Record-Deal

Record-Deal:

Exclusive Artist Agreement / Title Agreement
The parties as mentioned in the contract, the record company (hereinafter referred to as company) and the artist / group / act / band / dj (hereinafter referred to as artist)
declare that they have agreed the following, in addition to the conditions stated in the contract:

Article 1:
General Provisions

General provisions applicable to artist contracts of the company, as attached to this agreement (hereinafter referred to as: General Conditions)
are part of the agreement insofar as not expressly deviated from in the following articles.
The Artist declares to have taken note of the contents thereof.

Article 2:
Sound Recordings

The Artist undertakes to cooperate for the benefit of the Company in the production of the sound recordings of the aforementioned works in the agreement
or for a record contract (instead of a single record contract) to state works separately on delivery.

Article 3:
Duration of the Agreement

The initial contract period starts on the date of signature and ends at the end of the right of inheritance.
Or upon termination of the Company’s activities

Article 4:
Territory Universe / World / Europe / BeNeLux / Mentioned Country

Terretory is Universe by default unless otherwise noted.

Article 5:
Option of the Company

The artist grants the company an option to produce new sound recordings with the artist on conditions
that can reasonably be adjusted. In the event of the redemption of this option,
the Company undertakes to market a sound carrier in the first option period within a reasonable period.

Article 6:
Fees as Article

Fees for the Artist will be payable by the Company:

6.1

A royalty, as referred to in Article 12 (twelve) of the General Provisions of 40 (fourty) percent p.p.d.
and 65 percent of royalty’s from 3^th (third) part.
With a Total Record-Deal (not a single-record deal) You will receive 65 (sixtyfive) percent of the Profit-Marge on Merchandising,
online shop provide by our partner Spreadshirt Europe.

6.2

Fees, calculations and payments are made in accordance with the General Provisions.
Quantity of sound carriers for promotion, review, publicity purposes: 0 pcs.

6.3

The amounts owed by the Company under this agreement will be paid by the Company by payment into the Bank Account
as stated on the signed contract (or Bank Account Number to be changed afterwards).

6.4

Tax number and VAT number as well as the membership number at music organizations such as:
Buma-Stemra (Netherlands), Sabam (Belgium), GEMA (Germany) are stated in the contract.

Article 7:
Promotions

Promotional Budget, Promotional Activities The Company undertakes to undertake promotional activities
listed in Appendix 2 and to devote the budget referred to there to promotional activities.

ATTACHMENT 1

All Titles to which the agreement relates are all titles that have been made or are supplied from the date of signature / commencement date of the agreement.

ATTACHMENT 2

The Company / The Artist

General provisions applicable to artist contracts

Article 1:
Definitions Artist

The individual performing artist and if the artist contract is concluded with a group of performing artists, The Group;

Artist Contract:
Any agreement between the Company and the Artist regarding the transfer of rights regarding the performance
of works by the Artist for the production of sound recordings and / or audio-visual recordings by the Company;

Title contract:
An artist contract entered into with regard to the transfer of rights regarding the performance of works (titles)
mentioned in the contract by the Artist, for the production of sound recordings and / or audio-visual recordings by the Company,
which works (titles) be released within 3 (three) months after the admission date, unless there are compelling arguments to reasonably extend this period;

Exclusive Contract:
entered into an artist contract for a fixed term (lifelong);

Recording:
A:
Any recording of sound, made for the purpose of or suitable for making reproductions thereof (sound recording), as well as – unless stated otherwise.

B:
Any recording of images or images and sounds, made for the purpose or suitable for making reproductions thereof,
capable of simultaneously reproducing images and sound (audio-visual recordings);

Reproduction:

A reproduction of any kind intended for sale to the public of one or more sound recordings (sound reproduction)
or audio-visual recordings (audio-visual reproduction), or parts of such recordings;

Recorded Title:
one sound and / or audio-visual recording +One Version;

Contract Year:
a period of one year beginning on the date of entry into force of the exclusive contract and ending one year thereafter,
and any subsequent period of one year deducting which the exclusive contract will be effective, for life
(unless otherwise stated in the contract);

Average Billed Price:
The result of the calculation, whereby the total of the amount invoiced during the half year, which is settled,
is divided by the total numbers of that sound carrier sold or streamed during that half year, without VAT being considered;

Netto Invoiced Price:
The price that the company charges customers after taxes and discounts;

PPD Published Price To Delealer:
the price paid by retail under the retailer catalog, excluding VAT.

