fataltone
Holy Lamb Media & Ent.
I'm starting my own publishing & production team under my Holy Lamb Media & Ent. company
probably get a DBA Walking on Water Music and sign up on BMI
looking to do this
sell on my Publishing/Production Site
1. .99cent(where is the cent sign on the keyboard??? lol) instrumentals
2.$20 leases with singing hooks
3.$50-$75 for full already registered copyright lyrics/instrumental (christian comtempary song)non-rap
1. from .99 to $500 exclusive
2.$20 w/singing hooks to $500 exclusive
3.$750.00 to $1,500.00 for full RnB(rythmn and bible) songs with includes the instrumental,lyrics,written notes
these is to build buzz for my publishing/production company and get money from our PRO of choice
we will be selling music through tons of other opportunities such as
taxi TAXI: record deals, publishing deal, film TV placement, recording your music, songwriting
pumpaudio Pump Audio | Welcome
the music hub Music Hub - Music Available For Licensing, Independent Labels, Artists, Composers
doing cover songs and make stuff like Gospel WOW projects
provide voice/background music for commercials for online and offline clients
build relationships with multi-media & Advertising Companies
offering songwriting to full song production services
vocal coaching
just some of the things I brainstormed
the ppl I looking for this team are to have a speciality so I can hit specific needs/niches
I just read this article it's pretty good
Music Licensing For Dummies, Smarties, and The Rest of Us. | Becoming Nikki Lynette
I started this thread mostly to show some of the things I'm going to explore
and for others to add to the list of ways you can sell/license music whether it's instrumentals,full songs,sound FXs
---------- Post added at 11:34 PM ---------- Previous post was at 07:09 PM ----------
Instructions
1
Name your publishing company. Be sure your name isn't too similar to an existing publishing company.
2
Affiliate your publishing company with a performing rights organization like ASCAP (ascap.com), BMI (bmi.com) or SESAC (sesac.com). These organizations will monitor instances in which your songs are used and make sure you receive the proper amount of royalties.
3
File a document with your county recorder expressing that you are doing business under a name other than your own. This will publish in a local newspaper and make your music publishing company a legal business.
4
Register any songs you own or have the permission to use with the United States Copyright Office (copyright.gov).
5
Register your music copyrights with the performing rights organization you are affiliated with.
6
Acquire music copyrights by buying songs and catalogs from other businesses and negotiating contracts with songwriters.
7
Advertise your company and catalog in trade magazines, books, online and at industry events.
8
Approach businesses that might be interested in using songs in your catalog. For example, if you publish country music, you could approach establishments that play country music, such as bars in Nashville.
9
License the songs in your catalog to interested parties by negotiating contracts and setting fees for usage.
10
Receive your royalties from the performing rights organization you are affiliated with. Distribute the necessary royalties to contracted songwriters.
---------- Post added at 11:52 PM ---------- Previous post was at 11:34 PM ----------
Variables
There are 3 main variables in publishing contracts:
1.The Property(Who owns the copyright? What works are covered?)
2.Extent (Who has what rights? e.g.right to collect money. issue licenses.. and for how long?)
3.Money (Advances, royalty splits, fees and costs etc)
---------- Post added at 11:55 PM ---------- Previous post was at 11:52 PM ----------
Contract Types
There are seven main types of music publishing contracts that you are likely to encounter.
1.Single Song Agreement
2.Exclusive Song Writer Agreement
3.Co-publishing Agreement
4.Administration Agreement
5.Collection Agreement
6.Sub-Publishing Agreement
7.Purchasing Agreement
details on these agreements
Single Song Agreement
This is an agreement between a writer and a music publisher where the writer grants specific rights for one or more songs to the publisher. The writer will be paid a one-time recoupable advance by the publisher. The publisher will handle the business aspects of the work and pay royalties to the songwriter. With the exception of print music the songwriter usually gets a 50% share of the money collected by the publisher.
Songwriters should be mindful of a few things:
Be careful that the deal does not simply state a share drawn from a limited list of specified publishers receipts, like "mechanical, synchronization and transcription". This could mean that the publisher can collect from income streams outside of this limited list. A list is ok, but make sure to end it with a statment like "... and all other monies not referred to by this agrreement".
Ensure that the contract explicitly states that you get a share of publishers advances and guaranteesthat are specifically for your compositions.
To stop the publisher from giving discount deals to their sister or affiliated companies a statement to the effect that they must grant licenses to affiliate companies on a customary, arm's length basis should be included.
