Appendix B: Sample Contracts and Forms

The following templates are provided as educational examples to help you understand the structure and key provisions of common music industry agreements. These are not legal advice and should not be used as-is for actual transactions. Always consult with a qualified entertainment attorney before signing or issuing any contract. Provisions vary by jurisdiction, genre, budget, and bargaining position. Use these templates as a starting point for understanding what to look for and what to negotiate.

What is included. The eighteen templates that follow cover the most common agreements you will encounter as a working audio professional: split sheets for documenting songwriting ownership, work-for-hire agreements for session musicians and engineers, producer agreements, beat licenses (both non-exclusive and exclusive), session musician releases, studio services agreements, NDAs, synchronization and master use licenses, artist management agreements, collaboration agreements, vocal feature agreements, studio internship contracts, studio invoices and booking confirmations for session billing, and sample/interpolation clearance agreements for clearing composition copyrights, plus an AI voice, likeness, and training rider for documenting consent to AI voice cloning and training, plus an engineer/mixer master-rights acknowledgment and assignment for settling who owns the sound recording. Together, they represent the paperwork behind nearly every professional recording session, placement, and release.

The eighteen forms

What to look for. Regardless of the contract type, pay close attention to four things: ownership (who owns the masters and the composition), compensation (how much, when, and under what conditions), term and exclusivity (how long the agreement lasts and what it prevents you from doing), and credit (how you will be identified on the release). These four provisions are where most disputes originate. If a contract is vague on any of them, that is not an oversight—it is a red flag.

When do you need a lawyer? For a simple split sheet between friends splitting a song 50/50, you probably do not. For anything involving money, exclusivity, or ownership transfer—you do. If someone is asking you to assign your rights, sign a work-for-hire agreement, accept a recoupable advance, or commit to an exclusive term, an entertainment attorney should review the contract before you sign it. A one-hour consultation typically costs $300–700, depending on the market and the attorney's experience, and can prevent a dispute that would cost far more to litigate. Many entertainment attorneys offer free initial consultations. The California Lawyers for the Arts, Volunteer Lawyers for the Arts (New York), and similar organizations in most states provide low-cost or pro bono legal help for musicians and creators who cannot afford private counsel.

A split sheet documents the ownership percentages of a musical composition among collaborating songwriters. It should be completed at the end of every writing session. Disputes over ownership are among the most common and most preventable problems in the music industry.

Song Title: ________________________________________

Date of Creation: ________________________________________

Recording Session Location: ________________________________________

ISWC (if registered): ________________________________________

The undersigned songwriters agree that the following ownership percentages represent their respective contributions to the composition identified above. All percentages must total 100%.

Writer 1

Name: ________________________________________

PRO Affiliation (ASCAP/BMI/SESAC/GMR): ________________________________________

PRO Member/CAE/IPI Number: ________________________________________

Publisher (if any): ________________________________________

Ownership Percentage: ________%

Contribution (lyrics, melody, music, arrangement): ________________________

Signature: _______________________ Date: ___________

Writer 2

Name: ________________________________________

PRO Affiliation (ASCAP/BMI/SESAC/GMR): ________________________________________

PRO Member/CAE/IPI Number: ________________________________________

Publisher (if any): ________________________________________

Ownership Percentage: ________%

Contribution (lyrics, melody, music, arrangement): ________________________

Signature: _______________________ Date: ___________

Writer 3

Name: ________________________________________

PRO Affiliation (ASCAP/BMI/SESAC/GMR): ________________________________________

PRO Member/CAE/IPI Number: ________________________________________

Publisher (if any): ________________________________________

Ownership Percentage: ________%

Contribution (lyrics, melody, music, arrangement): ________________________

Signature: _______________________ Date: ___________

Writer 4

Name: ________________________________________

PRO Affiliation (ASCAP/BMI/SESAC/GMR): ________________________________________

PRO Member/CAE/IPI Number: ________________________________________

Publisher (if any): ________________________________________

Ownership Percentage: ________%

Contribution (lyrics, melody, music, arrangement): ________________________

Signature: _______________________ Date: ___________

For songs with more than four co-writers, attach additional pages using the same format.

Total Ownership: Must equal 100%

Key points: Always include PRO/IPI numbers so royalties can be properly routed. Document each writer's specific contribution. All writers should sign on the day of the session — do not rely on memory or verbal agreements. Keep copies for all parties.

This agreement transfers all copyright ownership from the performer or engineer to the hiring party. Under 17 U.S.C. § 101, a work-for-hire arrangement for independent contractors is limited to nine statutory categories—and a standalone sound recording is not one of them. For that reason, this agreement may function as a copyright assignment rather than a true work-for-hire (see Chapter 21). Either way, the practical effect is the same: the hiring party owns the work.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Company")

And: ________________________________________ ("Contractor")

1. SERVICES. Contractor agrees to perform the following services: ____________________

For the following project/recording: ________________________________________

At the following location: ________________________________________

On the following date(s): ________________________________________

2. COMPENSATION. Company shall pay Contractor the total sum of $____________, payable as follows: ________________________________________

3. OWNERSHIP. Contractor acknowledges and agrees that all work product, recordings, performances, and materials created under this Agreement are "works made for hire" as defined by 17 U.S.C. § 101 and shall be the sole and exclusive property of Company. To the extent any work product does not qualify as a work made for hire, Contractor hereby irrevocably assigns to Company all right, title, and interest in and to such work product, including all copyrights, in perpetuity and throughout the world.

This dual-purpose clause covers both scenarios: if the work qualifies as work-for-hire under the statute, the Company is the author from inception. If it does not qualify (as with many standalone sound recordings), the assignment clause transfers ownership anyway. The key difference: an assignment can be terminated by the author under § 203 during a five-year window that opens 35 years after the grant; a true work-for-hire cannot be terminated at all.

4. CREDIT. Company shall use commercially reasonable efforts to credit Contractor as follows: ________________________________________

Credit should be negotiated explicitly. Without a credit clause, the hiring party has no obligation to acknowledge the contractor's contribution.

5. NO ROYALTIES. Contractor acknowledges that the compensation in Section 2 constitutes full and complete payment for all services and rights granted herein. Contractor shall not be entitled to any royalties, residuals, or additional compensation of any kind.

Union note: if the session is covered by an AFM or SAG-AFTRA collective bargaining agreement, re-use fees, new-use payments, special payments, and pension/health contributions are governed by that CBA, and a flat-fee waiver cannot override them.

6. REPRESENTATIONS. Contractor represents and warrants that: (a) Contractor has the full right and authority to enter into this Agreement; (b) the work product will be original and will not infringe upon the rights of any third party; (c) Contractor has not previously assigned, licensed, or encumbered any rights in the work product.

7. CONFIDENTIALITY. Contractor shall not disclose the terms of this Agreement or any details of the project without the prior written consent of Company.

8. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

COMPANY: _______________________ Date: ___________

CONTRACTOR: _______________________ Date: ___________

This agreement covers the producer's compensation, copyright participation, and credit. It is more complex than a work-for-hire because the producer typically retains backend participation.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Artist")

And: ________________________________________ ("Producer")

1. SERVICES. Producer agrees to produce the following master recording(s):

________________________________________

Number of tracks: ________

2. PRODUCTION FEE. Artist shall pay Producer a production fee of $____________ per track, totaling $____________, payable as follows:

50% upon commencement of production: $____________

50% upon delivery of completed master(s): $____________

3. ROYALTY AND AUDIT RIGHTS. Producer shall receive ________ points (typically 2–5 percentage points) of the suggested retail price (or equivalent net receipts calculation for digital distribution) of all records embodying the master recording(s), retroactive to record one. Artist (or Artist's label) shall provide Producer with royalty statements at least semi-annually. Producer shall have the right, upon thirty days' written notice and at Producer's expense, to audit Artist's (or Artist's label's) books and records as they relate to royalty calculations under this Agreement, no more than once per calendar year. If an audit reveals an underpayment exceeding five percent (5%), Artist shall reimburse Producer for the reasonable costs of the audit in addition to the underpaid amounts.

“Retroactive to record one” means that once recording costs are recouped, the producer is paid on every record sold from the very first one—the royalties accrue from record one and arrive as a retroactive catch-up at recoupment, rather than starting the count only with post-recoupment sales. This is standard and should always be negotiated. If the agreement instead counts only records sold after recoupment, the producer permanently loses the entire pre-recoupment sales base. Audit rights matter just as much: without the ability to verify statements, a producer has no way to confirm they were paid correctly.

4. PUBLISHING. If Producer co-writes or contributes to the underlying composition, Producer's publishing share shall be ________% of the composition copyright, as documented on the attached split sheet.

Publishing participation is separate from the master royalty. A producer who creates the beat is both a songwriter (entitled to publishing) and a producer (entitled to points on the master). These are different revenue streams from different copyrights.

5. LETTER OF DIRECTION. Artist agrees to execute a Letter of Direction instructing any record label, distributor, or aggregator to pay Producer's royalty share directly to Producer.

The LOD is the producer's most important protection. Without it, the producer depends on the artist to forward payments — which may never happen.

6. CREDIT. Artist shall credit Producer as "Produced by _____________________________" on all releases, in all formats, including digital metadata, liner notes, and marketing materials.

7. MASTER OWNERSHIP. The master recording(s) shall be owned by ____________________ (the “Owner”), subject to Producer's royalty participation, publishing rights (Section 4), and credit obligations herein. To the extent Producer's production services would otherwise vest any copyright or other ownership interest in the master recording(s) in Producer, Producer hereby irrevocably assigns that interest to Owner—including all copyrights therein—in perpetuity and throughout the world, reserving only the royalty, publishing, and credit rights expressly granted in this Agreement.

Without this assignment, the producer's creative contribution to the recording could leave the producer holding a copyright interest in the master—directly contradicting the ownership line above. The carve-out preserves everything the producer actually bargained for (points, publishing, credit) while making the ownership grant clean. (Templates 2 and 5 use the same mechanism.)

8. DELIVERY. Producer shall deliver completed master(s) in the following format: ____________ by _____________ (date).

9. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

ARTIST: _______________________ Date: ___________

PRODUCER: _______________________ Date: ___________

A beat lease grants the artist a limited, non-exclusive license to use the producer's instrumental. The producer retains ownership of the composition and master and can lease the same beat to multiple artists. This is the standard model for online beat sales.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Producer/Licensor")

And: ________________________________________ ("Artist/Licensee")

1. BEAT. Producer grants Artist a non-exclusive license to use the following instrumental: ________________________________________

2. LICENSE FEE. Artist shall pay a one-time license fee of $____________.

3. PERMITTED USES. Artist may use the Beat for:

• Recording one (1) song for commercial release

• Distribution on streaming platforms (Spotify, Apple Music, etc.)

• Up to ____________ total streams/downloads

• Non-profit live performances

• One (1) music video

Stream/download caps are standard in non-exclusive leases. Once the artist exceeds the cap, they must upgrade to an exclusive license or cease use. Common caps range from 10,000 to 500,000 depending on the lease tier.

4. RESTRICTIONS. Artist may NOT:

• Claim ownership of the Beat or underlying composition

• Register the Beat with a PRO or the Copyright Office as Artist's own work

• Sublicense, resell, or transfer this license to any third party

• Use the Beat in synchronization with visual media without separate written permission

5. CREDIT. Artist shall credit Producer as “Beat by ________________________” or “Produced by ________________________” on all releases.

6. NON-EXCLUSIVE. Producer retains all ownership rights and may license the same Beat to other artists simultaneously.

7. TERM. This license is valid for ____________ year(s) from the Effective Date / in perpetuity (circle one).

For a song you intend to release commercially, choose “in perpetuity” (or tie the term to the stream/download cap rather than a calendar date)—a fixed term that lapses while the track is still up for sale turns continued distribution into infringement.

8. PUBLISHING. Producer retains ________% of the composition copyright for the instrumental. Artist retains ________% for original lyrics and melodies added to the Beat. A split sheet shall be executed.

9. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

PRODUCER: _______________________ Date: ___________

ARTIST: _______________________ Date: ___________

A simplified release for session musicians performing on a recording. Combines the essential elements of a work-for-hire agreement in a shorter, more practical format suitable for individual session bookings.

Date: _____________

Artist/Project: ________________________________________

Session Location: ________________________________________

Musician Name: ________________________________________

Instrument(s) Performed: ________________________________________

Song(s)/Track(s): ________________________________________

Compensation: $____________ (flat fee for session)

In consideration of the above compensation, Musician hereby:

1. Assigns all right, title, and interest in the recorded performance(s) to ____________________ ("Owner"), including all copyrights therein.

2. Waives any and all claims to royalties, residuals, re-use fees, or additional compensation beyond the flat fee stated above.

3. Consents to the use of Musician's name, likeness, and biographical information in connection with the marketing and promotion of the recording(s).

4. Represents that the performance(s) are original and do not infringe upon the rights of any third party.

Union note: AFM/SAG-AFTRA sessions are governed by the applicable collective bargaining agreement; the waiver in item 2 may not override CBA re-use, new-use, or pension/health terms.

5. Credit (if applicable): ________________________________________

MUSICIAN: _______________________ Date: ___________

OWNER: _______________________ Date: ___________

This agreement covers the basic terms when a client books studio time for recording, mixing, or mastering services. It protects both the studio and the client by establishing clear expectations about scope, payment, ownership, and deliverables.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Studio")

And: ________________________________________ ("Client")

1. SERVICES. Studio agrees to provide the following services:

☐ Recording ☐ Editing ☐ Mixing ☐ Mastering ☐ Other: ____________

Number of songs/tracks: ____________

Estimated hours: ____________

2. RATES AND PAYMENT.

Rate: $____________ per hour / per song / per project (circle one)

Estimated total: $____________

Deposit required before session: $____________ (________%)

Balance due upon: ☐ Completion of session ☐ Delivery of files ☐ Other: ____________

Always collect a deposit. Industry standard ranges from 25% to 50% upfront. Final files are delivered upon receipt of final payment.

3. CANCELLATION. Client must provide at least ____________ hours notice for cancellation. Late cancellations forfeit the deposit. No-shows forfeit the deposit.

4. OWNERSHIP. All recordings created during the session shall be owned by Client, subject to full payment of all amounts due. Studio retains no ownership interest in the recordings.

This is the standard arrangement for studio services. The studio provides the space and engineering; the client owns the recordings. If the engineer also produces or co-writes, a separate producer agreement or split sheet is required.

5. FILE RETENTION. Studio will retain session files for ____________ days after the final session. After this period, Studio may delete files without notice. Client is responsible for backing up all deliverables.