Article 2:
Transfer Of Rights By The Artist And The Associated Forms Of Exploitation:

A:
With the exclusion of everyone else, the Artist transfers the right to make sound recordings of the works to be performed
by the Artist and to record the associated images, to make sound recordings and / or to make sound recordings of these recordings.
(to make) with image and sound, to bring these carriers on the market and to have them exploited;

B:
The term ‘exploitation’ in this context primarily refers to the sale of sound carriers that reproduce the sound recording and / or image recordings
and the delivery via the internet (download on demand) of these recordings.
The transfer of rights referred to in -A- also includes the right of synchronization (ie the right to combine the sound recordings with picture recordings)
and the right to exploit the sound recordings as background music, but subject to the obligation to pay a fee for such use.
To come and respect the Artist’s moral rights;

C:
Merchandising rights and music publishing rights (if applicable, ie if the artist also owns copyright to the works performed for these recordings)
are only deemed to have been transferred; These rights of the Artist are hereby transferred to the Company;

D:
The right to exploit the sound recordings in forms other than those referred to under B and C will only be transferred
if a fee has been agreed by the parties for those exploitation forms.

E:
The transfer referred to in Sub A does not form part of the rights derived from Article 7 and Article 10 under A of the WNR,
nor does the loan right;

F:
The artist hereby grants the Company the right o in the event of an infringement by third parties of any right to act in consultation
with the artist contract in the event of an infringement of any right by third parties, if necessary also on his behalf.

Article 3:
The performances by the artist:

A:
All sound recordings made with the Artist under the artist contract are the sole property of the Company,
including any test recordings, unfinished or rejected recordings, for the Company through the artist’s royalties.

B:
The Company undertakes not to use any part of these recordings as referred to in Sub A for exploration without the permission of the Artist;

C:
After termination of the record agreement, the Artist has the right to purchase unfinished or rejected recordings at cost price,
taking into account the cases in which the Artist has already contributed to the costs of making these recordings.
The Artist must indemnify the Company, after taking over the unfinished or rejected recordings, against possible future claims from third parties;
This means that all works of the Artist are registered at Buma-Stemra in the Netherlands by the Company;

D:
The Company decides after consultation according to which technique the recordings are made with the Artist;

E:
The Artist will, in consultation, properly prepare and perform the works to be recorded by the Company
at the places and times to be determined by the Company and to the best of its ability.
The weeks to be recorded and the producer will be mutually chosen by the Artist and the Company.
If no agreement is finally reached on the titles and / or Producer to be included, the choice of the Company will be binding;

F:
The Artist will repeat each work to be recorded until, in the opinion of the Company, a recording that is sound in all respects has been obtained;

G:
The Artist will strive to include the works to be performed in his repertoire;

H:
If an established recording cannot take place through no fault of the Company and / or the Arteist, or only for a short period of time
than was determined, the Company and the Artist are not liable to each other for the losses they may have suffered and still to suffer. damage.
If this is the fault of the Artist, the Artist is liable to the Company for this and the Company is entitled to set off the damage suffered in this respect
with payments owed to the Artist of any kind whatsoever, without prejudice to all others.
The Maatscahppij legally accrued rights, as well as legal obligations of the Company.
If this is due to the fault of the Company, the Company is liable to the Artist for this.

