Publishing Percentages

[andreh]

I wouldn't sign a deal where a library or publisher ends up with more than half of revenues generated from my music...just on principle.Maybe I am limiting myself to a certain extent with this approach, but if we don't place a value on our music personally, who's gonna do it for us?André

[rivercitymusic]

I'm not in ya'll league, you are composers, performing artists and so on. I just try to write a good set of lyrics and a decent melody, or is some cases a jingle for a company.So i'm not in a position where my personal efforts enter into the Finished Product range.I have copyrighted all of my work, registered all of my titles and would not give anyone 50% of something that they cannot support by verifiable figures and for no longer than a specified period where at that time it all, 100% reverts back to me.In my humble opinion, if your work is chosen, you have some negotiating room. Ask for everything in writing, in a proposal format so that you can review it. In the very least you can turn them down, or accept it and you can always keep the offer in writing to post on your credits.Either way you should be recognized as a professional.Now that i have said than, Casey, what did you make on your checks from or through ASCAP?Were they in the hundreds, thousands, tens of thousands or ?? And what did the publisher make or did you require them to disclose that?it'd be interesting to know from my perspective.And again, I'm just interjecting the opinion of a newbie that is very stingy with his personal work.Doc

[matto]

Dec 2, 2008, 5:27pm, andreh wrote:I wouldn't sign a deal where a library or publisher ends up with more than half of revenues generated from my music...just on principle.But that's not the case here...revenue is split straight down the middle...

[Casey H]

Dec 2, 2008, 5:49pm, matto wrote:Dec 2, 2008, 5:27pm, andreh wrote:I wouldn't sign a deal where a library or publisher ends up with more than half of revenues generated from my music...just on principle.But that's not the case here...revenue is split straight down the middle...Hi MattoIf only the upfront license fees are split, the TOTAL revenue generated from the music is not split. I think that's what Andre meant. (?) Casey

[Casey H]

Dec 2, 2008, 5:43pm, rivercitymusic wrote:In my humble opinion, if your work is chosen, you have some negotiating room. Now that i have said than, Casey, what did you make on your checks from or through ASCAP?Were they in the hundreds, thousands, tens of thousands or ?? And what did the publisher make or did you require them to disclose that?it'd be interesting to know from my perspective.Everyone has to understand it's a buyer's market, not a seller's market when it comes to music today. With the advent of affordable home recording technology, there is SO much available music-- WAY more tracks than demand requires.Like it or not, we (especially as newcomers) have little negotiating room. There may be some, but on the whole if you don't like the deal, the next guy will. If a library's standard contract is 50/50 on license fees and none of the publishing share to the writer, more often than not they won't change that. Don't overstate the importance of your music in a market like this.So far, I've made less than $200 from ASCAP on these, but you have to understand that it takes a long time. As shows get re-broadcast both domestically and internationally, more comes in over a few years. I'm not expecting to make tons of money here-- the game is volume. Only people who have lots of tracks in libraries and getting placed make significant money. For the same supply/demand reasons, upfront license fees have dropped dramatically too. I don't know what my library got paid but it could be less than $200 a track (guess). I don't know the real numbers there but I can assure you they didn't get thousands of dollars and I didn't miss out on a new car. If you are someone who does not have any placements yet, don't forget how important building bio credits is. When you pitch your music and your bio lists real credits, you often get better attention. So quibbling about percentages when you start out is not the way to go. Write good music and get some placements- that's what matters. Casey

[matto]

Dec 2, 2008, 6:01pm, hurowitz wrote:Dec 2, 2008, 5:49pm, matto wrote:But that's not the case here...revenue is split straight down the middle...Hi MattoIf only the upfront license fees are split, the TOTAL revenue generated from the music is not split. I think that's what Andre meant. (?) CaseyMaybe my math is bad? License fees are split 50/50, performance royalties are split 100% publisher's to the publisher, 100% writer's to the writer (=50/50 as well). Or at least that's how I read the OP's post... Is there any other revenue beyond the license fees and performance royalties?

[Casey H]

Dec 2, 2008, 6:22pm, matto wrote:Dec 2, 2008, 6:01pm, hurowitz wrote:Hi MattoIf only the upfront license fees are split, the TOTAL revenue generated from the music is not split. I think that's what Andre meant. (?) CaseyMaybe my math is bad? License fees are split 50/50, performance royalties are split 100% publisher's to the publisher, 100% writer's to the writer (=50/50 as well). Or at least that's how I read the OP's post... Is there any other revenue beyond the license fees and performance royalties?No, my math was bad. You have it right.

[andreh]

Dec 2, 2008, 5:49pm, matto wrote:Dec 2, 2008, 5:27pm, andreh wrote:I wouldn't sign a deal where a library or publisher ends up with more than half of revenues generated from my music...just on principle.But that's not the case here...revenue is split straight down the middle...True...my math was bad also.

[devin]

Thank goodness for "bad math" then...it's only through reading all these interpretations that I finally understand how the splits can be perceived to happen. I've personally held each person's perspective throughout the last 6 months, so it's nice to read them all in context of each other.Thanks all for a great thread...I believe I just took 100% of what you created (evil laugh)