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The two key earnings sources for music publishers are mechanical royalties (royalties from sales of records, compact discs, and digital downloads), and performance royalties (royalties earned from the public performance of songs), which include synchronization royalties from having songs included in a film, TV, or other screen production. Generally speaking, music publishers administrate, promote, exploit and protect your catalogue of songs throughout the world, for the life of the copyrights in those songs, or until they revert to the songwriter after a specified period of time. The overall split of publishing revenue is 50/50, as the Writer is left only with the Writer’ Share of publishing revenues from performances. The Publisher owns 100% of the copyrights in the musical works and has sole administration rights. The overall split of publishing revenue from performances is 75/25 in favor of the Writer, so the Writer is left with the following:ģ) Buy-Out Agreement: Buy Out deals are not as common today as they were in the past, and are typically seen when a significant advance is being offered for the Writer’s catalogue. The standard Co-Pub deal involves half of the Publisher’s Share going to the Publisher, meaning we’re left with a 75/25 split of the total ownership pie in favor of the Writer (that is, 50 percent of the Publisher’s half of the pie is given away to him, or 25 percent overall). The Publisher and the Writer co-own the copyrights in the songs, and the publisher administers the copyrights in them from performances. So the Writer is left with 90 percent of the overall publishing pie, as follows:Ģ) Co-Publishing Agreement: The Co-Pub deal is the norm in the business today. So in a 20 percent Pub Admin deal, the Writer gives up 20 percent of only the Publisher’s Share of the pie (that is, 20 percent of the 50 percent Publisher’s Share), which equals 10 percent of the overall publishing revenues being generated by performances of their catalogue.
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Publish multiple songs at once full#
For example, in the diagram below, the Writer retains full ownership of both pie halves, but gives up 10 to 25 percent of the Publisher’s Share of performances. So you give up a percentage of your performance publishing revenue in the hope that the publishing administrator will help your catalogue generate more revenue to offset their fee. In this scenario, the publisher/administrator doesn’t actually own the copyrights in the songs, but administers those copyrights for a percentage, ranging from 10 to 25 percent of the performance revenues from those copyrights. The Publisher/Administrator can be a useful ally in making sure your songs are generating the most revenue possible from performances around the globe.
Publish multiple songs at once tv#
This includes shopping the songs for film and/or TV placements, and making sure that the correct amount of publishing revenue is being collected for the catalogue for performances around the world. The three main types of publishing agreements for performances are:ġ) Publishing/Administration Agreement: Often artists want to retain ownership in their publishing, but hire a third party to make the most of their catalogue of songs.
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SOCAN will pay out the Writer’s Share to the actual songwriter (or a corporation controlled by the songwriter, which is often the case for songwriters who want to funnel their publishing revenue through a corporation rather than through themselves personally, for tax purposes). If you never sign any form of publishing deal, you as songwriter get 100% of the publishing revenue and rights, meaning you receive the full pie above.įrom here, signing a publishing agreement involves dividing up the red half of the pie on the left, the Publisher’s Share. The entire pie represents the total revenue generated from the music publishing for performances. Typically, the publishing revenue from performances in a song is divided into the Publisher’s Share and the Writer’s share, in equal halves. And that’s understandable this stuff can be complex.Ī good starting point is a diagram about publishing revenue from performances on radio, television, the internet, live concerts, etc., as paid by SOCAN. It’s not unusual for me to receive a blank stare when I first start explaining music publishing to a songwriter. Yet music publishing for performances can initially seem quite confusing, especially to young songwriters who are just starting out. If you write songs –on your own, with others, or in a band – one of the most important things you can do is develop a clear understanding of how music publishing works for performances.