Article 4:
Exclusivity of the Artist:

A:
During the term of the exclusive contract, or in the case of a title contract, for a period from the date on which the title contract
was concluded up to 6 (six) months after the date on which the sound recordings were released, the Artist – under which name whatsoever
and whether or not together with others – without the prior written consent of the Company:

– 1.)
Not to act for the production of the sound and / or image recordings by third parties, nor to allow sound recordings
of its performances to be produced by third parties or for such sound recordings to be produced in any way
and in any form by third parties without written permission from the Company. are operated;

– 2.)
The permission referred to in this article can only be refused to the Artist if it is foreseen that such action will adversely affect the exploitation
of the alarms recorded by the Artist. In general, the Artist will refrain from observing that the exploitation
of the works included by the Artist will have an adverse effect;

B:
In the event that the Artist intends to participate in radio and television commercials and / or other commercial radio and television projects,
as always prior consultation with the Company takes place, as well as when funds are received for this by the Artist,
the Artist 20 percent of this transfers to the Company;
Of the 20 percent that the Company receives, the Company must reinvest part of 20 percent of it in the Artist;

Article 5:
Title Exclusivity:

A:
For life, unless otherwise stated, after a recording has been made by the Artist of a particular work by the Artist,
the Artist will not perform that work or processing thereof for the production of recordings without the prior written permission of the Company.
Still allow, in any way, that his recordings of his work are produced by third parties or that such recordings, produced in any way and in whatever form,
are used by third parties without written permission from the Company;

B:
The provisions under A will not apply to the performances by the Artist for the production of radio, television, film Recordings.
The Artist will make every effort to ensure that the Company will obtain the exclusive right to the relevant radio, television or film Recordings;

C:
The permission referred to in this article can only be refused to the Artist if it is foreseen that such an action
will adversely affect the exploitation of the works included by the Artist.

Article 6:
Warranty and Indemnity of the Artist:

A:
The Artist guarantees that he is not hindered by any obligations from entering into and fulfilling the Artists Contract with the Company;

B:
The Artist guarantees that, with the exception of the works that he has provided to the Company when signing the artist contract (see list appendix 1),
none of the works to be performed by him under the Artist Contract have been previously performed by him for the purpose of manufacturing of recordings by third parties;

C:
The Artist expressly undertakes to comply with all regulations and instructions given to him with regard to the use of recording studios in which the Artist will opt for and the materials present there.

Article 7:
Operating Rights of the Company:

A:
The Company guarantees that the works included during the contract year are also released within the contract year.
Should the agreement cover several contract years, the Company guarantees that the agreed works to be included per contract year
will also be issued within that contract year, unless there are compelling business arguments to deviate from this.
For multi-year contracts, the Company draws up a release schedule in consultation with the Artist;

B:
The Company may at its sole discretion stop exploiting the recordings.
The Company will report this to the Artist and will then give the Artist the opportunity to take over the exploitation rights at a price to be agreed upon;

C: Without the permission of the Artist, the Company will be entitled to transfer all or part of its rights and obligations under the Artists Contract
to third parties or to grant licenses to third parties, which permission the Artist may then reasonably withhold.
In the event of License Renewal, the Company remains liable to the Artist for the fulfillment of its obligations under the Artist Contract.

Article 8:
Use of Name, Pictures, etc.:

A:
The Company has the right to use the name, possible artist name, as well as the artistic manner in which this name or artist name is displayed and used by the Artist,
to the exclusion of everyone else, to use the images and biographical details of the Artist on,
among other things, covers, boxes, inlay card or other packaging materials and clothing, which contain reproductions exploited under the artist contract,
and on the materials intended for promotions publicity purposes related to the exploitation of such reproductions.
The exclusivity referred to here will end as soon as the contractual relationship with the company has ended.
If it no longer has the artist under contract, but the Company can still carry out exploitation activities under this agreement,
the Company will have a no-exclusive right to the use of name, image, etc. referred to in this paragraph and will not reasonably create any obstacle to the Artist
makes entering into a clause similar to the wording in this paragraph with third party impossible.
The purport of the last sentence also applies if the Artist himself will act as producer or record company.

B:
The Artist declares that he is entitled to use the previously referred to Artist name and, insofar as images are provided by him to the Company,
he is entitled to dispose thereof and indemnifies the Company against all claims against third parties in this respect;

C:
After expiration of the Artist Contract, the Company is entitled to continue the aforementioned use on a non-exclusive basis in connection with the exploitation of the recordings.