Exclusive Song Writer Agreement - ESWA
The ESWA is a contract normally for staff writers where the song writer normally grants the entire publisher's share of the income to the music publisher. Any compositions written within a time period specified in the contract belong exclusively to the music publisher.
EWSA deals are normally only offered to writers with a track record of writing hits making the publisher feel confident that they will recoup their investment in the writer.
The writer negotiates a deal with the publisher for an advanve based on future royalties, for all or some of the writer's songs, and in exchange the writer grants exclusive rights to those songs to the publisher. The advance amount entirely depends on the writer's negotiating skills and their effective market value as a writer. The writer is normally paid on a weekly or quarterly basis.
An ESWA can be tied to, or independent of, a record contract.
Co-publishing Agreement - Co-pub
The co-publishing deal is the most common form of publishing agreement where the songwriter and the music publisher co-own the copyrights of musical compositions governed by the agreement. A split of the royalties is agreed where the song writer assigns a percentage to the publisher. The split is normally, but not always, 50/50 with the writer assigning the publisher's share to the publisher, and retaining all of writer's share.
In a 75/25 co-pub deal the writer keeps 100% of the song writer's share, and 50% of the publisher's share, which is 75% of the entire copyrights. The remaining 25% is assigned to the publisher. When royalties are paid the writer/co-publisher will receive 75% of the income, while the publisher will receive 25% of the income.
The Net Publishers Share (everything received by the publisher meaning both the the share of income allocated to the publisher and the writer) is gross income and is divided up like this:
1.Administration Fee
2.Songwriter royalties
3.Expenses
Admininstration fees, usually between 10% and 20%, are intended to cover indirect expenses such as rent, utilities, staffing costs etc. In reality this is just a bargaining chip.
Expenses are direct costs, specifically related to the song. Direct expenses include copyright registration fees, demo recording costs, collection costs, and lead sheets
Who administers the deal is important. With only one copyright owner it may be obvious but when copyright ownership is shared the exact roles and responsibilities need to be defined. The same is true when there are any restrictions placed upon administration, or exceptions from.
In a true co-administration co-publishing deal a license is required by both owners in order to use the song.
Exceptions can be applied to co-administration co-publishing deals where certain types of license can be granted by only one administrator, for example a recording artist who is likely to have recording contract obligations too regarding mechanical licenses, promotional videos etc. Usual exceptions include:
1.Controlled Compositions (governed by another deal)
2.Statutory Rate Licenses (A large subject that can hide a multitude of sins and overall worth objecting too)
3.Print (Exclusivity to print the music by one party or the other)
Administration Agreement - Admin
An agreement between a songwriter/publisher and an independent administrator, or between a songwriter/publisher and another music publisher. An admin agreement is used when the songwriter self-publishes their work and licenses songs to the music publisher for a fixed term at an agreed split of royalties in a specified territory.
The music publisher/independent administrator administers and exploits the copyrights for the copyright owner, be that the songwriter or a separate publisher. Exploitation functions typically include accountant or business manager roles.
Admin deals tend to be reserved for only the most popular of songwriters. Ownership of the copyright is usually not transferred to the administrator. The licensed music publisher gets approximately 10-20% of the gross royalties from the agreed territory during the agreed time period.
Admin deals are also used when songwriters signed to different publishers, or songwriters wh do their own publishers, have co-written a piece of work.
If more than one party administers is often called a co-administration agreement.
Collection Agreement
Similar to an admin deal in that the writer retains the copyrights, but the publisher does not conduct any exploitation role. The publisher only collects and disburses earned royalties governed by the contract.
Sub-publishing Agreement
Governing foreign territories, the publisher agrees terms similar to an admin or collection deal with a publisher in the foreign territory. There is no transfer of the ownership of copyrights to the subpublisher. The publisher grants the sub-publisher to rights to act on its behalf in specified foreign territories.
Territories can cover more than one country, such as European Union (EU), or individual countries.