6. STUDIO RULES. Client agrees to: arrive on time, refrain from smoking inside the studio, refrain from bringing food or drink near equipment, and treat all equipment with care. Client is financially responsible for any damage to studio equipment caused by Client or Client's guests.

7. LIABILITY. Studio is not responsible for loss of data due to equipment failure, power outage, or other circumstances beyond Studio's reasonable control. Studio maintains regular backups but cannot guarantee against all data loss.

8. PORTFOLIO USE. Studio may use brief excerpts of the recordings (not to exceed 30 seconds per track) for Studio's portfolio and promotional purposes, unless Client opts out in writing: ☐ Client opts out of portfolio use.

9. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

STUDIO: _______________________ Date: ___________

CLIENT: _______________________ Date: ___________

An NDA protects unreleased material, proprietary techniques, client information, and business terms from unauthorized disclosure. Essential when working with major label artists, pre-release material, or any client who requires discretion. In the streaming era, leaks can destroy a release strategy worth millions.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Disclosing Party")

And: ________________________________________ ("Receiving Party")

1. DEFINITION OF CONFIDENTIAL INFORMATION. "Confidential Information" includes, but is not limited to: unreleased recordings, demos, rough mixes, and works in progress; lyrics, melodies, compositions, and arrangements in any stage of development; release dates, marketing plans, and promotional strategies; financial terms, contract details, and business arrangements; proprietary recording techniques, signal chains, and production methods; personal information about artists, producers, and other personnel; and any information explicitly identified as confidential by the Disclosing Party.

Cast the definition broadly. In a studio, virtually everything is confidential — the fact that an artist was even at your studio may be sensitive. When in doubt, treat it as confidential.

2. OBLIGATIONS. Receiving Party agrees to: (a) hold all Confidential Information in strict confidence; (b) not disclose Confidential Information to any third party without prior written consent; (c) not post, share, stream, or upload any Confidential Information on any platform including but not limited to social media, file-sharing services, and messaging applications; (d) not record, photograph, or capture any session, performance, or studio activity without prior written consent; (e) use Confidential Information only for the purpose of performing services under any related agreement.

3. EXCEPTIONS. Confidential Information does not include information that: (a) is or becomes publicly available through no fault of the Receiving Party; (b) was already known to the Receiving Party prior to disclosure; (c) is independently developed by the Receiving Party without use of Confidential Information; or (d) is required to be disclosed by law or court order, provided Receiving Party gives prompt written notice to allow the Disclosing Party to seek protective measures.

4. RETURN OF MATERIALS. Upon request or termination of any related engagement, Receiving Party shall promptly return or destroy all copies of Confidential Information in any format, including digital files, notes, and recordings. Receiving Party shall confirm destruction in writing if requested.

5. REMEDIES. Receiving Party acknowledges that unauthorized disclosure may cause irreparable harm for which monetary damages are inadequate. Disclosing Party shall be entitled to seek injunctive relief in addition to any other remedies available at law or in equity.

The injunctive relief clause is critical. If someone leaks an unreleased album, money damages after the fact don't undo the harm. This clause allows the Disclosing Party to get a court order stopping further disclosure immediately.

6. TERM. This Agreement shall remain in effect for ____________ years from the Effective Date / indefinitely (circle one). Obligations regarding Confidential Information survive termination of this Agreement.

7. LIQUIDATED DAMAGES. In the event of a breach, Receiving Party agrees to pay liquidated damages in the amount of $____________, which the parties agree represents a reasonable estimate of damages that would be difficult to calculate precisely.

Liquidated damages give the NDA teeth without requiring the Disclosing Party to prove exact financial harm from a leak — which is often impossible to quantify. Set the amount high enough to deter breaches but not so high a court would consider it a penalty—it must bear a reasonable relationship to the harm a breach would actually cause, or it becomes unenforceable.

8. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

DISCLOSING PARTY: _______________________ Date: ___________

RECEIVING PARTY: _______________________ Date: ___________

A sync license grants permission to synchronize a musical composition with visual media (film, TV, commercials, video games, online content). Remember: sync covers the composition only. If you also need the specific recording, you need a separate master use license (see Template 9). If the licensee is re-recording the composition themselves, only the sync license is needed.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Licensor" / Publisher or Songwriter)

And: ________________________________________ ("Licensee" / Production Company)

1. COMPOSITION. Title: ________________________________________

Writer(s): ________________________________________

Publisher(s): ________________________________________

PRO Registration: ☐ ASCAP ☐ BMI ☐ SESAC ☐ GMR Work ID: ____________

2. PRODUCTION. The Composition is licensed for synchronization with the following visual media:

Title of Production: ________________________________________

Type: ☐ Feature Film ☐ Television Series ☐ Commercial/Advertisement ☐ Video Game ☐ Web/Streaming Content ☐ Other: ____________

Producing Entity: ________________________________________

3. USE. Type of use: ☐ Background (underscore) ☐ Featured (visual or on-camera performance) ☐ Title Theme ☐ End Credits ☐ Trailer/Promo ☐ Other: ____________

Duration of use: Up to ____________ seconds / entire composition (circle one)

Number of uses within production: ____________

Featured use typically commands a higher fee than background use. Title themes and trailers are premium placements. Specify exact usage to avoid scope creep.

4. TERRITORY. ☐ Worldwide ☐ United States only ☐ Specific territories: ____________

5. TERM. ☐ In perpetuity ☐ ____________ years from first broadcast/release ☐ For the life of the production

6. MEDIA. ☐ All media now known or hereafter devised ☐ Limited to: ☐ Theatrical ☐ Television (broadcast/cable) ☐ Streaming (SVOD/AVOD) ☐ Home video ☐ Internet/digital ☐ Festival only

"All media now known or hereafter devised" is the broadest grant. For a major sync, this is standard. For smaller placements, you may want to limit media to preserve the ability to re-license for other uses at additional fees.

7. LICENSE FEE. Licensee shall pay Licensor a one-time synchronization license fee in the amount of $____________, payable upon execution.

☐ Additional backend: ____________% of performance royalties collected by Licensor's PRO

☐ Most-Favored-Nations (MFN): Licensor's fee shall be no less than the highest fee paid to any other songwriter/publisher for music used in this Production.

Most-Favored-Nations (MFN) ensures you get paid at least as much as every other songwriter on the project. Always request MFN if you suspect other songs are being licensed for higher fees.

8. CREDIT. Licensee shall credit the Composition and Writer(s) in: ☐ End credits ☐ On-screen ☐ Cue sheet filed with applicable PROs ☐ All of the above

The cue sheet is the most important credit for ongoing income. Performance royalties from TV/film are paid based on cue sheets filed with PROs. If your song isn't on the cue sheet, you don't get paid. Always require cue sheet filing.

9. ALTERATIONS. ☐ Licensee may edit, loop, or adapt the Composition as reasonably necessary for the Production. ☐ No alterations permitted without prior written consent.

10. REPRESENTATIONS. Licensor represents and warrants that Licensor controls the rights granted herein and has the authority to grant this license. This license does not include rights to any master recording of the Composition (see separate Master Use License if applicable).

11. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

LICENSOR: _______________________ Date: ___________

LICENSEE: _______________________ Date: ___________

A master use license grants permission to use a specific sound recording in connection with visual media or another production. This is paired with a sync license (Template 8) when both the composition and a specific recording are needed. If the production is re-recording the song themselves, only a sync license is required.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Master Owner" / Label or Artist)

And: ________________________________________ ("Licensee" / Production Company)

1. MASTER RECORDING. Title: ________________________________________

Performing Artist: ________________________________________

Label/Catalog Number (if applicable): ________________________________________

ISRC Code: ________________________________________

2. PRODUCTION. Licensed for use in: ________________________________________

(Same production details as the corresponding Synchronization License)

3. USE, TERRITORY, TERM, AND MEDIA. ☐ Same terms as the corresponding Synchronization License Agreement dated __________. ☐ Different terms (specify): ______________

The master use license and sync license should have matching terms — same territory, term, and media. Mismatched terms create gaps where one license covers a use but the other doesn't, potentially exposing the licensee to infringement claims.

4. LICENSE FEE. Licensee shall pay Master Owner a one-time master use license fee of $____________.

☐ Most-Favored-Nations with the Synchronization License fee.

5. CREDIT. Licensee shall credit the performing artist and label in: ☐ End credits ☐ Cue sheet ☐ All materials consistent with the Synchronization License credit provisions.

6. SAMPLE USAGE (if applicable). If the master recording is being sampled in a new composition rather than synced to picture: Duration of sample: ____________ seconds. Placement in new work: ________________________________________. Compensation: ☐ Flat fee $____________ ☐ Rollover royalty of ____________% of new work's income ☐ Both.

This section converts the master use license into a sample clearance agreement when the master is being incorporated into a new recording rather than synced to visual media. Always clear samples before release.

7. REPRESENTATIONS. Master Owner represents and warrants ownership or control of the master recording and authority to grant this license. Master Owner shall indemnify Licensee against third-party claims arising from any breach of this warranty.

8. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

MASTER OWNER: _______________________ Date: ___________

LICENSEE: _______________________ Date: ___________

An exclusive license grants the artist sole rights to use the instrumental. Unlike a non-exclusive lease (Template 4), the producer can no longer license this beat to anyone else after the exclusive sale. Because of this, exclusive licenses command significantly higher fees — ranging from a few hundred dollars from a newer producer up to $10,000 or more from an established name, depending on the producer's profile and the beat's commercial potential.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Producer/Licensor")

And: ________________________________________ ("Artist/Licensee")

1. BEAT. Producer grants Artist an exclusive license to use the following instrumental: ____________

Working Title: ________________________________________

BPM: ____________ Key: ____________

2. EXCLUSIVE LICENSE FEE. Artist shall pay Producer a one-time exclusive license fee of $____________, payable as follows: ________________________________________

3. EXCLUSIVITY. Upon receipt of full payment, Producer shall not license, sell, lease, or otherwise distribute the Beat to any other party. Any existing non-exclusive leases issued prior to this Agreement shall be honored until their respective terms expire or stream caps are reached, but no new leases shall be issued.

This is the key difference from a non-exclusive lease. Pre-existing non-exclusive leases must be honored — you cannot retroactively revoke them. But no new leases can be issued after the exclusive sale. Make sure the producer removes the beat from all sales platforms upon execution.

4. RIGHTS GRANTED. Artist receives the exclusive right to:

• Record, release, and commercially distribute one or more songs using the Beat

• Unlimited streaming, downloads, and physical sales

• Unlimited live performances

• Unlimited music videos

• Synchronization with visual media (film, TV, commercials, video games)

• Radio broadcast

An exclusive license should come with unlimited commercial use. If the license includes caps or restrictions, it's not truly exclusive — negotiate accordingly.

5. DELIVERABLES. Producer shall deliver to Artist within ____________ business days of full payment:

• Stereo instrumental (WAV, 24-bit, session sample rate)

• Tracked-out stems (individual instrument stems, WAV, 24-bit)

• Session files (if agreed): ☐ Yes ☐ No

Always negotiate for tracked-out stems with an exclusive purchase. Stems give you and your mixing engineer full control over the final product. Session files are a bonus but not always provided.

6. PUBLISHING. Producer retains ____________% of the composition copyright for the instrumental portion. Artist retains ____________% for original lyrics and melodies. A split sheet shall be executed concurrently with this Agreement.

7. CREDIT. Artist shall credit Producer as "Produced by _____________________________" on all releases, in all formats, including digital metadata.

8. MASTER OWNERSHIP. The master recording(s) created using the Beat shall be owned by: ☐ Artist ☐ Joint ownership ☐ Other: ____________

9. REMOVAL FROM PLATFORMS. Producer agrees to remove the Beat from all sales platforms, websites, and social media within ____________ business days of receiving full payment.

10. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

PRODUCER: _______________________ Date: ___________

ARTIST: _______________________ Date: ___________

The management agreement is one of the most consequential contracts in an artist's career. A good manager can accelerate your career exponentially. A bad management deal can cost you years and significant income. Read every word. Negotiate aggressively. Consult an attorney before signing.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Artist")

And: ________________________________________ ("Manager")

1. ENGAGEMENT. Artist hereby engages Manager as Artist's exclusive personal manager in all areas of the entertainment industry. Manager accepts the engagement and agrees to advise and counsel Artist in matters relating to Artist's career in the entertainment industry.

2. TERM. The initial term of this Agreement shall be ____________ year(s) from the Effective Date, with ____________ option period(s) of ____________ year(s) each, exercisable by Manager upon written notice at least 30 days before expiration of the then-current term.

Shorter initial terms (1–2 years) protect the artist. If the manager isn't delivering results, you want the ability to move on. Be wary of long initial terms (3+ years) with automatic renewals. Performance benchmarks (see Section 10) provide an additional safeguard.

3. COMMISSION. Artist shall pay Manager a commission of ____________% of Artist's Gross Income from all entertainment-related activities.

Standard range: 15% to 20%

15% is the most common commission rate. 20% is the upper end and should only be agreed to if the manager is providing exceptional services or investing significant resources. Never agree to more than 20% without extraordinary justification.

4. DEFINITION OF GROSS INCOME. "Gross Income" means all income, compensation, and consideration of any kind received by Artist from entertainment-related activities, including but not limited to: recording advances and royalties; publishing advances and royalties; live performance fees and touring income; merchandise sales; sponsorships and endorsements; sync placements; acting, hosting, and appearance fees; and any other entertainment-related revenue.

5. COMMISSION EXCLUSIONS. Manager shall NOT receive commission on:

• Sound recording budgets (only on advances in excess of recording costs)

• Tour support funds (only on profit, not gross touring revenue)

• Income from non-entertainment employment

• Awards, gifts, or prizes

• Income from activities commenced before the Effective Date, unless Manager is actively involved in their continuation

Commission exclusions protect the artist from paying commission on money that is not truly income. Paying 20% commission on a recording budget that goes entirely to studio costs means the artist is subsidizing the manager's commission from their own pocket. Push for these exclusions.

6. MANAGER'S DUTIES. Manager agrees to: (a) advise and counsel Artist on all matters relating to Artist's entertainment career; (b) use reasonable efforts to promote and advance Artist's career; (c) be reasonably available for consultation; (d) attend meetings with Artist and, where lawful, assist in career negotiations alongside Artist's licensed agent or attorney (subject to the procurement limitation in Section 7); (e) coordinate with Artist's attorney, business manager, and booking agent.

