Hey there - not 100% certain I understand your situation. Are you discussing recording original songs that another artist/band/singer will be using in pursuit of a record deal (or similar business venture)? The best answer is that everyone has a different set of facts and circumstances, and therefore, any contract should be handled by a competent attorney.
Just to clarify a few things - pitching to film and TV provide one revenue stream, whereas, publishing, public performance, radio airplay, and web/non-terrestrial airplay present other avenues of revenue streams. Each of these areas have some similar features as well as different features.
In a case where you are recording an artist with your original songs (that you wrote 100%), you have some inherent rights. First, you have the copyright, which grants you the exclusive right to release (publish) your song and to receive compensation (royalties) for their performance. If your original songs are 100% written by you and have not been released by a previous artist (or yourself), you control all rights to the song and its performance. Therefore, if an artist records your song (in the USA), and releases it on CD/itunes, it makes radio airplay, performed in concert, it gets internet and satelitte airplay, and is in a feature film, you would be entitled to the royalties for mechanical sales (CDs/mp3), royalties for radio airplay and public performance (BMI, ASCAP, SESAC), and royalties for web play (Soundexchange).
The two areas that things get tricky is when the artist wants compensation for the work they've done, and when you introduce a middle man (i.e. music library) into the equation. If you're a low budget production, most times you're not in the serious category for a record deal. What that means is you're probably an outsider with outsider chance of getting this artist signed. If you were a superproducer like Dr. Luke, you could probably command an upfront fee from the artist (or work it on spec), have all the rights I've talked about attached to the project in a production deal. However, since this can get complicated, now that record labels don't make much from sale of CDs/mp3s like they did even 10 years ago, the best way to get acclimated to what producer points are is to go the basic route, which are a % of mechanical royalties (CD sales and mp3 downloads) and how they get calculated. My suggestion is to read this great article from Taxi and Donald Passman:
http://www.taxi.com/music-business-faq/ ... als-1.html
Since you're probably not at the level of super producer yet, and since you might need an artist to record your songs and be your 'voice' while the artist is pursuing his/her dream, an alternate arrangement is usually in order. One of the fairer deals out there, and again, it's based on a person's facts and circumstances, is a demo deal. In a demo deal, you would agree to own the master and fund the project in return for the artist's performance. You would then agree to receive revenue to recoup your costs, and anything subsequent that would be split 50/50 between you and the artist. Under such a scenario you would own the master rights and could pitch to film/tv and other media. However, you would have to keep adequate accounting and provide the artist with royalty payments subsequent to your recoupment costs for any placement in film/tv you had.
Since I am not heavily involved in the film/tv market, and work development deals and record deal pursuits, I won't make an absolute comment here and would defer to others with more knowledge of that market. However, it is my belief, that under a demo deal I described above, you would be able to submit to third parties (i.e. music libraries) and as long as you have the work-for-hire releases and the demo deal contract in place, you should not have a problem with submitting. Again, I would wait for others opinion on that, and more importantly, if you want to do this correctly, seek out an appropriate entertainment attorney.
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