Article 9:
Promotion:

A:
The Artist undertakes to cooperate fully with the steps taken by the Company in connection with your exploitation of the recordings
made with the Artist in the area of promotion and publicity, including the availability of the Artist. for performances for film, radio and television,
as well as benefit performances for an expense allowance (maximum 6 per year, see point C).

B:
The Artist has the right to refuse the cooperation referred to here if it cannot reasonably be expected of him to cooperate in steps taken by the Company,
based on its nature, scope or scope. In particular, the Artist cannot be required to act in violation of his serious objections of a social or philosophical nature.
The Artist also has the right to refuse such cooperation if this cooperation means a disproportionate financial disadvantage for the Hartiest;

C:
The actual costs, which the Artist is forced to incur on the occasion (performances for film, radio and television) of the activities referred to here,
will be borne by the Company, unless otherwise agreed; The actual costs that the Artist is obliged to incur on the occasion of performances for the Benefit Event
will be charged to the organization of the Benefit Event.
At the actual costs that the Artist must incur on the occasion of the normal performances, the Artist will receive a fixed amount from the Booking Agency to cover the costs,
this means that if it is far or further away from the average distance, the more costs are for the account of the Artist and for shorter distances than the average
the remaining amount is for the benefit of the Artist; If the distance to be covered is too far to travel back immediately after the performance,
or if the Artist has to perform in the same area the day after (and abroad within 4 days),
an overnight stay will be provided (not for the fans or support), the costs of which are borne by the booking agency, unless otherwise agreed.

D:
With regard to acting for radio, television or film, the Company undertakes to stipulate fees for this from the broadcasting company or film producer,
which are set in a collective arrangement between the broadcaster or film producers and the trade unions.
In the absence of such compensation on the part of the broadcaster or the film producers, the Artist may refuse the performance unless the record company
and the Artist have agreed on the answer to the question: “What kind of destruction does it seem reasonable to them, so far as that is possible?
“it is avoided that this would jeopardize the intended action itself “.

Article 10:
Representation:

A:
If the Artist is represented at the conclusion of the artist contract, this representative guarantees that the Artist represented
by him is aware of and will comply with the provisions of this agreement.

B:
The representative indemnifies the Company against all claims of the Artist and undertakes to let the Artist co-sign the artist contract.

Article 11:
Fees for sound recordings:

Compensations in respect of sound recordings if in the artist contract a fee has been agreed in the artist’s contract for the rights granted
to the Maatschpppij in the form of a lump sum for the Company’s final payment, for example per recorded title,
payment will be made by the Company within 30 (thirty) days after the completion of the relevant sound recordings.
In the case of our Company, there is only an arrangement to make free use of the studio of Ramon-Houben-Music Productions,
the music of which is then released on the Limbo-Power label,
because agreements have been made between the Company (by Patrick Schiffelers) and the Studio (Ramon Houben).

Article 12:
Fees related to the sale of sound carriers:

Fees in connection with the sale of sound carriers, if a fee has been agreed in the artist contract for the sale of sold copies
in the form of a Royalty, this will be calculated in accordance with the following;

A:
full royalties for the sale of sound carriers within the Netherlands and exported from the Netherlands,
the royalty amounts to a percentage to be included in the artist contract;

B:
Reduction Royalties for the sale of sound carriers abroad, for which a license has been granted by the Company,
a reduction of the royalties percentage may be justified;
the Company must let this reduction depend on the specific situation and will inform the Artist about this.

C:
Halving royalties for the sale of the sound carriers listed below, the royalties amount to half the percentage stated in the artist contract;

– 1.)
Sound recorders sold together or in conjunction with other articles or on special orders from third parties manufactured for distribution
through non-traditional channels (except mail order organizations, book and record clubs or similar organizations) and sound recorders sold by rack jobbing.

– 2.)
Sound carriers, sold at prices that are at least 20 (twenty) percent lower than the top price applicable in the country of sale for comparable repertoire;
This provision does not apply to sound media containing previously unused sound recordings made under the artist contract and sold at such a price.
This provision does apply to sound carriers that contain only partly previously unexploited sound recordings experienced under the artist contract;
The method of operation referred to in paragraphs C 1 and C 2 requires prior consultation and written permission from the Artist.
This permission will not be withheld on reasonable grounds.