Purchase Agreement
One music publisher acquires in whole or in part the catalogue of another music publisher. In this case, a "due diligence" investigation is done to determine the value of the catalogue.
more can be found here
---------- Post added 01-09-2012 at 12:23 AM ---------- Previous post was 01-08-2012 at 11:55 PM ----------
it's $250 to sign up as a publsiher through BMI
---------- Post added at 07:03 PM ---------- Previous post was at 12:23 AM ----------
bump come on ppl
probably get a DBA Walking on Water Music and sign up on BMI
looking to do this
sell on my Publishing/Production Site
1. .99cent(where is the cent sign on the keyboard??? lol) instrumentals
2.$20 leases with singing hooks
3.$50-$75 for full already registered copyright lyrics/instrumental (christian comtempary song)non-rap
1. from .99 to $500 exclusive
2.$20 w/singing hooks to $500 exclusive
3.$750.00 to $1,500.00 for full RnB(rythmn and bible) songs with includes the instrumental,lyrics,written notes
these is to build buzz for my publishing/production company and get money from our PRO of choice
we will be selling music through tons of other opportunities such as
taxi TAXI: record deals, publishing deal, film TV placement, recording your music, songwriting
pumpaudio Pump Audio | Welcome
the music hub Music Hub - Music Available For Licensing, Independent Labels, Artists, Composers
doing cover songs and make stuff like Gospel WOW projects
provide voice/background music for commercials for online and offline clients
build relationships with multi-media & Advertising Companies
offering songwriting to full song production services
vocal coaching
just some of the things I brainstormed
the ppl I looking for this team are to have a speciality so I can hit specific needs/niches
I just read this article it's pretty good
Music Licensing For Dummies, Smarties, and The Rest of Us. | Becoming Nikki Lynette
I started this thread mostly to show some of the things I'm going to explore
and for others to add to the list of ways you can sell/license music whether it's instrumentals,full songs,sound FXs
---------- Post added at 11:34 PM ---------- Previous post was at 07:09 PM ----------
Instructions
1
Name your publishing company. Be sure your name isn't too similar to an existing publishing company.
2
Affiliate your publishing company with a performing rights organization like ASCAP (ascap.com), BMI (bmi.com) or SESAC (sesac.com). These organizations will monitor instances in which your songs are used and make sure you receive the proper amount of royalties.
3
File a document with your county recorder expressing that you are doing business under a name other than your own. This will publish in a local newspaper and make your music publishing company a legal business.
4
Register any songs you own or have the permission to use with the United States Copyright Office (copyright.gov).
5
Register your music copyrights with the performing rights organization you are affiliated with.
6
Acquire music copyrights by buying songs and catalogs from other businesses and negotiating contracts with songwriters.
7
Advertise your company and catalog in trade magazines, books, online and at industry events.
8
Approach businesses that might be interested in using songs in your catalog. For example, if you publish country music, you could approach establishments that play country music, such as bars in Nashville.
9
License the songs in your catalog to interested parties by negotiating contracts and setting fees for usage.
10
Receive your royalties from the performing rights organization you are affiliated with. Distribute the necessary royalties to contracted songwriters.
---------- Post added at 11:52 PM ---------- Previous post was at 11:34 PM ----------
Variables
There are 3 main variables in publishing contracts:
1.The Property(Who owns the copyright? What works are covered?)
2.Extent (Who has what rights? e.g.right to collect money. issue licenses.. and for how long?)
3.Money (Advances, royalty splits, fees and costs etc)
---------- Post added at 11:55 PM ---------- Previous post was at 11:52 PM ----------
Contract Types
There are seven main types of music publishing contracts that you are likely to encounter.
1.Single Song Agreement
2.Exclusive Song Writer Agreement
3.Co-publishing Agreement
4.Administration Agreement
5.Collection Agreement
6.Sub-Publishing Agreement
7.Purchasing Agreement
details on these agreements
Single Song Agreement
This is an agreement between a writer and a music publisher where the writer grants specific rights for one or more songs to the publisher. The writer will be paid a one-time recoupable advance by the publisher. The publisher will handle the business aspects of the work and pay royalties to the songwriter. With the exception of print music the songwriter usually gets a 50% share of the money collected by the publisher.
Songwriters should be mindful of a few things:
Be careful that the deal does not simply state a share drawn from a limited list of specified publishers receipts, like "mechanical, synchronization and transcription". This could mean that the publisher can collect from income streams outside of this limited list. A list is ok, but make sure to end it with a statment like "... and all other monies not referred to by this agrreement".
Ensure that the contract explicitly states that you get a share of publishers advances and guaranteesthat are specifically for your compositions.
To stop the publisher from giving discount deals to their sister or affiliated companies a statement to the effect that they must grant licenses to affiliate companies on a customary, arm's length basis should be included.