7. LIMITATIONS ON MANAGER'S AUTHORITY. Manager shall NOT, without Artist's prior written approval: (a) sign any contract or agreement on Artist's behalf; (b) incur any expense exceeding $____________ on Artist's behalf; (c) collect or receive any income on Artist's behalf (all payments shall be made directly to Artist or Artist's business manager); (d) make any creative decisions regarding Artist's music, image, or brand; (e) procure, offer, promise, or attempt to procure employment or engagements for Artist, except as permitted by applicable law.

This is the most important section for artist protection. NEVER give a manager the authority to sign contracts on your behalf or collect your money. All income should flow through you or your business manager, with the manager receiving their commission from you — not the other way around.

A note on the Talent Agencies Act. In California (Cal. Lab. Code §§ 1700 et seq.) and similar states, only a licensed talent agent may procure employment for an artist. A personal manager who solicits or negotiates employment without a license risks having the procurement-tainted commissions voided and disgorged—the Marathon v. Blasi risk discussed in Chapter 21. (Under the severability rule of that case, the Labor Commissioner reaches the procurement-tainted commissions, not automatically the entire deal—but the exposure is real.) Item (e) and the softened Section 6(d) keep the manager on the right side of that line: career guidance and strategy, with employment procurement referred to a licensed agent (or conducted within a statutory exception, such as the recorded-music carve-out). If you manage in a licensing state, have counsel tailor this clause to your state's statute.

8. ACCOUNTING. Artist shall provide Manager with quarterly statements of Gross Income within 30 days of each calendar quarter. Manager shall have the right to audit Artist's books and records upon 30 days written notice, at Manager's expense, no more than once per calendar year.

9. POST-TERM COMMISSION (SUNSET CLAUSE). After termination of this Agreement, Manager shall continue to receive commission on income from: (a) contracts, agreements, and commitments entered into during the term of this Agreement; and (b) extensions, renewals, or modifications of such contracts. The post-term commission rate shall decrease as follows:

Year 1 after termination: ____________% (typically full commission rate)

Year 2 after termination: ____________% (typically half)

Year 3 and beyond: 0%

The sunset clause is non-negotiable. Without it, a manager could collect full commission on a record deal they negotiated for the rest of the artist's life — even decades after the relationship ended. A declining rate over 2–3 years is standard and fair.

10. PERFORMANCE BENCHMARKS. Manager's option periods (Section 2) may only be exercised if the following minimum benchmarks are met during the preceding term:

• Minimum Gross Income of $____________ per year

• Securing at least ____________ live performance booking(s)

• Securing at least ____________ sync placement(s), brand deal(s), or equivalent opportunity

• Other: ________________________________________

Performance benchmarks ensure the manager is actually working. Without them, a manager can do nothing for two years and still exercise the option to lock you in for another term. Set benchmarks that are reasonable but meaningful.

11. KEY PERSON. If ________________________________________ (the individual primarily responsible for managing Artist's career) ceases to be actively involved in Manager's company, Artist may terminate this Agreement upon 30 days written notice.

12. TERMINATION. Either party may terminate this Agreement: (a) upon material breach by the other party, with 30 days written notice and opportunity to cure; (b) upon mutual written agreement; (c) by Artist if performance benchmarks are not met. Termination does not affect accrued obligations, including post-term commission.

13. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

ARTIST: _______________________ Date: ___________

MANAGER: _______________________ Date: ___________

A collaboration agreement goes beyond a split sheet. Use this when two or more artists or producers are co-creating a project and need to define not just ownership percentages but also decision-making authority, release control, revenue splitting from the master recording, and what happens if someone wants out.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Collaborator A")

And: ________________________________________ ("Collaborator B")

Project: ________________________________________

1. COMPOSITION OWNERSHIP. The parties agree to the following ownership split of the underlying musical composition(s) created under this collaboration:

Collaborator A: ____________% Collaborator B: ____________%

(A separate split sheet shall be executed for each composition.)

2. MASTER RECORDING OWNERSHIP. The master recording(s) shall be owned as follows:

Collaborator A: ____________% Collaborator B: ____________%

Composition ownership and master ownership are separate. One collaborator may own 50% of the song but 0% of the master if the other collaborator financed the recording. Always specify both.

3. DECISION-MAKING. The following decisions require unanimous written consent of all Collaborators:

• Release of the recording on any platform

• Licensing for synchronization, sampling, or any commercial use

• Assignment or transfer of ownership rights

• Selection of distributor, label, or publisher

• Use of the collaboration for merchandise or branding

• Remixing or creating derivative works

4. REVENUE DISTRIBUTION. All income from the master recording(s) shall be distributed according to master ownership percentages (Section 2). All income from the composition(s) shall be distributed according to composition ownership percentages (Section 1). Each Collaborator is responsible for registering their respective shares with their PRO, publisher, and distributor.

5. EXPENSES. Recording costs and production expenses shall be shared as follows: ☐ Equally ☐ Proportional to ownership ☐ Borne by Collaborator ____ ☐ Other: ____________

6. CREDIT. Each Collaborator shall be credited as follows:

Collaborator A: ________________________________________

Collaborator B: ________________________________________

Credits shall appear in all formats including digital metadata, liner notes, and marketing materials.

7. WITHDRAWAL. If a Collaborator wishes to withdraw from the project before completion: (a) the withdrawing Collaborator retains ownership of their contributions to the composition per the split sheet; (b) the remaining Collaborator(s) may complete and release the project, subject to the withdrawing Collaborator's approval rights under Section 3; (c) if the parties cannot agree on release terms, neither party may release the work without written consent.

8. RIGHT OF FIRST REFUSAL. If either Collaborator receives an offer from a third party to acquire, license, or use the collaborative work, the other Collaborator shall have the right of first refusal to match the offer within ____________ business days of written notice.

9. DISPUTE RESOLUTION. Any dispute arising under this Agreement shall be resolved by: ☐ Mediation ☐ Binding Arbitration ☐ Litigation, in the State of ____________.

10. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

COLLABORATOR A: _______________________ Date: ___________

COLLABORATOR B: _______________________ Date: ___________

When a guest vocalist or rapper appears on another artist's track, this agreement defines compensation, credit, and rights. Without it, disputes over whether the feature artist can release the song on their own project, how they're credited, and whether they're owed royalties become common and expensive.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Lead Artist")

And: ________________________________________ ("Featured Artist")

1. RECORDING. Featured Artist agrees to perform vocals on the following track:

Song Title: ________________________________________

Lead Artist Project/Album: ________________________________________

2. COMPENSATION. Lead Artist shall pay Featured Artist:

☐ Flat fee: $____________, payable upon completion of the recording

☐ Royalty: ____________ points on the master recording, retroactive to record one

☐ Both: Flat fee of $____________ plus ____________ points

For emerging artists, a flat fee with no backend is common. For established feature artists, points on the master (typically 1–3 points) are standard in addition to or instead of a flat fee. Major features (A-list guest) may command $10,000–$100,000+ flat fees.

3. PUBLISHING. If Featured Artist contributes to the composition (lyrics, melody):

Featured Artist's composition share: ____________%

(A split sheet shall be executed concurrently.)

☐ Featured Artist's contribution is performance only — no composition share.

4. CREDIT. Featured Artist shall be credited as: "feat. _____________________________" or "featuring _____________________________" on all releases, in all formats, including digital metadata and marketing materials.