– 3.)
Sound media, the sale of which is (or is) stimulated by means of a special advertising campaign on radio and / or television and / or a comparable campaign;
The discount relates to the period that will commence on the first of the month in which such a campaign will be started
and will last until 1 (one) month after the month in which the last special advertisement was made.
The campaigns referred to in this article must be agreed in advance between the parties; The final decision on this lies with the Record Company.

D:
No Royalties:

– 1.)
Sound carriers, which are distributed free of charge for review, promotion, trade or publication purposes.
The quantity of the sound carriers referred to here is stated in the artist contract.

– 2.)
Sound carriers, which are sold as low-priced Samplers, demonstration or campaign publications, in the context of a special promotional campaign
for the performance of the Artist or for the Artist in general, including campaigns such as those of the Stichting Collectieve Promoetie Geluidsdragers (SCPG).
The Company consults with the Artist before participating in the aforementioned campaigns.
Royalty payment will be made if the campaign is paid by the Buma / Stemra or the NVPI.

:
Royalties In Proportion:

– 1.)
For sound carriers that only contain sound recordings made under the artist contract, the fees payable to the Artist will be reduced in accordance
with the ratio between the number of sound recordings made under the artist contract and the total number of sound recordings on this sound carrier;

– 2.)
For sound carriers containing the sound recordings that also participated among non-accompanying accompanying (groups of) artists,
the compensation owed to the Artist will be reduced in accordance with the ratio between the Artist and the total number (groups of) artists
who are involved in the production of the sound recordings. who have contributed the sound carrier.

G:
Royalties and the break-even point:

If a compensation has been agreed in the artist’s contract for the rights granted by the Artist to the Company in the form of a royalty and payment
will only take place after the break-even point has been reached, the Company must inform the Artist about the manner of break-even point calculation.
After reaching the break-even point, the Artist will become a 50 percent master owner and will share in the rights of neighboring producers.

H:
Checkout methods:

– 1.)
The settlement of the royalties takes place on the basis of 100 (one hundred) percent of the sound carriers sold by the Company;

– 2.)
If the sound carriers are sold under return right or are given on consignment, the Company is entitled to settle on the basis of 100 (one hundred) percent
of the delivered sound carriers, less the maximum percentage agreed with the buyers for returns;

– 3.)
At the latest one payment term after the relevant half year, the better royalties will be recalculated,
on the understanding that the final settlement will be based on 100 (one hundred) percent of the learned sound carriers reduced
by the percentage of actually returned reproductions, up to the maximum percentage that had been agreed with the buyers.

I:
Price base:

– 1.)
The PPD shall be taken into account as the price basis for calculating royalties or if the Company has transferred or licensed all or part of
its exploitation rights to third parties in accordance with Article 7-C, the highest net price of the relevant reproduction received by the Company;

– 2.)
For the purposes of calculating the royalties, any sales, wealth or similar taxes, as well as technical discounts, such as the actual cost of packaging
and the actual material and processing costs of the reproduction, are deducted from the cost basis for the price basis. to develop the future,
at the time of signing this agreement comes non-existing type of sound carrier, will be determined by mutual agreement between the parties;

– 3.)
If special sound carriers, which deviate from the usual form, or booklets, insert cards, special single or multiple covers or boxes are manufactured,
the costs thereof, insofar as these packaging costs do not compensate for the aforementioned deductions,
will be deducted from what the Company Artist is or will be due. These extraordinary packaging will not be used without consultation with the Artist.
If such packaging is used without consultation with the Artist, the additional costs will be paid by the Company.

– 4.)
The net invoice value applies as the price basis for calculating the royalties for online delivery (download).

