Fair vs. Predatory Contracts

The red flags, in plain sight

• "In perpetuity" / no end date. Fair deals expire or let you exit. A grant of rights with no term and no way out is a rights-grab.
• Grabbing more than the project. Watch language that quietly sweeps in your whole catalog, future songs, your name, or your social accounts — not just the record in front of you.
• Vague money. "Industry standard splits" is not a number. A fair deal states the percentage, who pays whom, and when.
• Recoupable everything. If every advance, every expense, even the lunch is charged back against your royalties, you can "succeed" and still see nothing.

License vs. assignment — the difference that matters most

A license is a rental: you keep ownership and let someone use the work under set terms, for a set time. An assignment is a sale: ownership actually leaves your hands. Predatory deals love to dress an assignment up in friendly language so it reads like a partnership. Ask outright: "At the end of this, do I still own my masters and my publishing?" If the answer is no, price that in.

The "work-for-hire" trap

If a contract calls you a "work made for hire," it can mean the company — not you — is treated as the author/owner of what you make. That is normal for some session and staff situations, and a disaster if it is buried in a deal where you thought you were keeping your rights. Never sign a work-for-hire clause without understanding exactly what it hands over.

This is general education, not legal advice — Done Deal Digital is not a law firm. The right move always depends on your exact deal, your state, and the wording in front of you. Before you sign anything, run it past a qualified music attorney.