5. MASTER OWNERSHIP. The master recording shall be owned by: ☐ Lead Artist ☐ Lead Artist's label ☐ Joint ownership (____________%/____________%)

6. RELEASE ON FEATURED ARTIST'S PROJECT. Featured Artist: ☐ May include the recording on Featured Artist's own project with Lead Artist's prior written consent ☐ May NOT include the recording on Featured Artist's own project ☐ May include the recording on Featured Artist's project without restriction

This is the clause most frequently disputed in feature deals. Decide upfront whether the feature artist can put the song on their own mixtape, album, or playlist. If consent is required, specify whether it can be unreasonably withheld.

7. EXCLUSIVITY HOLDBACK. Featured Artist agrees not to record or release a substantially similar vocal performance for any other artist for a period of ____________ months from the date of recording.

8. APPROVAL RIGHTS. Featured Artist shall have approval rights over: ☐ Final mix (as it relates to Featured Artist's vocal) ☐ Music video (Featured Artist's appearance) ☐ Neither — Lead Artist has full creative control

9. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

LEAD ARTIST: _______________________ Date: ___________

FEATURED ARTIST: _______________________ Date: ___________

Studios frequently bring in interns and apprentices to learn the craft. Without a clear agreement, disputes arise over compensation, credit, intellectual property, and labor law compliance. Federal and state labor laws impose strict requirements on unpaid internships — the work must be primarily educational and benefit the intern, not the business. When in doubt, pay your interns.

This Agreement is entered into as of _____________ ("Effective Date")

Between: ________________________________________ ("Studio")

And: ________________________________________ ("Intern")

1. TERM. The internship begins _____________ and ends _____________, for an anticipated duration of ____________ weeks. Either party may terminate with ____________ days written notice.

2. SCHEDULE. Intern shall be present at the Studio approximately ____________ hours per week, on the following days: ________________________________________. Schedule may be adjusted by mutual agreement.

3. COMPENSATION. ☐ Unpaid educational internship ☐ Paid: $____________ per hour / per session / stipend of $____________

4. PRIMARY BENEFICIARY ACKNOWLEDGMENT (if unpaid). Studio and Intern acknowledge that this internship is structured to comply with the U.S. Department of Labor's “primary beneficiary test” for unpaid internships. The parties agree that: (a) there is no expectation of paid compensation for the internship, and any compensation suggests an employment relationship; (b) the training provided is similar to that which would be given in an educational environment, including clinical and other hands-on training; (c) the internship is tied to or supplements the Intern's formal education program by integrated coursework or the receipt of academic credit; (d) the internship accommodates the Intern's academic commitments by corresponding to the academic calendar; (e) the internship's duration is limited to the period in which it provides the Intern with beneficial learning; (f) the Intern's work complements, rather than displaces, the work of paid employees while providing significant educational benefits; and (g) the Intern and Studio understand that the internship is conducted without entitlement to a paid job at its conclusion.

Some states—California and New York among them—apply their own, stricter tests, so check state law in addition to the federal standard. If the Intern is performing productive work that primarily benefits the Studio rather than the Intern, the internship should be paid. When in doubt, pay your interns.

5. LEARNING OBJECTIVES. The internship is designed to provide educational experience in:

☐ Studio setup and signal flow ☐ Session preparation and management ☐ Recording techniques ☐ Mixing and editing fundamentals ☐ Equipment maintenance ☐ Client interaction and studio etiquette ☐ Other: ________________________________________

6. INTELLECTUAL PROPERTY. All recordings, mixes, and other creative work product produced by Intern during the internship shall be owned by: ☐ Studio ☐ Studio's client (as applicable) ☐ Joint ownership between Studio and Intern for personal/educational projects only

7. CREDIT. Intern may list the internship on their resume and professional profiles. Intern may reference the Studio by name in their portfolio. Intern shall NOT claim engineering, production, or mixing credit on any commercial release without Studio's prior written consent.

Be generous with educational credit but careful with commercial credit. An intern who observes a session should not claim they engineered it. An intern who independently mixes a track under supervision may deserve assistant engineer credit. Discuss case by case.

8. CONFIDENTIALITY. Intern agrees to maintain strict confidentiality regarding: all client information, session details, unreleased material, business operations, and proprietary techniques encountered during the internship. This obligation survives termination of this Agreement.

9. STUDIO EQUIPMENT. Intern shall not operate any Studio equipment without supervision and authorization. Intern shall immediately report any equipment malfunction, damage, or safety concern. Intern shall not remove any Studio property from the premises.

10. CODE OF CONDUCT. Intern agrees to: arrive on time, dress appropriately, maintain a professional demeanor, refrain from consuming alcohol or controlled substances on Studio premises, follow all Studio policies, and treat all personnel and clients with respect.

11. DEMO REEL / PORTFOLIO. At the conclusion of the internship, Intern may use the following for portfolio purposes (with Studio's written approval of specific materials): ☐ Before/after samples of work performed under supervision ☐ Photographs of Intern at work (no clients visible without consent) ☐ Written description of skills learned and tasks performed ☐ None without prior approval

12. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

STUDIO: _______________________ Date: ___________

INTERN: _______________________ Date: ___________

PARENT/GUARDIAN (if Intern is under 18): _______________________ Date: ___________

A booking confirmation protects both parties when time and money are committed before a session begins. It documents the agreed rate, the session date, the deposit terms, and—critically—the payment condition for delivery of final files. The cardinal rule this book teaches in Chapter 21 is simple: never deliver the final files without full payment. This form makes that rule enforceable.

Invoice No.: ____________ Date: ___________

This Agreement is entered into as of _____________ (“Effective Date”)

Between: ________________________________________ (“Studio”)

And: ________________________________________ (“Client”)

1. SESSION DETAILS.

Date(s) of Session: ________________________________________

Studio Room: ________________________________________

Lead Engineer: ________________________________________

Project Description: ________________________________________

2. RATES.

☐ Hourly Rate: $____________ per hour, minimum ____________ hours

☐ Day Rate (Lock-out): $____________ for ____________ hours (__ AM to __ PM)

Overtime (beyond booked hours): $____________ per hour, billed in ____________ increments.

Overtime begins immediately at the end of the booked period. Agreeing to overtime in the room does not waive the rate; it confirms it. If Client extends the session, the overtime rate applies from minute one of the extension.

3. DEPOSIT AND CANCELLATION.

Deposit Required: $____________ (____% of total estimated fee), due by _____________.

The deposit is non-refundable if Client cancels within ____________ hours of the session start time. Cancellation with more than ____________ hours notice: ☐ Deposit applied to rescheduled session ☐ Deposit refunded in full ☐ Deposit forfeited.

A clear cancellation window—typically 48–72 hours—protects the studio's ability to rebook the time. Be explicit. Ambiguity about refund vs. credit has ended more than one client relationship.

4. MEDIA, STORAGE, AND CONSUMABLES.

Hard Drive or Storage (if applicable): ☐ Supplied by Studio: $____________ ☐ Supplied by Client

Tape Stock (if applicable): $____________ per reel

Digital Transfer / File Prep Fee (if applicable): $____________

Other: ____________________________________ $____________

5. PAYMENT TERMS AND DELIVERABLES.

Total Estimated Fee: $____________

Balance Due at Session End: $____________

Payment Method: ☐ Cash ☐ Check ☐ ACH / Wire ☐ Credit Card ☐ Other: ____________

Late Payment: Unpaid balances accrue interest at ____% per month (not to exceed the maximum rate permitted by applicable law) after ______ days from session date. Studio reserves the right to charge a $___________ collection fee, plus reasonable attorneys' fees and costs of collection, for invoices referred to a collection agency or attorney.