J:
Settlement Method:

– 1.)
Within 3 (three) months after June 30 and December 31 of each year, the Company will provide the Artist with an itemized statement
of what it owes to the Artist and the Company will pay royalties to the Artist.
The Company will not provide itemized billing and will not pay royatlies if sales of a particular sound carrier in any country
total less than 25 (twenty five) copies and / or less than 25,000 streams or less per configuration per billing period.
The royalties are calculated over the sales of the past six months, including sales by parties other than the Company,
if and insofar as they were paid to the Company in the past six months,
after deduction of the amounts to be paid to and / or are retained by the authorities of any country of sale, except as provided in Article

7-C.
If the settlement and payment of any royalties take place later than the above-mentioned time, the Company will,
at the written request of the Artist, submit a pre-paid and to the best of its knowledge settled settlement and, if necessary,
pay an advance on the royalties owed, which will be set off against the royalties that will appear to be owed to the Artist
as a result of the final settlement. Payment of the royalties is made in Dutch current,
with regard to sales abroad at the rate at which the country of sale has settled with the Company.

K:
Check Royaltie settlement:

The Artist has the right, at his own expense, to have a royalty payment made to him at the office of the Company for a period
of five years after receipt of that statement, verified by a NIvRA accountant at normal office hours, after such an examination
with due observance of a reasonable period of time. has been announced to the Company.
If the audit reveals a disrepancy of more than 10 (ten) percent to the disadvantage of the Artist between what is actually owed by the Company
in the aforementioned statement and what has been paid, the costs of the aforementioned audit will be for the account of the Company.

13:
The Artist as a session musician:

If the Artist accompanies another artist or artists during a recording session of the Maatschppij, he will receive the usual fees for session musicians.

14:
Groups:

If the artist contract is concluded with a group of performing artists, the following provisions will also apply:

A:)
The group members will be bound jointly and individually to all provisions of the artist contract;

B:)
The Group warrants that it has the right to use the name under which it acts at the time the artist contract is concluded,
during the term of the artist contract and indemnifies the Company against any claims by third parties in this respect;

C:)
The Group will, by all means available to it, prevent any use of its name by third parties;

D:)
The Group will not change its name or transfer it to third parties without the Company’s prior written consent;

E:)
The Group will do everything possible to ensure that the Group exists in the same composition as at the time of the conclusion of the artist contract;

F:)
As soon as a member leaves the Group, the Company will be notified immediately by registered letter,
the same applies to other permanent or temporary changes in the composition of the Group;

G:)
Within 2 (two) months after the date of notification of the notification referred to under 14-F,
the Company, notwithstanding its right to demand full fulfillment of the artist contract within the aforementioned period,
is entitled to terminate the artist contract with the Group with immediate effect without being obliged to any form of compensation,
without prejudice to all other rights accruing to it by law;

H:)
A member leaving the Group will not perform any work or similar to that of the Group under any name or similar name
to that which the Group becomes known or enjoyed at any time during the term of the artist contract,
if it is plausible that such work will adversely affect the exploitation of the works recognized by the Group and deduct the Group’s performance,
the Group will have the right to claim 20 percent of the fee to be received from the departed group member.
The group member will also have no rights to release these songs (written, sung, created, recorded or not yet recorded) under any name
or similar name as that under which the Group is known or has known at any time during the term of the artist contract.
Even if the group member concerned has written, sung, made, recorded or not yet recorded the song;

I:)
A member leaving the group will no longer be able to assert any rights against the Company,
with the exception of the right to reimbursement of the recordings he has cooperated with until the date the group member has left the group,
after which his income from the Company will lapse and receives only the aforementioned income from the Music Associations such as
– Buma-Stemra, – Sena, – Palm, – NIvRA, – GEMA, – Sebam, – Etc .;

J:)
If a new member joins the group with the written permission of the Company, the Group and the remaining members of the Group
will each already guarantee that the new member in question will (co-) sign the artist contract without delay;

K:)
Each member of the Group grants to the Company, to the exclusion of everyone else, an option to record separately
with that person during the term of the artist’s contract, as well as if that person leaves the Group;

If the Company exercises the option during the term of the artist contract, then all provisions of the artist contract concluded
with the Group will apply to these recordings, it being understood, however, that with regard to the level of the royalty percentage,
in good faith between the Company and the Group Member will be negotiated.

