About share of payments from publishers

[minoruchan]

Isn't this exactly why there is a separation between composition and master rights? Composition rights covers the conceiving and writing of the piece. Master rights covers the studio work; the performances that are captured on the recording. Do I not understand this correctly?
Alan

Based on my limited knowledge, I believe that it was customary for the master recording rights to be held by the party who made the recording or the publisher who paid for the recording.
My interpretation is either the artist who did the studio work or the publisher who provided the production costs. We compose and arrange in our home studios, hire musicians to do studio work, and do engineering, and we do a lot of hard work, and we don't think we should share it in the same way as lyricists who only work at a desk. They don't even come to the studio, so they don't have any influence on the recording.
When a vocalist also writes lyrics, they often write the lyrics simultaneously in the studio, so I think it's only natural that they share them.

So we don't work with lyricists if they want an equal share of licensing fees.

[Casey H]

Again, it's customary here to either:
(1) Share everything equally.
(2) Pay as work-for-hire, one fee, and no other rights.

Anything other than the above is not very 'professional' (for lack of a better word) and comes off cheap and cheesy. No matter how you explain your scenario with this person, the answer is still the same. Trust me, there are dozens of folks here who write lyrics only, from a desk, and share equally in composition and master. I have been on both sides of that and neither party has even considered anything other than an equal split.

Casey

[minoruchan]

Again, it's customary here to either:
(1) Share everything equally.
(2) Pay as work-for-hire, one fee, and no other rights.

Anything other than the above is not very 'professional' (for lack of a better word) and comes off cheap and cheesy. No matter how you explain your scenario with this person, the answer is still the same. Trust me, there are dozens of folks here who write lyrics only, from a desk, and share equally in composition and master. I have been on both sides of that and neither party has even considered anything other than an equal split.

Casey

Thank you for the answer. I wanted the way to do.

I have no intention of criticizing your aspirations or the way you do your work. Is my understanding of master rights incorrect?
Isn't the license fee a payment derived from the master rights?
The way we do things is to distribute the profits equally. I have no reason to be criticized.
I wanted to know how to distribute the profits to the lyricist when the singer does not write the lyrics when doing studio work.
We operate a commercial studio and have engineers and assistants. The lyricist isn't there and she doesn`t pay for the singers or players.
What I was asking isn't how to share the profits of remote work.
Our method is to add the lyrics to the melody afterward, so there is no way that a song would not be complete without the lyrics.
Up until now, singers have written the lyrics, and when that was not possible, I wrote the lyrics, so we have never had any lyricists involved.