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In each song, the revenues and possession of music publishers are divided into two parts: the Publisher Action and the Writer`s Share, as described above. The circle as a whole represents the entire musical publication “pie” in a single song. The Writer`s Share is always yours, the author, and it can never be awarded or sold. If you never sign a music publication agreement of any kind, you will retain 100% of the revenue and possession of the music publications on your songs, which means you will own the full cake. Buyback offers are no longer as frequent today as in the past and are generally seen when significant progress is offered for the author`s catalogue. The publishing house owns 100% of the copyright to the musical works and has exclusive management rights. The overall distribution of music publishers` revenues is 50/50, since the Writer has only Writer`s share in the revenues from the music publications from the performances. Have you read your various articles and learn a lot. Thank you very much. I think my question is relatively simple. I composed and recorded an instrumental track and recorded it in a PRO.

A recording artist then wrote lyrics and recorded songs on that music (with a new song title as the title of the recorded music). She now wants to publish this song for streaming and suggested that we share 50/50 revenue. Sounds fair to me. Do I need to change the PRO record to continue publishing? What agreements do we need to act clean? is 100% publishing in the company, 100% writer in artist and 100% mechanical for artists, is it 50/50? I`m puzzled Every time you listen to a song on the radio, at the grocery store, at a hockey game or on a video game, music editing revenues are generated and (theoretically) collected by a publisher on behalf of an artist. I`m just starting the process to become an author/composer for a Discovery Network Show and in our early discussions they specify that I share 100% of the authors, but traditionally they hold 100% of the publication. It is a show that is all over the world with more than 150 million veiwers in the world. That said, music is the most disconcerting aspect of music. The number of blank glances that make me look after explaining to a fellow musician the release of music is numerous and perhaps justified.

These things are complex. Although the non-managerial publisher is not authorized to issue licenses, some jurisdictions require the publisher`s consent. Some may include advertising and advertising costs incurred by the managing editor on behalf of the track, the use of the song in a radio or television spot, all foreign lyrical adaptations or translations of the original composition, any use of cinematic synchronization, mechanical licenses issued at a total legal price and any use of the song as a sample of another party. Co-pub is now the norm in business. The music publisher and the author co-own the copyrights to the musical works and the music publisher manages the copyrights to the works. It is a deeper commitment than the administration agreement, because the appointment is often longer… Often equal to the life of copyright (which corresponds to the life of the author plus 50 years!). In exchange for this in-depth commitment, a progress in music publishing is normal for the artist.