How many of you have contracts for your bookings? If so what is included in your contract. Are there any good places to get a ready made contract?

I"m having an attorney work on new ones for me.

Since I'm offering discounted services, they(the client) needs to provide help(aka "backs") to move my gear and set/strike load in/out.

I state I do NOT play outside discs, that basic recording is INCLUDED but they have to pay for duplicates of those masters. Includes date, location, client name/phone, deposit, balance, time event starts, time I can get in, expected end time of event(I don't enforce that unless it gets abusive, hasn't yet). Contracts must be returned and in my possession a full 48 hours before the truck rolls.

Ready made contracts? Haven't seen any for what we do. It's a bit too specialty. I am having the attorney I work with provide mine as a MS Word file so I can modify it as needed(insert names, dates, details) and then generate my own PDF, as well as a blank contract for PDF for those who wish to start the process without me.

I've been screwed going on the "handshake" method, as well as via my father in law taking bookings on my behalf. he didn't screw me, but the people who said they'd hire me then screw me over. Now I've been labeled as "hard to deal with" because I want a contract, I want a guarantee and I don't want to take any crap. But, since I'm largely not doing weddings, I have fewer problems.

2 years ago, 90 minutes into the event, the band called to officially flake out. Killed my entire wedding season. Trust me, it was a deliberate screw job. If it wasn't for my conpany that band would be unable to work. Now they got themselves some "rep", now they worked with their manager/mouthpiece who instructed them to f*ck me over like this. 100% screw job. But that's in part why I won't deal with weddings anymore. Brides don't want contracts, grooms don't give a damn, and bands don't like being "obligated" with a contract.

Make sure that your contract states payment terms, deposit and balance, and what services you are going to provide: PA, lighting, MICROPHONES(some people want to make speeches). Make sure you get the "start time" and "end time". How you deal with over-time is up to you. For me, I had one client get borderline abusive by going 2 hours over, but it was a band event so I said "screw it, just keep playing", but it is NOT unusual to charge extra for such extra time. I had one couple demand we go long, and I had to refuse only because everyone had left and the party was over. It took additional convincing of their party to say "look, it's over, time to go home".

It's just super important to specify what you are and are not going to do.

Like, I always get people saying "can you play this CD" and I say "yes", but I don't play it. Then they get pissy and say "You said you would play it" and I say "You asked if I could play it, not if I would play it. I COULD play it, but I am not going to, because my contract clearly states no outside CD's". Last thing I want to deal with is a scratched to hell CD full of crappy MP3's converted to regular 16-bit PCM 44.1 audio, then they whine at me when it starts skipping.

I also have an "all off/termination" clause". Should an unauthorized person use my stuff, that's it, it's over. I had to do this once as this one ignorant girl decided she's gonna play DJ while I had to go to the restroom. Bad move! It was in the contract: no unauthorized users!

You also need to have a statement saying you are not liable for any injuries at the event and you are to be held harmless in case of any disasters. Not saying you shouldn't have insurance, but if some idiot decides to knock down your lights or speakers on sticks and it falls on themselves or another drunken partier, that "this ain't your fault" and you shouldn't be held accountable for guest stupidity.

CYA. ALWAYS!!

Hi folks.
I'm brand new to the forum, but I have a bit of experience with this, so here goes.

After 17 years of pro theatre work, we've now moved into live audio and lighting support services as well. In doing so, I've approached club owners and other venue owners the same way for DJ gigs and corporate parties as I would for a live theatrical event, dance performance, or other live act, all of which should have very detailed line items regarding all requirements, including timeframes.

First, we verbalize to the owner/producer/production staff exactly what we see our responsibilities are and then verify that they agree and then create the contract in writing. Once, we had to do this standing in the desert, writing on the inside of a Wendy’s bag, with 70 mile/hr winds hitting us. However, it had to be done, in writing of some form and signed by both parties, regardless of whether it’s your formal Form of Agreement, or handwritten on the fly.

