Thoughts on the collaboration process

[Sonora]

I posted this on Biz Talk but I'm re-posting it here, I hope it's ok!

I would like to have a few insights on how is the process of writing music with another composer.

The question I have are both general (pros and cons? how do you deal with collaboration?) and specific/practical:
-how do I register a track with more than writer? Or better, should each writer register the track with his/her PRO listing the other writer as well (according to a pre-determined percentage that is chosen together)?
-how does the splitting works? In other words, I can imagine that the PROs will pay the writer share according to the percentage but how would it work with the licensing fees coming from the library? Would typically only one writer keep relationships (and thus get paid) with the library and then split the fee with the other writer?

Any info is appreciated as I would love to get into some collaboration.

I searched from other threads on the topic here on the forum but couldn't exactly find what I was looking for.

Thanks!

[hummingbird]

-how do I register a track with more than writer? Or better, should each writer register the track with his/her PRO listing the other writer as well (according to a pre-determined percentage that is chosen together)?
When you register a track with your PRO you would put also your co-writer(s) names and percentages (please note, depending on the intended use of the track, you may want to wait and have the library register the track as they will need the publishing).

-how does the splitting works? In other words, I can imagine that the PROs will pay the writer share according to the percentage but how would it work with the licensing fees coming from the library? Would typically only one writer keep relationships (and thus get paid) with the library and then split the fee with the other writer?
When you sign a contract you specify the co-writer(s) names, addresses, and percentages and all of you need to sign the contract. The library may accept one contact person who would be responsible for disbursement, or they may issue separate cheques.

Probably also good to have a co-writing agreement that specifies shares and who is responsible for receiving and distributing any income from the track(s).

HTH

[Sonora]

-how do I register a track with more than writer? Or better, should each writer register the track with his/her PRO listing the other writer as well (according to a pre-determined percentage that is chosen together)?
When you register a track with your PRO you would put also your co-writer(s) names and percentages (please note, depending on the intended use of the track, you may want to wait and have the library register the track as they will need the publishing).

-how does the splitting works? In other words, I can imagine that the PROs will pay the writer share according to the percentage but how would it work with the licensing fees coming from the library? Would typically only one writer keep relationships (and thus get paid) with the library and then split the fee with the other writer?
When you sign a contract you specify the co-writer(s) names, addresses, and percentages and all of you need to sign the contract. The library may accept one contact person who would be responsible for disbursement, or they may issue separate cheques.

Probably also good to have a co-writing agreement that specifies shares and who is responsible for receiving and distributing any income from the track(s).

HTH

Thanks for your reply!
So, if I understand correctly, only one of the writers (maybe the one with the largest share?) would register the track with his/her PRO, listing the other as well?
I also don't fully understand your suggestion of letting the library register the track. I normally register the track myself as the library would re-register it renaming it as the publisher. Am I doing it wrong?

[fuzzbox]

Hi Sonora,
from my experience, which is limited I use the following.

So far, I go for 50/50 split. Regardless if I writing the music or the music and lyrics. Since I can't sing, I'll need a singer...
just the influence of another person can make all the difference to a co-write (I mean in a good way). So, I would say 50/50 is fair from my point of view.

I always get the paper work sorted out BEFORE work gets started in earnest. So, decide who is doing what and when. Try to have a meeting and skype/phone whatever, to gain confidence and talk things through. Once all agreed draw up the paperwork!
If unsure, now is the time to walk away!

As for PROs you will need to exchange CAE numbers. Check and double check you have the number copied correct. Enter your details and your co-writers details into YOUR PRO and ensure your co-writer does the same. Exchange screens shots of completed details and save in a safe place.

Should the song/cue get a placement then everything is in place to aid eventual payment.

It is also good to get the following forms completed
Work for hire (if needed)
Who is the Admin for the song/cue (you or your co-write or both of you)
Song split sheet (if required)

Cheers

[NaeDae]

Collaboration can be good but it can also lead to unnecessary difficulties. I always go 50/50 unless the other person is solely an addition to something I've already made (meaning they didn't have to do much work), and then I'll usually do a 70/30 type split.

But to be honest, everyone's' role in a collaboration is usually something that should be regulated pre-emptively if you aren't super comfortable with them, and you should be able to fill as many roles as possible so that your team can stay as small as possible (to keep things as cheap as possible). For example, I sing and song write. If I make a song with a producer, I'll usually have him just produce the instrumental and then I'll write the song over the instrumental and mix my own vocals. The result is a full-sounding song with only 2 people involved. 50/50 splits.

If, however, I only songwrote, then I'd have to get both a producer and a singer. Not only does this increase room for error/arguments, but it also leads to less of a payoff if the song succeeds. I'd also have less leverage so that'd make me less likely to be taken forwards on other projects unless I single-handedly wrote one hell of a song and everyone loved me, and even then it's still doubtful.