Mixer Agreements

For shorter bookings – say a battery tracking day – it`s not very common to get a signature, but email can be a good way to validate oral chords. My emails usually say something like, “Only wanted to confirm that we`re for Friday lunch and we`ll follow for ten hours at a $X/hour rate (dinner breaks are rewarding). Don`t forget to bring your cheque book, and I`ll bring an invoice so we can settle our accounts when we`re done. I suggest you try to get some kind of confirmation response from the other party by acknowledging that the message has been received and that the conditions are as you both understand it. Even a one-word response (“ok”) implies that they read your email, that they understand the terms and that a valid contract is thus cemented. At least once, these emails revealed a misunderstanding between me and a client. Another common treaty is the form of liberation, essentially the opposite of a shared letter. Sometimes I joke about the publication forms and I say, “Sign here to make sure you never get a penny back from your participation in this song.” It`s funny because it`s true. A publication form states that the undersigned did the “work for rent” and released ownership of the benefit, including a right to copyright or future compensation. These forms often involve the publication of a term of arrangement, a somewhat vague term, which can cross the blurred border towards composition.

As you can see, there is a potential here for Murkiness, but it can usually be easily removed by using a standard release form. In the United States, the federal Work for Hire Act requires such agreements to be signed before a party provides services, so it is best to sign them before a meeting begins. If you`re producing, it`s a good idea to have standard “Sideman” or “Sideperson” sharing forms handy for session players, although I`ve also signed them up as an engineer (mix is often considered legally a performance, and I sometimes play on meetings that I am, engineering).