is typically defined after recording costs, producer’s fee and other third party costs like distribution, manufacturing, etc and subject to recoupment.
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Like, $1,500 fee to record the song plus 20% on the net royalties.įor indie artist deals (self-released or small indie label) producers are typically getting 15-25% of net royalties. Most of the time, a producer will get paid a flat fee for their work in addition to some royalties on the backend. If you don’t have a publishing company or a record label, then you need to figure all this shit out on your own. Record labels represent recording artists and own and/or control sound recordings. Publishing companies represent songwriters and own and/or control compositions. You’re talking about songwriting ownership and royalties. “Publishing,” “songwriting” and “composition” are all basically the same thing. “Who owns publishing?” “Am I getting the publishing on this?” “Where’s my publishing money?” People like to toss around the word “publishing” a lot. Publishing Companies (Songwriter Royalties) vs. If you bring a fully finished song to a producer to help record it, typically the producer would not be entitled to any composition ownership because s/he didn’t write the song. +Songwriters! Registering with ASCAP or BMI is Not Enough To Get Paid If I cover your song, I own the sound recording and you own the composition. If you record a cover song, you own the sound recording but not the composition.
And sometimes the songwriter doesn’t record the sound recording. Sometimes the recording artist doesn’t write the composition/song.
This is also sometimes referred to as the “Song.” “Composition,” also the legal term, is registered with the US Copyright office as a “Work of the Performing Arts.” Every sound recording has an underlying composition. “Master” and “sound recording” can be used interchangeably. This is also referred to as the “Master” in most contracts. The producer has a hand in making this sound recording. “Sound recording” is the legal term and is registered with the US copyright office as a “Sound Recording” for the “Type of Work” when you file the copyright. And some important terms you need to understand.Įvery recording has two copyrights: 1) the sound recording and 2) the composition. Songsīefore we get started, you have to understand a few things about how copyright and royalties are broken down. I’ve also fact checked this article before publishing to make sure I got it all correct. We had long conversations and I took extensive notes. And Lisa Lester, who primarily works major label and publishing deals. Jesse Morris, who primarily works independent deals for his producer, artist and songwriter clients. To get some clarity on all of this I enlisted a couple trusted music attorneys. How Much Do Music Producers Make and What Ownership Rights Do They Have? Who’s owed what and at what point? How is ownership broken down? And what are producer points?!
Now, pop and hip hop producers are typically in the room from the get-go working the song with the artist from the ground up. Oh, and historically, producers were paid a huge sum by the major record labels in addition to ‘points.’ Now, the pop and hip hop producers tend to do everything: make the ‘beats’, track the vox (and all the instruments – if there are any outside of the ‘box’), mix on the spot and bounce down a decent sounding recording – all in solid days work.
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The producer guided the process and worked with engineers who set up mics and turned the knobs, operated Pro Tools and whatnot. Historically, the producer stepped into the game after the songs were all written and ready to go.
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