Deliverables are conditioned on full payment. Studio shall deliver the following upon receipt of full payment:

• Session files (native format, as-recorded): ☐ Yes ☐ No

• Mixed stems: ☐ Yes ☐ No

• Final mixed stereo WAV (specify format): ____________________________

• Final mastered stereo WAV: ☐ Yes ☐ No

• Other: ________________________________________

The “deliverables upon full payment” clause is not a bargaining chip—it is a discipline. Chapter 21 addresses this directly: a studio that releases work before collecting payment has no leverage and no recourse. The client's leverage is the session; the studio's leverage is the files. Do not give away your leverage before the session is paid.

6. STUDIO POLICIES.

Client agrees to abide by all Studio house rules, including but not limited to: no unauthorized guests beyond the agreed number; no controlled substances; no equipment removal; proper care of all Studio gear.

Client is responsible for the full session rate regardless of how many hours are productively used. If the session runs short at Client's election, the agreed rate for the booked period is still owed.

7. OWNERSHIP OF RECORDED MATERIAL.

Ownership of the master recordings created in this session is governed by a separate agreement (Work-for-Hire, Producer Agreement, or other). In the absence of a separate agreement, upon receipt of full payment of all amounts owed under this Invoice, Studio assigns to Client all of Studio's right, title, and interest—including copyright—in and to the recordings made during the session, and waives any claim of joint authorship in them. Until full payment is received, Studio retains possession of all session media and files.

Copyright transfers must be in a signed writing (17 U.S.C. §204(a)). This clause makes the signed invoice that writing—no later dispute about who owns what—and the files stay in the studio's hands until the balance clears.

8. LIABILITY; CLIENT MATERIAL.

Studio's total liability for any loss, corruption, or accidental erasure of recordings—whether from equipment failure, storage failure, or otherwise—is limited to re-performing the affected services or refunding the fees paid for the affected session, at Studio's election. Studio is not liable for indirect or consequential damages, including lost profits or lost opportunities. Client is responsible for maintaining backup copies of all files after delivery.

Client represents that all material Client brings to or records in the session—including beats, samples, interpolations, and guest performances—does not infringe any third party's rights, and that clearing any third-party content is Client's sole responsibility. Client shall indemnify Studio against claims arising from material Client supplied.

The first paragraph is the clause studio insurance carriers expect: hard drives fail, and a studio that absorbs unlimited liability for a client's lost album is betting the business on a $100 drive. The second paragraph keeps someone else's uncleared sample from becoming the studio's lawsuit.

9. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

STUDIO: _______________________ Date: ___________

CLIENT: _______________________ Date: ___________

This form addresses the composition copyright in a sampled or interpolated work—the underlying melody, lyrics, and arrangement owned by the songwriter(s) and their publisher. It is distinct from the Master Use License (Form 9), which addresses the specific sound recording. When a new production samples an existing recording, both licenses are required: this form from the publisher (composition side) and Form 9 from the label or master owner (recording side). When the new production re-records the melody or lyrical hook rather than using the original recording, only this agreement is needed.

This Agreement is entered into as of _____________ (“Effective Date”)

Between: ________________________________________ (“Licensor”—Publisher(s) and/or Songwriter(s) controlling the Composition)

And: ________________________________________ (“Licensee”—Artist, Label, or Production Entity)

1. SAMPLED / INTERPOLATED COMPOSITION.

Title of Original Composition: ________________________________________

Original Artist (as recorded): ________________________________________

Original Songwriter(s): ________________________________________

Publisher(s) and Ownership Percentages: ________________________________________

ISWC (if available): ________________________________________

2. PORTION USED.

Description of the portion of the Composition incorporated in the New Composition:

☐ Lyrical interpolation: ________ lines beginning with: “__________________________”

☐ Melodic sample or interpolation: describe the hook / passage: ________________________

☐ Duration (if sample): ____________ seconds

☐ Harmonic / structural element: ________________________________________

Be specific. Vague descriptions of the portion create disputes when the release triggers mechanical or sync royalties. Publishers and their auditors will scrutinize this clause.

3. NEW COMPOSITION.

Title of New Composition: ________________________________________

Performing Artist: ________________________________________

Label / Releasing Entity: ________________________________________

4. GRANT OF RIGHTS.

Licensor grants Licensee the non-exclusive right to incorporate the above-described portion of the Original Composition into the New Composition and to:

• Reproduce and distribute the New Composition in all audio-only formats (physical, digital download, streaming)

• Synchronize the New Composition in visual media: ☐ Yes, per a separate sync license ☐ No—audio-only release only

• Publicly perform the New Composition, with performance royalties collected by each party through its own PRO per the Section 5 splits

• Term: ☐ In perpetuity ☐ Limited to ____________ years

• Territory: ☐ Worldwide ☐ Limited to ____________

5. OWNERSHIP OF NEW COMPOSITION.

The parties agree that the New Composition shall be owned as follows:

Licensor's share (reflecting the sampled / interpolated portion): _____%

Licensee's writers' share (new original contributions): _____%

Total must equal 100%. A split sheet shall be executed concurrently.

The ownership split is the central negotiation. There is no statutory rate for a composition sample or interpolation—unlike a mechanical license for a cover, which has one. The publisher asks for as much as possible; the artist's team negotiates down based on how central the sampled element is to the new composition. One-bar hook: expect 20–50% or more. Background texture: perhaps 5–15%. If the original hook is the chorus of the new song, budget accordingly.

6. COMPENSATION.

☐ Flat fee advance: $____________, recoupable against Licensor's ongoing share of income

☐ No advance; Licensor participates on an ongoing basis only

☐ Ongoing share: Licensor receives ____% of the Composition's net publishing income (mechanical, performance, sync, print) in proportion to Licensor's ownership percentage in Section 5.

Payment shall be made quarterly, within 30 days of each calendar quarter, accompanied by an accounting statement. This accounting obligation applies only to income collected by Licensee; royalties that flow to Licensor directly through its PRO, the MLC, or its own publisher are outside it.

7. MOST FAVORED NATIONS (MFN) WITH MASTER SIDE.

If Licensee secures a Master Use License (see Form 9) for the sound recording of the Original Composition on financial terms more favorable than those granted in this Agreement (measured on a per-percentage-point-of-ownership basis), Licensor shall receive no less favorable terms.

Most-Favored-Nations protects the publisher from being paid less than the label for the same use. Because composition and master-side rates are negotiated separately, MFN ensures parity. Always include it if you are the publisher; push back on it if you are the licensee and the master-side deal is unusually expensive.

8. CREDIT.

The Original Composition and its songwriter(s) shall be credited on all commercial releases in the following manner: ________________________________________

Cue sheets filed with applicable PROs (ASCAP, BMI, SESAC, GMR) shall reflect the agreed ownership percentages in Section 5 within ____________ days of release.

The cue sheet credit is not optional—it is how the original writers get paid for every performance of the new composition on streaming, radio, and television. Correct cue sheet filing is the publisher's operational priority; require a deadline and confirm compliance.

