Become Ur own Publisher (pros & cons)

[k o star]

What are the pros & cons of becoming Ur own Publisher?
Correct me if I'm wrong but from what I understand, when Ur with a Library... they act as Ur publisher...
However, when pushing Ur works directly to shows, ads, supervisors etc...
How necessary is it to be Ur own Publisher?
What are the drawbacks of being one?
I'm tryna understand how the whole Publisher thingy works...
so feedback on that area most welcomed...

Thanks in Adv

K

[Casey H]

It's a full time job plus some to develop relationships with end users, network with the right people, etc. You are dealing with end users that are already bombarded with hundreds of libraries and library wannabees hounding them. You would have to give up any f/t job you had and lose a lot of music making time. And even if you did all the right things, it could be years before you saw any real income.

I've done a little of this myself (placed a few songs, pat myself on back) but realized it was much too much work and way too competitive. With non-exclusive re-titling, everyone and his brother was a music library.

Now if you have a real go-getter sales personality, business savvy, and the time, energy, drive, etc (as well as money to support yourself and cover expenses), it can be done. But ask yourself "why?"

When you place a song with a solid library they have contacts already. It's worth every bit of 50% to let them do that part and do the music.

Casey

[k o star]

Thanks Casey...
The thing is, I'm definitely going with the Libraries... I love the ones I'm with...
It's just that I've also found some contacts looking for lots of music pieces & I'm wondering if I push my music directly to them... not the ones already with Libraries... who then... is the Publisher?
Say for instance... a cable network wants to use 10 of my new tracks...
50% goes to composer... 50% goes to publisher... but who is the publisher in this situation? Cos I didn't got through any Libraries for this deal...
A little confused here...
I'm having the impression that without a publisher or being a publisher I won't be able to do these deals..
I must be missing something here... hmmm

K

[Casey H]

My response was more regarding being your own library/publisher on a larger scale including doing it for other artists.

You absolutely SHOULD pitch your music directly anytime you can. If you have contacts looking for music and can provide the tracks, there probably is no better way. In these cases you can collect the publisher's share yourself by registering the tracks with you both was writer and publisher. The rules are different for different PROs but I'm told with ASCAP and BMI you do not need a publishing company to do this. Check wity your PRO if you need more info regarding that.

Casey

[k o star]

Thank U Casey..
That certainly cleared up a bit of my confusion..
I've asked my PRO... now waiting for reply..
Info deeply appreciated..

K

[deantaylor]

In these cases you can collect the publisher's share yourself by registering the tracks with you both was writer and publisher. The rules are different for different PROs but I'm told with ASCAP and BMI you do not need a publishing company to do this. Check wity your PRO if you need more info regarding that.
Casey

I am ASCAP, and ASCAP told me I had to have my own (ASCAP) publishing company in order to collect the publishers share on my songs. It's just a formality, it's not like I'm publishing anyone elses songs .... just my own, but when I register the songs, I use my writer name to collect the writer's share and my publishing company name to collect the pub share.

It's my understanding that BMI does it differently, so does PRS. You don't need a publishing company with them.

Dean

[Casey H]

I set up my own publishing company name with ASCAP years ago and it was very easy to do. There was no fee at that time-- not sure if there is now. It's just a matter of some paperwork and you might have to give an instance where your music was actually published (offered for sale, broadcast, etc). If you have a contract with a music library that should be enough.

Casey

[guscave]

Dean you're correct. With BMI you do not need to register as a publisher. When you register your songs it ask for the percentage of writer & publisher that should be allocated to you. Ex: If you're the sole rights owner to a song, you would enter yourself as 100% writer & 100% publisher.

[deantaylor]

I set up my own publishing company name with ASCAP years ago and it was very easy to do. There was no fee at that time-- not sure if there is now. It's just a matter of some paperwork and you might have to give an instance where your music was actually published (offered for sale, broadcast, etc). If you have a contract with a music library that should be enough.

Casey

I did the same thing. I think they charge you now.

[simonparker]

Others feel free to chime in/correct/adjust/agree with....

pros:

- Full ownership of publishing rights (not just the writer's share)
- Control of day to day pitching/business networking/opportunity creating/etc.
- no requirement as to how many songs you need to produce in a year
- no exclusivity/no reversion clauses
- you write whatever you want to write. You are not "pigeonholed" into a specific genre or controlled by the publisher's needs
- you're #1. If you sign with a publisher like Warner Chappell, you are no-where near #1. You don't have to deal with the "buddy" treatment from the upper management for a large publisher's "top" writers (at the moment)
- you know for sure how much money is being made with your material. You exploit the copyright, not the publisher. You control who records 100% of the time.
- I need a rock tune today. I have a budget. I call Cherry Lane with interest in a couple of tunes written by you who is SIGNED to Cherry Lane. Cherry Lane doesn't bother to move forward or pursue the opp b/c they have much more $$ coming in the door with major labels needing material at the very same moment. So if you were NOT signed to Cherry Lane, I (and others with restrictive budgets) would go to you or smaller publishers and do business, not be ignored.

Cons:

- You don't have the depth of contacts as a reputable publisher, hence less opportunities up front, more leg work needed to create opps that already exist with a reputable publisher
- You don't have the staff that a publisher has, hence less chance someone will go to you for a piece of matreial that you might not have in your catalog, that a larger, established publisher will have
- you don't have the $$ to spend on the "extras" that might give you a competitive advantage with labels/artists/radio stations/etc.
- You are an unknown. Cherry Lane is known. I need a rock tune today. Who gets called?
- You have to pay to copyright your own material at $35+ a pop. You have to ensure/collect the royalties. You have to hire the legal staff to stop ppl from using your material illegally. Instead of a 1099 form, you have to keep all your receipts for tax purposes.
- You are an unknown. Ryan Tedder is in town looking for co-writes. Who does he co-write with? A hit songwriter from a major publisher or you?
- strike the last one above. Joe "upcoming" hit songwriter at Warner Chap is in town looking for some co-writes. Who do you think fills the slots, other writers from Warner Chap or you?
- same as above, except instead of "hit songwriter", replace with "upcoming artist just signed to major label
- no monetary advance as opposed to one of my co-writers who got 15K not because she was hot, well b/c she was hot, but more importantly b/c the publisher knows she's gonna generate revenue for them.
- lower budget producers/recording artists may be interested in your material b/c they can't afford the "higher priced" stuff or don't have the "goods" to impress the higher tiered publishers. Hence, you might get some cuts with artists that go nowhere, and you get little to no royalties for your sweat and tears