To the extent that the aforementioned option is exercised during the term of the artist’s contract, this option must be exercised
by the Company within 2 (two) months after the notification referred to under 14-F. The terms of an artist contract to be concluded
at the time will be negotiated in good faith between the Company and the group member.
Settlement with and payment to the relevant member of the Group will be made entirely separately.

15:
Orchestral tapes:

For each sound recording, the Company provides the Group / Artist with a one-time master’s of the orchestra band
without any compensation, the costs of the orchestra band itself fall for the Group / Artist (or these must have been made
in the studio of Ramon Houben Music Productions , this is also without compensation).
Each subsequent copy can be obtained against payment of the cost of the copy.

The Artist / Group is not allowed to multiply the orchestral bands and / or the masters thereof or to make them available to third parties.

The tires remain the property of the Company at all times and are always immediately due and payable by the Company.br>

16:
Termination or change of career:

In the unlikely event that the Artist / Group terminates his artistic career, or if the nature or style of his performances change significantly,
the Company has the right to validate the art contract with immediate effect without being obliged to pay any compensation to the Artist / Group,
without prejudice all other Rights accruing to the Company.

17:
Options:

If, within the exclusivity period, the Company as a stipulation in art. 4 gives the wish to do so,
the Artist will conclude a new title contract or an exclusive contract with the Company for the duration of a lifelong contract,
unless the Contract is signed by the Company with a notice period of 1 (one) month per current year. ,
will be canceled in writing with a maximum of 3 (three) months, unless the Artist cannot reasonably be expected to,
given the lack of success of the first 4 (four) releases, or in the event of an exclusive artist agreement in the first 2 (two) contract periods,
the relationship continues.

The conditions and conditions of the follow-up contracts will be reasonably adjusted;

18:
Management of the Artist:

When choosing a (new) manager, the Artist will take into account the legitimate wishes of the Company.

19:
Force of the majority:

A:)
In case of force majeure on the side of one of the parties, one party will inform the other party by registered letter,
stating the cause, the nature and the expected duration of the force majeure and the provisions
of the artist contract that result cannot be fulfilled. The implementation of the relevant provisions will be suspended during force majeure.
If the force majeure situation has lasted up to 6 (six) months after the date of the aforementioned notification,
the parties will attempt to reach agreement on changes to the provision or provisions that have been added by force majeure, if necessary.

In the absence of such agreement within 3 (three) months, each of the parties may conclude this agreement by registered letter to the other party,
subject to a period of 3 (three) months (by mutual consent), without being obliged to pay any compensation. to be;

B:)
Contrary to the provisions under 19-A, if the force majeure prevents the production of recordings,
the term of the artist’s contract will be extended until the agreed number has been produced, but with a maximum of 1 (one) year.

20:
Invalidity Provisions:

The ineffectiveness of any provision of the artist contract, for whatever reason, does not affect the validity of the other provisions.

21:
Applicable Law:

Dutch law applies to the artist contract and these applicable General Provisions.

22:
Additions and Changes:

Additions to and changes to the artist contract only apply if agreed in writing and signed by all parties.

23:
Logo’s And Media:

A:)
Logo and CD-Covers and Artist-pictures are owned by the Company / Label.

B:)
Pictures and Video-Clips (provided by the Company / Label are owned by the Company / Label.

24:
Merchandising:

A:)
The Company provides Merchandising for the artist, provided by their partner(s). The royalties, copywirte etc. is owned by the Company / Label.

B:)
The artist/group receives 65% of the profit margin on merchandising sold.

25:
Change of contact details and / or personal data:

Both the Company and the Artist undertake to inform the other person of any change in contact details and / or personal data in writing (or digitally) without delay, with the changed data.

List of companies:
S-Music Distribution & Promotion
S-Records (main label)
S-Booking (Booking Agency)
S-Publishing
S-Bookings
S-Rock Records
S-Urban Records
Dymond Records
D-Core Records
Hot-Tracks Records
Lux-Records
Limbo-Power (Record Label)
Limbo-Power Music Productions
Si-Entertainment (official name)

Owner / Director:
Patrick Schiffelers