please do u know how i can get my royalty when i sell a beat online to someone i dont know.how can i register the beat with the artist verse to a publishing company like BMI .how do i also have ownership to the song and monitor and have control as a part owner of the song.will i ask him to bring a cd of the song so that i can register it with BMI or how,dunno how to go about it, kindly help me out if u know how pls.i am new
how will i get royalty by selling beats online to someone i dont know
- Thread starter emeka
- Start date
WhiteKidsLoveHipHop
Drop Beats Not Bombs
You really shouldn't be looking for royalties unless it's going past 2,000 copies or so.
You can determine the exact terms of the agreement, BEFORE selling/leasing the beat.
You can determine the exact terms of the agreement, BEFORE selling/leasing the beat.
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7thangel
New member
1st: bmi/ascap aren't publishing companies, they're performance rights organizations
2nd: if someone buys/leases your beat, what's supposed to happen is you both register the new copyright once they finish the lyrics/singing/etc (after an agreement and split is decided between you and them) listing both parties as co-owners of the copyright (the new work).
once that's done, you both register (can't think of a better phrase) with your p.r.o.'s (bmi/ascap/sesac/socan/etc) regardless if they are different, both parties should fill it out accordingly, and list writers/creators and then lists share i.e. if only 2, you and the buyer, then it's 50% if you both agreed to equal split.
now if you have a publisher, you list the publisher and depending on the p.r.o., you might have to list your share minus the pub share. the buyer would have to do the same if they had a publisher.
as you can see, the more people involved on your side, it needs to be listed, same goes for the other party. if they happened to collab with another writer/rapper/singer but the agreed split was still 50/50, they would have to figure out the split of their 50% (the importance of contracts and agreements beforehand so they don't try to yank your share unless you agree) but all parties must be listed when registering the work at both the copyright office and p.r.o.
whether you need to do this every time is really up to you, dependent on the chances that the track will get a lot of play, and lucky enough to get monitored at more than a couple of times, on commercial stations (the internet monitoring is at the infant stages and chances are won't be fully integrated to benefit most), tv/film and cue sheets are actually kept and sent, a venue that's monitored (i think the u.s. pro's barely monitor live shows unless artists are on a radar), etc.
that's a lot of if's, but stranger things have happened. for now, research when you're not creatin' music and then you can make a judgment on what's best for you
2nd: if someone buys/leases your beat, what's supposed to happen is you both register the new copyright once they finish the lyrics/singing/etc (after an agreement and split is decided between you and them) listing both parties as co-owners of the copyright (the new work).
once that's done, you both register (can't think of a better phrase) with your p.r.o.'s (bmi/ascap/sesac/socan/etc) regardless if they are different, both parties should fill it out accordingly, and list writers/creators and then lists share i.e. if only 2, you and the buyer, then it's 50% if you both agreed to equal split.
now if you have a publisher, you list the publisher and depending on the p.r.o., you might have to list your share minus the pub share. the buyer would have to do the same if they had a publisher.
as you can see, the more people involved on your side, it needs to be listed, same goes for the other party. if they happened to collab with another writer/rapper/singer but the agreed split was still 50/50, they would have to figure out the split of their 50% (the importance of contracts and agreements beforehand so they don't try to yank your share unless you agree) but all parties must be listed when registering the work at both the copyright office and p.r.o.
whether you need to do this every time is really up to you, dependent on the chances that the track will get a lot of play, and lucky enough to get monitored at more than a couple of times, on commercial stations (the internet monitoring is at the infant stages and chances are won't be fully integrated to benefit most), tv/film and cue sheets are actually kept and sent, a venue that's monitored (i think the u.s. pro's barely monitor live shows unless artists are on a radar), etc.
that's a lot of if's, but stranger things have happened. for now, research when you're not creatin' music and then you can make a judgment on what's best for you
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