Our agreement always includes:

-exact date(s) of the event
- the load in time (and whether or not we can be early)
-blocking rehearsals (if a wedding, we try to be present at rehearsal, if a corporate speaker, we have them in for maybe just half an hour to make sure we know how they intend to move, what props, video type and cabling, etc)
-intended closing time (intended is the key word here. Find out what that means to your client. Be blunt.)
-hard shut down of performance (for DJs: exactly when the music will be OFF, for dances/corporate parties etc. when lights come on)
-hard exit times for load out, because sometimes it may be advantageous for us, or the venue, to load out the next day, or to leave equipment for another production, etc.
-exactly what duties our staff will be performing (and, sometimes even more importantly, NOT performing)
-specification of our power requirements
-who from our company will be there (by name) and what duties they will perform exactly
-stipulation of proof of venue insurance so that our company’s insurance is the secondary insurance and the venue’s insurance is the primary. This is really important. Make sure your insurance is adequate for what you do.
-legal stipulations, including who is responsible for the execution of the contract, which state’s laws the contract revolves around, and an article that explains that both parties agree to formal arbitration before litigation if problems cannot be resolved by the signing parties. This last part has actually kept us out of a huge lawsuit between a contractor and owner. They are still in court 2 years later. We had nothing to do with the suit anyway, but were dragged into it (as so often happens) with everyone involved in the show. However, we were the only party with a contract that held up, and we were awarded a summary judgment and dismissed from the case. (True story. Best advice I received when I started was to hire a small business attorney to write our contract. We started with an industry standard boiler plate type, then had her refine it to our exact business, state and local authorities having jurisdiction. Best $400 we ever spent)

This is just a basic list of items covered in our Form of Agreement, but these are the main bullet points.

I find that one of the best ways of securing the contract is when we drive the process by conveying a level of organization and responsibility for our specialties and then it is easier to get everyone else on board. We simply don't let the producer or production manager (who, truly, may have no experience with what we do) take control of what we do by being vague, or asking leading questions to find out how we might respond. An example of this might go something like this:

Venue Owner: So, I'm thinking that maybe, if the DJ wants to spin for half an hour or so past midnight, that's no big deal, right? I mean, you guys don't mind, right? You're already here and, hey! The girls love the last hour! Plus, I'll throw in a six pack of Bud. Okay, so then.......

Me: (Interrupting right after he says "so then...") Oh, excuse me, Mr. Jones. When you contacted me, we discussed a 3 hour performance- from 9:00 pm until Midnight. We accepted the deal based on that. Please keep in mind that even though it might seem like no big deal to stay, that puts our staff home later than we agreed on. However, I'm happy to extend the contract by half an hour for only $50 more, instead of the full $75. I mean, you'll clear that just in the bar, right?!

This is just one example of how venue owners try to test you, and your ability to negotiate. Keep this in mind: Most folks that own a Bar/Club/stage/conference center are smart enough to still own it, right? They almost always come off as either Super Producer by being overly-confident and bossy or, many, many times, they "dumb down" as if they know nothing, just to see if you do. This is more prevalent in the Bar industry, but if can apply to any production manager. The point is, be respectfully clear on what your boundaries are. This limits the ability of your negotiator to test them.

I believe that you teach people how to treat you, and if you present yourself in a professional manner, are well organized with exactly what you are providing for the particular event (no matter how much or how little) and follow through, then the people who matter WILL take notice of your work and will respect the fact that you are a savvy business person.

On the other hand, if you've taken a project for too little money, or not enough prep time or whatever, then your work will show it. Nobody, including the other crew or talent, wants to hear why you should be making more money, or how much time you're donating to the 'cause'. That type of person ends up creating a no-win situation because they are creating a negative work environment for themselves and others.

If you take a job, do so on your terms, so that you can intrinsically provide the very best service to the project, regardless of the tasks at hand. A ‘can-do’ attitude may be the most valuable thing you bring to each job you do.



Lastly, as you discuss your services with the client, keep in mind that the ability to be flexible, yet maintain your integrity is a skill that is gained through practice. So, start on the right foot by really evaluating what it is you are willing to do, and not, before you sit down with the client. This will give you the focus required to better negotiate your position. Then verbalize this to your position to your prospective client, so that they are really part of the process, and they gain insight into what you are thinking, and why you are asking them to solidify it all in writing.

