By Bobby Owsinski • April 7, 2014 The second thing is an agreement stating the terms of how much and under what circumstances you’ll get paid. While you should go to an attorney to get this drawn up, this can cost you money that you don’t have or don’t want to spend on a project that may never pay off. Even if it’s only a single page long, just be sure to get it in writing because people have a tendency to forget or remember differently over time and it pays to have something on paper. At the very least, put down what songs you’ve worked on (or going to work on), the amounts agreed upon, and a time frame that you’ll get paid (example—30 days after signing a major or indie label agreement), and how you’ll get paid (“in full by cashiers check”) just so no one forgets. This may not be legally binding or may have plenty of holes that a high-priced lawyer can drive a truck through, but if the people you’re dealing are on the up and up, you’ll at least have a piece of paper to remind everyone of your contribution to their success and how you all agreed you’d be compensated. Charge an hourly rate. The safest way to go as long as you can get paid, an hourly rate means that when you inevitably spend that extra week on overdubs or mixing, you’ll get paid for the time you’re putting in. The hourly rate keeps people focused and stops them from adding those extra 5 overdubs “just to see what they sound like,” or from trying 10 more takes when you all agreed that number 3 was great. A combination of the above. Many times payment consists of a little bit of money or a little bit of spec, some items at a flat rate and some at hourly, or some combination. Try not to get too complicated. A simple deal works best for everyone, especially when it comes to getting paid. Just realize that there are a lot of options available. There are a lot of good books on the subject of how to structure a deal for yourself that are much more comprehensive then what was just laid out above. Even if you decide not to read them, get an attorney if it means any money more than what the attorney will cost. At the very least, always get it in writing. Bobby Owsinski is an author, producer, music industry veteran and technical consultant who has written numerous books covering all aspects of audio recording. For more information be sure to check out his website and blog. Get The Music Producer’s Handbook here. Read the rest of this post 1 2 About Bobby Bobby Owsinski Music Industry Veteran and Technical Consultant Bobby Owsinski is an author, producer, music industry veteran and technical consultant who has written numerous books covering all aspects of audio recording. To read more from Bobby, and to acquire copies of his outstanding books such as The Recording Engineer’s Handbook, be sure to check out his website at www.bobbyowsinski.com. http://www.bobbyowsinski.com/ Comments Have something to say about this PSW content? Leave a comment! Cancel reply Scroll past the ”Post Comment” button below to view any existing comments. Your email address will not be published. Required fields are marked *Comment Name * Email * Website This site uses Akismet to reduce spam. Learn how your comment data is processed. Tagged with: Audio Basics Bobby Owsinski Business Engineer Producers Recording Technician · all topics Subscribe to Live Sound International Subscribe to Live Sound International magazine. Stay up-to-date, get the latest pro audio news, products and resources each month with Live Sound.