Exclusive Song Writer Agreement - ESWA
The ESWA is a contract normally for staff writers where the song writer normally grants the entire publisher's share of the income to the music publisher. Any compositions written within a time period specified in the contract belong exclusively to the music publisher.
EWSA deals are normally only offered to writers with a track record of writing hits making the publisher feel confident that they will recoup their investment in the writer.
The writer negotiates a deal with the publisher for an advanve based on future royalties, for all or some of the writer's songs, and in exchange the writer grants exclusive rights to those songs to the publisher. The advance amount entirely depends on the writer's negotiating skills and their effective market value as a writer. The writer is normally paid on a weekly or quarterly basis.
An ESWA can be tied to, or independent of, a record contract.
Co-publishing Agreement - Co-pub
The co-publishing deal is the most common form of publishing agreement where the songwriter and the music publisher co-own the copyrights of musical compositions governed by the agreement. A split of the royalties is agreed where the song writer assigns a percentage to the publisher. The split is normally, but not always, 50/50 with the writer assigning the publisher's share to the publisher, and retaining all of writer's share.
In a 75/25 co-pub deal the writer keeps 100% of the song writer's share, and 50% of the publisher's share, which is 75% of the entire copyrights. The remaining 25% is assigned to the publisher. When royalties are paid the writer/co-publisher will receive 75% of the income, while the publisher will receive 25% of the income.
The Net Publishers Share (everything received by the publisher meaning both the the share of income allocated to the publisher and the writer) is gross income and is divided up like this:
1.Administration Fee
2.Songwriter royalties
3.Expenses
Admininstration fees, usually between 10% and 20%, are intended to cover indirect expenses such as rent, utilities, staffing costs etc. In reality this is just a bargaining chip.
Expenses are direct costs, specifically related to the song. Direct expenses include copyright registration fees, demo recording costs, collection costs, and lead sheets
Who administers the deal is important. With only one copyright owner it may be obvious but when copyright ownership is shared the exact roles and responsibilities need to be defined. The same is true when there are any restrictions placed upon administration, or exceptions from.
In a true co-administration co-publishing deal a license is required by both owners in order to use the song.
Exceptions can be applied to co-administration co-publishing deals where certain types of license can be granted by only one administrator, for example a recording artist who is likely to have recording contract obligations too regarding mechanical licenses, promotional videos etc. Usual exceptions include:
1.Controlled Compositions (governed by another deal)
2.Statutory Rate Licenses (A large subject that can hide a multitude of sins and overall worth objecting too)
3.Print (Exclusivity to print the music by one party or the other)
Administration Agreement - Admin
An agreement between a songwriter/publisher and an independent administrator, or between a songwriter/publisher and another music publisher. An admin agreement is used when the songwriter self-publishes their work and licenses songs to the music publisher for a fixed term at an agreed split of royalties in a specified territory.
The music publisher/independent administrator administers and exploits the copyrights for the copyright owner, be that the songwriter or a separate publisher. Exploitation functions typically include accountant or business manager roles.
Admin deals tend to be reserved for only the most popular of songwriters. Ownership of the copyright is usually not transferred to the administrator. The licensed music publisher gets approximately 10-20% of the gross royalties from the agreed territory during the agreed time period.
Admin deals are also used when songwriters signed to different publishers, or songwriters wh do their own publishers, have co-written a piece of work.
If more than one party administers is often called a co-administration agreement.
Collection Agreement
Similar to an admin deal in that the writer retains the copyrights, but the publisher does not conduct any exploitation role. The publisher only collects and disburses earned royalties governed by the contract.
Sub-publishing Agreement
Governing foreign territories, the publisher agrees terms similar to an admin or collection deal with a publisher in the foreign territory. There is no transfer of the ownership of copyrights to the subpublisher. The publisher grants the sub-publisher to rights to act on its behalf in specified foreign territories.
Territories can cover more than one country, such as European Union (EU), or individual countries.
Purchase Agreement
One music publisher acquires in whole or in part the catalogue of another music publisher. In this case, a "due diligence" investigation is done to determine the value of the catalogue.
more can be found here
---------- Post added 01-09-2012 at 12:23 AM ---------- Previous post was 01-08-2012 at 11:55 PM ----------
it's $250 to sign up as a publsiher through BMI
---------- Post added at 07:03 PM ---------- Previous post was at 12:23 AM ----------
bump come on ppl
Last edited:
BTW, check out the Blogtalkradio interview I had the other day with Zee, from