9. NO OBLIGATION TO RELEASE.

Nothing in this Agreement obligates Licensee to release the New Composition. If the New Composition is not commercially released within ____________ months of the Effective Date, this license: ☐ Expires, and all rights granted herein revert to Licensor ☐ Remains in effect indefinitely.

10. REPRESENTATIONS AND WARRANTIES.

Licensor represents and warrants that: (a) Licensor controls the rights to the portion of the Original Composition described in Section 2 and has the authority to grant this license; (b) the grant will not infringe upon the rights of any third party; (c) Licensor has not previously granted any exclusive right in the Original Composition that would conflict with this Agreement.

Licensee represents and warrants that: (a) Licensee has not released and will not release the New Composition until this clearance is fully executed; (b) Licensee will register the New Composition with the applicable PROs with the correct ownership splits before or upon commercial release.

Each party shall indemnify the other against losses arising from its own breach of the representations and warranties above.

11. GOVERNING LAW. This Agreement shall be governed by the laws of the State of ____________.

LICENSOR: _______________________ Date: ___________

LICENSEE: _______________________ Date: ___________

As AI voice cloning moves from novelty to everyday studio tool (Chapters 21 and 22), the single most important protection you can add to any session paperwork is an explicit statement that paying for a performance does not buy the right to clone it, synthesize it, or train an AI on it. This rider attaches to any of the agreements above and supplies exactly that. Like every form in this appendix it is a starting template, not legal advice; adapt it to the governing jurisdiction and the specific deal before use.

This Rider supplements the agreement to which it is attached (the “Agreement”) and controls over any conflicting term. Capitalized terms not defined here have the meanings given in the Agreement.

1. NO SYNTHETIC REPLICA WITHOUT CONSENT. No party may create, commission, deploy, or distribute an artificial-intelligence or machine-learning model, clone, or synthetic replica of any contributor's voice, vocal performance, name, image, or likeness (a “Voice Model”) derived from the recordings, performances, or materials delivered under the Agreement, except under a separate written agreement signed by that contributor that specifies the permitted uses and the compensation.

2. SEPARATE COMPENSATION. Any use described in Section 1 is a separate, compensable use. Payment under the Agreement for recording, production, or performance services does not include, and shall not be construed to grant, any right to create or exploit a Voice Model. Consent to one such use is not consent to any other.

3. NO TRAINING WITHOUT PERMISSION. The contributor's recordings, performances, voice, name, image, and likeness shall not be used, in whole or in part, as training data for any artificial-intelligence or machine-learning system, nor licensed or transferred to any third party for that purpose, without the contributor's separate, express, written permission. This restriction binds the contracting party, its successors, assignees, and any third party to whom the masters or stems are delivered.

4. SCOPE AND DURABILITY. Sections 1–3 apply regardless of the medium, territory, format, or manner in which any output is ultimately used (including temporary, placeholder, “temp VO,” demo, internal, or non-commercial use), and apply whether the Voice Model is built from a formal delivery or from material otherwise obtained.

5. DISCLOSURE. Where artificial intelligence materially contributes to a delivered vocal or master, the contributing party shall disclose that contribution in the metadata and credits of the released work, consistent with prevailing industry standards (for example, DDEX AI-disclosure credits and content-provenance practices such as C2PA Content Credentials).

6. COMPLIANCE WITH LAW. Each party shall comply with applicable name-image-likeness, right-of-publicity, and synthetic-media laws, including as they evolve. Nothing in the Agreement waives any right a contributor holds under such laws, and any such purported waiver is void to the extent the law makes the right non-waivable.

7. REMEDIES; SURVIVAL. A breach of this Rider may cause irreparable harm for which monetary damages are inadequate; the affected contributor is entitled to seek injunctive relief in addition to any other remedy. This Rider survives the expiration or termination of the Agreement.

CONTRIBUTOR: _______________________ Date: ___________

COMPANY / OWNER: _______________________ Date: ___________

Most engineers assume that if they never signed anything, they own nothing in the recording. The opposite can be true. A sound recording is not one of the nine categories that can be made a “work made for hire” by agreement under § 101 of the Copyright Act—Congress removed sound recordings from that list in the Work Made for Hire and Copyright Corrections Act of 2000. So unless the engineer is a true employee (judged by the common-law agency factors of CCNV v. Reid, 490 U.S. 730 (1989)) or has signed an assignment (§ 204(a) requires a signed writing), an independent contractor who contributes copyrightable authorship to a master may retain a copyright interest in the recording by default. This form settles the question in writing—either by assigning the interest to the owner (Path A) or by letting a freelancer paper a retained position before the session (Path B).

Who owns this master?—a quick path — (1) Did you contribute copyrightable authorship (producing, performing, programming, or shaping the recorded expression)? If no, you have no ownership/copyright interest. (2) Were you a W-2 employee creating it within the scope of your job? If yes, it is a work made for hire and the employer owns it (§ 201(b)). (3) If you were an independent contractor (1099), the “work for hire” label alone does not transfer a sound recording—only a signed assignment does, and even that stays terminable by you 35 years out under § 203. (4) Contributing does not automatically make you a joint author of the whole master (Aalmuhammed v. Lee, 202 F.3d 1227 (9th Cir. 2000))—joint authorship also takes control over the work and a mutual intent to be co-authors. Without that authorship status or a signed agreement, you may have no enforceable ownership in the recording at all. The fix in every direction is a signed writing.

Recording(s): ________________________ Artist / Project: __________________

Owner (Studio / Label): __________________ Contributor (Engineer / Mixer / Producer): ____________

Session date(s): ____________ Effective date: ____________

1. STATUS (check one). For the Recording(s), the Contributor performed services as:

☐ Employee of Owner, within the scope of employment (W-2). The Recording is a work made for hire; Owner is the author and owner under § 201(b).

☐ Independent contractor (1099). No work-for-hire arises for a sound recording by agreement alone; ownership moves only by the assignment in Section 2 or is reserved per Section 3.

2. PATH A — ASSIGNMENT TO OWNER. The Contributor irrevocably assigns to Owner all right, title, and interest (including copyright) in the Contributor's contributions to the Recording(s), worldwide, for the full term and all renewals. To the extent any contribution qualifies as a work made for hire, it is so deemed; to the extent it does not, the Contributor assigns it under this Section. The Contributor will execute further documents reasonably needed to perfect the transfer. Credit: __________ Fee: $_______ ☐ producer points ____% ☐ LOD attached.

3. PATH B — RESERVATION BY CONTRACTOR. The Contributor is an independent contractor and retains all copyright in their contributions, granting Owner only a non-exclusive license to use the Recording(s) for the Project, conditioned on: ☐ full payment of $_______ ☐ credit as __________ ☐ producer points ____% ☐ LOD on file. No assignment or work-for-hire is intended, and none arises by implication.

4. GENERAL. No oral modification. Governed by the law of ____________. The status election in Section 1 reflects the parties' actual working relationship, not merely this label.

CONTRIBUTOR: _______________________ Date: ___________

OWNER: _______________________ Date: ___________

Citations: 17 U.S.C. §§ 101, 201, 203, 204(a); Work Made for Hire and Copyright Corrections Act of 2000, Pub. L. 106-379; CCNV v. Reid, 490 U.S. 730 (1989); Aalmuhammed v. Lee, 202 F.3d 1227 (9th Cir. 2000). Educational template, not legal advice—consult counsel before signing.