Help me understand sync, writers, pub share etc. please!!!

[mojobone]

Here's a much skinnier reference book that doesn't go into every possible contract permutation, and will hopefully save you lotsa money and time:

The Plain And Simple Guide To Music Publishing, by Randall D. Wixen

Tip o' the hat to forum member and all 'round great guy Mazz, for turning me on to this one!

*and I'll just quickly mention that this is the sorta question that gets better response if posted in the "BIZ" section of the forum, FYI.

[Bliciouz]

Very interesting topic. I happen to have a question that kind of fits into this subject.
I was reading the Taxi listings the other day and noticed that there's libraries looking to expand their collection and there's record companies searching songs for artist. Is there a difference in publishing rights between the two? If you sign with a library they get the publishing rights and a record company doesn't, or do they?

About books on the subject. I found Jason Blume's 'Six Steps To Songwriting Succes' really helpfull. It led me to Taxi and is about the whole songwriting process from melody/lyric writing to recording and the business end.

Grtz Bert

[mojobone]

The short answer is that libraries (or other co-publishers) will market your material and deal with licensees and will usually want a cut of the publishing as compensation. Usually, (there are myriad exceptions) they'll split front end fees and backend royalties evenly with the writer/producer. With record labels, it depends on your deal points as a writer and/or artist; in the increasingly more common '360 deal' scenario, the label would want a piece of touring, merchandising and publishing, as well as all other ancillary income streams.(TV appearance fees, Kickstarter campaigns, etc) In a traditional deal, the label only gets the copyright in the master recordings and points on sales of the recordings, though most major labels also have publishing arms which are typically used to 'claw back' some royalties from artists. This can sometimes be a good thing, if you happen to write with the artist for the label's publisher, but I think I'll stop here, before complicating matters any further.

[Casey H]

Hi Nathan
Some great responses and recommended resources here.

You coming to the Road Rally? I teach a class on this very subject.

Best,
Casey

[AmandaJane]

Darn Casey - that is one I'd sign up for, but it's increasingly looking like I won't get there this year As in I'm bare a**ed broke, an excess of bills and almost no income at the moment

But I am saving my €2 coins for 2015

Maybe I can cadge notes off of someone who gets to partake of Casey's MasterClass

Meanwhile it's Write, Submit, Forget, Repeat