Recording - March 2011 - 45

c. Territory. It is important for the artist to define where the agent will perform his or her services. When an artist is beginning his/her career, most agents will want worldwide rights. As the artist becomes more successful, the artist may have the leverage to exclude certain countries or regions outside of the United States. If the agency is relatively small and has no foreign offices, the artist will want to hire a foreign agent who has the necessary relationships and experience to assist the artist in setting up a tour and/or otherwise booking the artist. d. Agent’s Commission. A standard agent’s commission is 10% to 15% of the artist’s gross fees—in nearly all agreements, the agent’s commission will be taken “off the top”.The issue for most artists: what rights, if any, does an agent have to collect a commission for an engagement that occurs after the agent agreement expired or was terminated? This issue should be addressed in advance (in the agreement), so that the parties can avoid a dispute. It is common to permit the agent to his/her commission on these post-term engagements assuming the agent worked on the particular matter. However, if the artist terminated the agreement due to the agent’s failure to provide the services or engaged in fraud or other misconduct, the agent should not be permitted to collect any commission on post-term engagements. Next time, we begin a detailed look at the role of the producer in the world of the recording musician, and the legal and business and creative areas in which this individual influences the process and the final product. See you then. Todd Gascon (gascon@recordingmag .com) is a technology and entertainment attorney at ZentLaw in Sunnyvale, California. Mr. Gascon’s practice is focused in the areas of intellectual property law, including copyrights and trademarks, with a particular emphasis on digital media, music, motion pictures, visual arts and all entertainment issues relative to the Internet. For more information on Todd and ZentLaw, visit www.zentlaw.com. Bruce Kaphan (kaphan@recordingmag .com) is a producer/engineer/musician/ composer who currently lives in the San Francisco Bay Area. For a discography and more information on Bruce, visit www.brucekaphan.com.
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http://www.ribbonmics.com http://www.betamonkeymusic.com http://www.zentlaw.com http://www.betamonkeymusic.com http://www.brucekaphan.com

Recording - March 2011

Table of Contents for the Digital Edition of Recording - March 2011

Recording - March 2011
Fade In
Contents
Talkback
2010 Winter NAMM Show Report
Tom Silverman: On Songwriters and the New Reality of the Music Business
Shure KSM44A and KSM42 Microphones
Songwriter/Producer—A Hit-Making Combination: An Interview with Sebastian Arocha Morton
The 3 “Ps” of Songwriting: Present, Protect, Promote
Plug-In Outlet
MOTU UltraLite-mk3 Hybrid Audio Interface
Daking Audio FET III Compressor
Reviewed and Revisited: Sony Sound Forge Pro 10
It’s Your Music—Know Your Rights. Chapter 12: The Role of the Agent
Reviewed and Revisited: Avid Pro Tools 9
Readers’ Tapes
In the Studio: Recording Not Forgotten: Three Scenes for Violin and Piano
Roland Juno-Gi
DAW Details
Advertiser Index
Fade Out
Recording - March 2011 - Recording - March 2011
Recording - March 2011 - Cover2
Recording - March 2011 - 1
Recording - March 2011 - Fade In
Recording - March 2011 - 3
Recording - March 2011 - Contents
Recording - March 2011 - 5
Recording - March 2011 - Talkback
Recording - March 2011 - 7
Recording - March 2011 - 2010 Winter NAMM Show Report
Recording - March 2011 - 9
Recording - March 2011 - 10
Recording - March 2011 - 11
Recording - March 2011 - 12
Recording - March 2011 - 13
Recording - March 2011 - 14
Recording - March 2011 - 15
Recording - March 2011 - 16
Recording - March 2011 - 17
Recording - March 2011 - 18
Recording - March 2011 - 19
Recording - March 2011 - Tom Silverman: On Songwriters and the New Reality of the Music Business
Recording - March 2011 - 21
Recording - March 2011 - 22
Recording - March 2011 - 23
Recording - March 2011 - Shure KSM44A and KSM42 Microphones
Recording - March 2011 - 25
Recording - March 2011 - Songwriter/Producer—A Hit-Making Combination: An Interview with Sebastian Arocha Morton
Recording - March 2011 - 27
Recording - March 2011 - 28
Recording - March 2011 - 29
Recording - March 2011 - The 3 “Ps” of Songwriting: Present, Protect, Promote
Recording - March 2011 - 31
Recording - March 2011 - 32
Recording - March 2011 - 33
Recording - March 2011 - Plug-In Outlet
Recording - March 2011 - 35
Recording - March 2011 - 36
Recording - March 2011 - 37
Recording - March 2011 - MOTU UltraLite-mk3 Hybrid Audio Interface
Recording - March 2011 - 39
Recording - March 2011 - Daking Audio FET III Compressor
Recording - March 2011 - 41
Recording - March 2011 - Reviewed and Revisited: Sony Sound Forge Pro 10
Recording - March 2011 - 43
Recording - March 2011 - It’s Your Music—Know Your Rights. Chapter 12: The Role of the Agent
Recording - March 2011 - 45
Recording - March 2011 - Reviewed and Revisited: Avid Pro Tools 9
Recording - March 2011 - 47
Recording - March 2011 - Readers’ Tapes
Recording - March 2011 - 49
Recording - March 2011 - In the Studio: Recording Not Forgotten: Three Scenes for Violin and Piano
Recording - March 2011 - 51
Recording - March 2011 - Roland Juno-Gi
Recording - March 2011 - 53
Recording - March 2011 - 54
Recording - March 2011 - 55
Recording - March 2011 - 56
Recording - March 2011 - 57
Recording - March 2011 - 58
Recording - March 2011 - 59
Recording - March 2011 - DAW Details
Recording - March 2011 - 61
Recording - March 2011 - 62
Recording - March 2011 - 63
Recording - March 2011 - 64
Recording - March 2011 - Advertiser Index
Recording - March 2011 - 66
Recording - March 2011 - 67
Recording - March 2011 - 68
Recording - March 2011 - 69
Recording - March 2011 - 70
Recording - March 2011 - 71
Recording - March 2011 - Fade Out
Recording - March 2011 - Cover3
Recording - March 2011 - Cover4
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