Song plays. “OMG, how did Frank Ocean think of that beat drop on ‘Nights’?” He didn’t. It was Michael Uzowuru. It was Neo Makwa who thought to sample ‘These Tears’ by Spiritchaser to produce the legendary hit ‘Spirit’, not Kwesta.

In an industry where artists are often positioned as the face of the music, producers remain the architects behind the scenes. They are responsible for building the sonic experience a song exists in: selecting sounds, structuring arrangements, and translating emotion into something we can hear and feel before a single lyric comes into play.

And yet, despite their undeniable contribution, producers are still widely under-credited.

In South Africa, this issue is even more pronounced. Many producers enter studio spaces without a clear understanding of publishing splits, master ownership, royalty structures, or their rights as contributors to a musical work.

In some cases, producers are paid a once-off fee, unknowingly forfeiting long-term royalties tied to songs that may go on to generate significant revenue. In others, there are no agreements at all. Just trust, creative energy, and hope. But hope is not a legal strategy.

Hope does not define ownership. Hope does not secure royalties. Hope does not hold up in a dispute. Without a written agreement, the law defaults to interpretation, and interpretation rarely favours the party with less bargaining power or documentation. In music, this means a producer who has not formalised their rights may be excluded from publishing income, neighbouring rights, or even proper credit, regardless of how significant their contribution was.

From a legal standpoint, every musical work contains layers of intellectual property:

• The composition (lyrics, melody, arrangement)
• The sound recording (master)
• Performance and neighbouring rights

A producer can have a claim in one, two, or all three, but only if those rights are clearly defined and agreed upon.

Case Study: Informality vs Ownership

Consider a common scenario: a producer creates a beat and shares it in an informal studio session. No agreement is signed. The artist records and releases the song, and it becomes commercially successful.

A similar pattern can be seen in the reported 2025 dispute between DJ Jaivane and Smaki 08 relating to the album Onkgopotse. The producer alleged extensive contribution to multiple tracks but raised concerns about being removed from credits ahead of release. While both parties shared their perspectives, the dispute highlights what happens when structure is missing.

You can have the files. You can have the stems. You can prove you were in the room. But without an agreement, your rights are not secured.

They are merely asserted. Where there is no documentation, credit becomes negotiable, ownership becomes contested, and compensation becomes uncertain. Even where contribution is clear, the absence of agreed terms creates uncertainty, and uncertainty in law often results in disputes or a complete loss of bargaining power.

By contrast, where agreements are in place:

• Split sheets define ownership upfront
• Producer agreements regulate fees, royalties, and credit
• Rights are protected before release

The difference is simple: legal strategy turns contribution into enforceable rights.

Globally, we’ve seen producers step into the spotlight, not just creatively but contractually. Names like Metro Boomin and Pharrell Williams have redefined what it means to be a producer, ensuring they are credited, compensated, and recognised as key players in the music-making process.

The question is: when will this become the standard, not the exception?

At its core, appreciating producers is not just about giving credit. It is about correcting an imbalance. It is about recognising that the creation of music is collaborative, and that every contributor deserves to understand and benefit from the value they bring. They deserve to be seen.

Because without producers, there is no sound.

And without sound, there is no song.

Are you a producer or collaborator unsure about your rights, splits, or agreements? At Peech, we are committed to bridging the knowledge gap in music rights and ensuring that all creators, producers included, are equipped to protect their work.

Reach out to us at hey@peechconsulting.com.

Making sure the people behind the music are protected too.

References:

• Overview of Music Copyrights in South Africa — Music In Africa
• DJ Jaivane called by Smaki 08 over removal from upcoming album Onkgopotse — Briefly
• Image credit: Pinterest