If you have questions, leave them in the comments below and I will do my best to answer!! All I want to do is get produced and heard. Many hip-hop collaborations are 50/50 on the writing, between artist na and producer. If you join songtown you can start learning about relationships between writers and publishers and also get advice from pros and fellow members. For example, there are specific restrictions (as well as allowances) that an administrator can perform without explicit approval from the writer. Here’s the short answer on how I pull that off... I look forward to meeting in person soon. This post will explore different types of deals and outline some of the basics of each. And also, shouldn’t there also be an end date for this contract listed on it? John M. I would have to review the most recent terms and conditions on CD Baby, and I guess it depends which level of services you sign up for. Since I created my record label China is something like a weak point for me, I don’t really have many streams and stuff like that and I think it’s kind of a good move to accept this offer. Hmm, good question. I’d also be interested to know about any firm that will actually speak directly to the writer. If the song is not recorded within the specified time, the writer should get the song back free and clear. Hey Kurt, Great article. We believe most of the plays are US based, the song was released 16 months ago, how can find out where the rest of the money is and how to get it? In short, there are four types of deals between the music publisher and the songwriter which are most common: 1) the Single Song Agreement, 2) the Exclusive Songwriter Agreement, 3) the Co-Publishing Agreement, and 4) what I would call a Catalog Purchase Agreement. I think my question is relatively simple. 50/50 makes sense, as the standard split is music/lyrics in equal halves. Yes. Accounting – defines how royalties will be calculated and when they will be paid, Minimum song delivery – songwriter must write and deliver to publisher a minimum number of “commercially viable” songs during the term, Demo Recordings – defines who pays for demos, how much and how the cost may be recouped, Reversions – some deals may include a reversion of certain songs, percentage of ownership or certain rights back to the songwriter at a designated time, Special stipulations – other provisions that may be unique to this particular deal, And a bunch of boiler plate legal language (i.e. In addition to simply trying to land new royalty bearing uses of the songs delivered under the deal, the publisher will often work to further the songwriter’s overall career, such as helping the songwriter land a record deal (if he/she is an artist), helping the songwriter land production opportunities (if he/she is a producer), making introductions to expand the writer’s contacts and relationships for collaboration opportunities with other top songwriters or recording artists, and working to gain press and industry exposure for the songwriter and his/her work. My artist was cited – no worries there. In April the third Friday I want to release 3 song’s digitally Publisher pays demo costs (with half recoupable.). I guess my question is, how should I approach publishers about that kind of deal? Many thanks, Charles, Marty; The publisher said they will sign me up with ascap… I have a EP in the works I worked a leasing deal with a producer for some music. My deal with the label says I’ll get 13% royalties of record sales, so between record royalties, streaming and touring, who’s gonna make more money? I would keep your instrumental version out there, and register this new version. physical and intellectual property), etc. In standard cases the split of income between the songwriter and music publisher is 50/50. Could you negotiate 25% of the publishing to go back to the writer(s) or is that too high? I would have to review both deals to give a solid opinion. I reached out just to let them know that I would not like to renew this agreement and was told that they have made blanket agreements with networks that they cannot break. SoundExchange Royalties: How Much Should You Pay Your Producer? In Canada, I believe the admin (you) would take 25% for example, then the remaining 25% of the publisher’s share would be John M Music, and the 50% writer’s share would be his personal name. Hi Kurt, Yes, you should never give up songwriting/publishings rights unless actual co-writing is occurring with the third party. Someone on the ground doing the legwork that I can’t do. So how can one get the demos to you all for a hearing and what’s the procedure, time frame, feedback etc? I have an artist friend (he’s writer, composer, producer and performer), who is about to release his 2nd soul album, independently (the 1st one was labeled by sony music). I’d have to see the agreement Karen, thanks. In your expert opinion is it also fair/is it the norm in this situation, that I set up my own publishing ‘company’ and ask them to each do a co-publishing deal with my ‘publishing company’, so that I have the potential to recoup a higher percentage for all my troubles? The Believers It says he retains 100% publishing and I receive 100% sales. It all comes down to tiny details and the balance between the ownership and administration of the recording. However he says it’s optional if we’re to want to share royalties. Any help would be appreciated, and I thank you for your time and consideration. I have a 5-year deal for 5 of my songs, and the publisher is shopping my songs around for commercial placement. If you write your own songs, either with a band or on your own, or co-write with others, developing an understanding of music publishing is probably the most important thing you can do for your career. Hi Kurt would you consider having a look at a contract I’ve been offered for licensing and publishing administration? In this scenario the songwriter would receive his/her writer’s share of income from uses of the song, plus half of the publisher’s share of income, in effect making it a 75/25 deal between writer and publisher.
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