I find that this type of honest and upfront discussion actually will qualify your client, before you ever get to the written part of contracting. What I mean is that by being upfront about what you do well, and how you expect to be compensated, you will establish professionalism right away. If the client doesn’t feel the same way, you have the opportunity to part ways, without any hostility or hurt feelings. On the other hand, more often than not, I think you will find that the client will gain respect and appreciation for the fact that you have set yourself apart by your professional response. Then, the written contract simply becomes the formality that seals the deal you’ve already made.

Jason DeCunzo
Riverhaus Productions
Missoula, MT

The Boys are right. Fisrt of all insurance is a must! Unless you're willing to take a chance on your gear. Contracts..A must. State exactly what services you will provide and what services they will receive ie DJing, MC, weddings..background music, church ceremony music etc. Most importantly state how much the gig is and the HARD start stop times. If they can milk you for extra time they will. Most of my colleges charge $75-100 for every extra hour past the deadline. Oh, get the money up front right then and there when they ask you at the gig for overtime. No money = fade to black. My contracts also state the as this is their event they are finacialy responsible for all persons actions at the event and on event property. I don't want my gear or van trashed by some drunk. I also state they are financial resposible for any damage done to my gear wether unintentional or not by their event goers/ patrons or staff. I also have a no one touch my stuff clause for the same reason as Chris was saying about the wannabe girl DJ. Also if I use one of their people to hump gear and they drop it etc then I'm out XX dollars/ my bad..it would void the no touch clause. Other then that usually a $100.oo retainer fee to lock up that particular date. Maybe a "what if" clause such as blowing a lung out of your nose so you're sick therefor you'll...refund? Supply another DJ etc. Otherwise keep it short and be professional. PS..stay off the mic. Too many like to hear themselves again keep it short on a mic.

Here's a "Sample DJ Contract" that I found the other day if anyone is still looking for such a thing.

http://www.northtexasdj.com/contract.html

Even says "Sample DJ Contract" in the navigation menu on the left, and I've seen it used on a few DJ websites...

I'ts a fairly standard contract that can be copied and pasted. Use a "Find and replace" function to customize.

I know a guy who is just starting out and he keeps getting screwed. They keep saying "portion of the door" and lo and behold, it seems the fully packed club never makes any money. I keep telling him "no paper, no work".

This brings up 2 important issues:

1: People want to screw you over. Put it in writing, agree to what it says. Now there's a document saying "hey, this is what's going down". You at least have a recourse of action should you get screwed.

2: DJ's are flakes. Well, this isn't a true blanket statement, but I get 10 calls a month BEGGING me to handle their event because the DJ they hired took the money and ran. Now they want me to do their event for super cheap(or free) because the entertainment budget is gone now because the DJ they hired took their money and ran on them. Sadly, I won't take these gigs, I'm not a DJ, and I won't do DJ work. STILL, bringing it back to DJ's, having a contract SHOULD present yourself as a professional with enough consideration to their client as to present them with a work contract. Chances are, with a contract, you're not going to flake on the client, and the client won't flake on you.

Of course, in some cases it doesn't matter. Some DJ's will flake no matter what. I've heard of DJ's flaking(and taking the money and running) even with contracts. These disreputable DJ's will all hopefully find themselves out of business soon.

While I could get more work if I were to do DJ work, my rig is designed for live sound reinforcement, oriented around bands. I don't like trying to read the room, and honestly, the stuff people apparently like to listen to these days gives me the "Hershey Squirts", it's that lame. We make our choices.

In my opinion, while I don't give the same respect and props to DJ's, at the same time, there are GOOD DJ's out there. I don't want to give the impression that you all suck, because you don't. The problem with those who flake is that there are so many of them in my area that it's making ALL the DJ's look bad except for those with a built-up name and reputation, but without knowing who has a good rep, it's easy to lump them into the bad DJ category.

Jason, that was very well put. ;-)
I am in the process of drawing up a new contract...But the one I used years ago simply stated event date, start time and proposed stop time...and the rate for extra hours. Half of the payment at the time of booking, the other half, the night of the event.
Of course that was 15 years ago, and folks werent quite as "Sue-happy" as they are now...
Now I'm worried about insurance, and liability, and every little thing... ah progress. ;-)
I Love all the tips! THANKs..several of them will be added to my contract.
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