{"id":4680,"date":"2018-12-19T20:53:35","date_gmt":"2018-12-20T01:53:35","guid":{"rendered":"http:\/\/utopsie.com\/work\/menonb\/le-beatmaker-quels-sont-ses-droits\/"},"modified":"2020-06-11T13:07:31","modified_gmt":"2020-06-11T17:07:31","slug":"beatmakers-know-your-rights","status":"publish","type":"post","link":"https:\/\/utopsie.com\/work\/menonb\/en\/beatmakers-know-your-rights\/","title":{"rendered":"BEATMAKERS: KNOW YOUR RIGHTS (3\/3)"},"content":{"rendered":"

The final installment of this three-part series on sampling and beatmaking answers another frequently asked question: what do beatmakers do and what are their rights?<\/p>\n

To begin, let us first differentiate the beatmaker from the role of producer.<\/p>\n

Generally speaking, a producer is responsible for (1) performing administrative tasks related to the recording of a work, (2) coordinating recording sessions between musicians, (3) ensuring creative cohesion within the recording, and (4) more broadly speaking, delivering the final recording to the maker \u2013 generally the label.<\/p>\n

The beatmaker is the creator of the instrumental part of a musical work.<\/p>\n

In other words, they are the composer<\/u>. Since they often personally deliver the recording to the maker, they are usually also the performer<\/u> and producer<\/u>.<\/p>\n

[At the risk of having opened Pandora’s box, I must make it clear: the roles can be cumulative, and nothing prevents one from fulfilling the roles of the other!]<\/p>\n

Here is a rundown of a beatmaker’s rights.<\/p>\n

THEIR RIGHTS IN THE MUSICAL WORK\u2026<\/strong><\/h4>\n

composer<\/strong> \u2013  Since authors and composers generally share the copyright of the musical work (lyrics\/music) 50\/50, it goes without saying that the beatmaker, as the beat\u2019s composer, owns 50% of the total rights to the work… and thus 50% of the publishing rights<\/a> and publishing royalties<\/a> \u2013  provided, of course, that they are the sole composer in the musical work!<\/p>\n

The fact that their beat contains a sample does not make it any less original: if the instrumental work of the beatmaker meets the criteria<\/a>, the beatmaker benefits from the rights conferred on him by law as a composer.<\/p>\n

THEIR RIGHTS IN THE SOUND RECORDING\u2026<\/strong><\/h4>\n

performer<\/strong> \u2013 Like guitarists or saxophonists, beatmakers have a right in their recorded performances. Although the virtuoso quality or technical nature of their performance is often disputed, their performance is no less there.<\/p>\n

In other words, not only do beatmakers have the right to authorize the exploitation of their beats, they can also collect royalties as composers and performers.<\/p>\n

maker<\/strong> \u2013 Moreover, in (generally) assuming all the costs associated to the production of the recording, the beatmaker could also assert their copyright as a maker.<\/p>\n

That said, when a performer or a record labels commissions and buys a beat to be mixed with other instrumentals, it is essential to establish who the rights holders are in an agreement\u2026 otherwise, the exploitation of the recording could be halted!<\/p>\n

THEIR RIGHTS WHEN THE BEAT CONTAINS A SAMPLE\u2026<\/strong><\/h4>\n

If a beatmaker includes a sample of another work (with proper authorization of course!), they may have to share their copyright and publishing royalties with the sample\u2019s rights holders. Similarly, and as discussed before<\/a>, there must also be a release of rights from the rights holders, i.e. the producer and the performer.<\/p>\n

_________________________________________________________________________________________<\/p>\n

Over the course of three weeks, I discussed three issues brought up in the BEATMAKERS docuseries that I face in my daily practice. The subject matter is vast, and there are an infinite number of scenarios, we have only scratched the surface. I invite you to share any additional questions you might have. I will be happy to answer them via email… or in future posts!<\/p>\n

As always, do not hesitate to contact me for any questions!<\/p>\n

:: Photo credit : Samuel Zeller<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The final installment of this three-part series on sampling and beatmaking answers another frequently asked question: what do beatmakers do and what are their rights? To begin, let us first differentiate the beatmaker from the role of producer. Generally speaking, a producer is responsible for (1) performing administrative tasks related to the recording of a… Read more »<\/a><\/p>\n","protected":false},"author":2,"featured_media":3890,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"image","meta":{"_acf_changed":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[237,241,242,239],"tags":[168,166,187],"jetpack_publicize_connections":[],"acf":[],"yoast_head":"\nBEATMAKERS: KNOW YOUR RIGHTS (3\/3)<\/title>\n<meta name=\"description\" content=\"Beatmakers usually create the heart of the musical work, yet their rights are still often misunderstood: what are they?\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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