A music publisher can make your life a lot easier while you focus on creating good music. If a traditional music publisher approaches you and interested in your material, after under contract they will shop those songs for you placing them with artists who are seeking your kind of material.

Just so you know, when you complete a song, you are the publisher of that song. Allow me to reiterate: 100% publishing belongs to you by default simply because you created the piece. When you sign with a publisher, you are typically giving up at least 50% of the pie which is not a bad deal when they as experts in their field are going to handle your publishing business for you. There are other instances in which a co-writer is involved whereas that 50% you now own becomes whatever breakdown you and the co-writer assumes. Say for instance, 80/20 or 90/10 or 70/30 of that 50%. (I hope that made sense!) It all depends on how much material they contributed to the piece and whatever agreement you all come to terms with. It is also common these days that the writer receives their 50% plus half of the publisher’s share. This is considered a co-publishing agreement, and is also typical among successful writers.

If you are an artist signed to a record label and have a contract with a publisher, and your recording is manufactured and distributed by your record label… the record company and publisher negotiates your mechanical royalties of which the record company would pay for the right to manufacture and distribute your master recording. This also applies if you are not affiliated with any record company, but your song is under contract with that record company.

The Harry Fox Agency (a company in New York), is an excellent median between record companies and publishers. They issue mechanical licenses to record companies and collect mechanical royalties on the publisher’s behalf.  They now become a piece of the pie (so-to-speak) where they charge commission fees which are paid right off the top.

If your song is used in film, TV, commercials, promotional videos, etc… synchronization licenses are issued and royalties are paid. Synchronization means your song is in sync with a visual image on screen.

Performing Rights Organizations/Societies such as the 3 major U.S. companies BMI, ASCAP, and SESAC issue licenses, track and collect your performance royalties when your song is performed i.e. played on the radio, television, clubs, restaurants, and other venues. Whatever your affiliation with the societies is how you will be paid. Say for instance your song is co-written by another writer and they are with BMI, and you are with ASCAP… each of you will be paid your share of the performance royalties for that particular performance. Please note, you can only belong to one performing rights organizations at one time.

Tons of songwriters and producers are living well off their publishing income. It’s lucrative if the business is handled accurately and effectively. Get your study up and research the fine details of this conglomerate operation. More importantly, be careful of so-called publishing companies that sucker you for money up front. This is not traditional habit and more often a scheme. Contact an entertainment attorney should you have any doubt; better yet, if you are in the music business, you should already have an attorney!

Books I strongly recommend for further reading and referencing…

Music Publishing: A Songwriter’s Guide – 2nd Edition (Paperback)

The Plain & Simple Guide to Music Publishing: Foreword by Tom Petty (Book) (Hardcover)

New Songwriter’s Guide to Music Publishing: Everything You Need to Know to Make the Best Publishing Deals for Your Songs (Paperback)

Websites

http://mpa.org/

http://www.umusicpub.com/

http://www.emimusicpub.com/

About the Contributor Lady Tha ProducHer is an entrepreneur who loves people, plays piano, produces music in her production studio, loves to write, and does graphic and web design. Visit her Official Website at www.ladythaproducher.com