Clearing House Guidelines

  1. When a producer has worked up his(or her) tune and can safely say that this tune will have tracks laid down within thirty days, then, and only then, can that tune be put on the clearing house list. This is the day your protection begins. We must rely on your word of honor. When your tune is added to the Clearing House listing, an email should automatically be sent to all members — including you — notifying them of such. (Not everyone is quick to look at the lists so a little advance information can't hurt!)
  2. When the first tracks are laid down, that is to be reported on the clearing house list. Again, we must rely on your word of honor. That song is protected from all other producers for twelve (12) months from the first day it is added to the list. This allows the producer one full year to complete and release the tune. It is obviously beneficial to get it out as quickly as possible. If they wait until the 12th month, they could have a cover one month later which would affect both projects.
  3. If a package program decides to cut a currently popular hit they, as well as all producers, should make every attempt to release that song as quickly as possible but within the confines of their normal business practices. They still have up to 12 months from notification to release, realizing that the interest could have waned. Yes, it is possible that no one will get to call it at the height of its popularity which would be ideal if you could but not a catastrophe if you can't. Under the gentlemen's agreement, if you say you will do it as quickly as possible, please try to do so. We all move at a different pace so this just cannot be quantified.
  4. A re-release of an existing title owned by a producer (possibly with new vocal and/or harmony tracks) will be reported to the Clearing House a minimum of 60 days before its release, with an accompanying release date. This re-release will have no protection after its actual release date, but must still abide by the 12 month protection afforded to any other new release of that title. This is to protect a producer who is spending money to make a new cut of an old song. The producer with the re-release has little to no investment in his project while the other could have several hundreds of dollars. We need to try to protect each other. We have all produced enough material that re-releases are going to occur. The last thing we need is to compete with ourselves.