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Hi everybody,

I'd like to understand more in deep why the libraries usually take 100% of Publisher'Share. I mean, what is the economic sense behind this distinction (Writer/Publisher)? And what is the practical implication in the industry of music synchronization?
Sorry, I'm a really bit confused about this topic. I hope somebody can help me, even with a really short answer.

Thanks in advance

EdoSev wrote: ↑

Sat Mar 20, 2021 9:55 am

I'd like to understand more in deep why the libraries usually take 100% of Publisher'Share.

...because they are the publisher.

As a publisher, what slice of the pie would you want for organising contracts and storing them on a database, organising multiple versions of a track, checking all the audio, checking all the metadata, cross-referencing the track with its contract and writer account, collating it with other similar tracks to make an album, organising artwork, making the track and album available on the massive website and database server you maintain, registering all the tracks with both your own and often the artist's PRO, then approaching every possible hard-earned contact to attract them to buy it before you can make a cent from it, then if you're lucky and they do, striking a contract with the client, and possibly organising and distributing the payment of any upfront fees to all artists?

There's probably more parts of the process I've missed, but all of that work might also be for nothing if the track never attracts anyone to use it. Personally, I'm happy to share half the 'value' of my track with someone else who's willing to do all of that work on my behalf and in return give me the opportunity for my music to be placed on TV (and it could be anywhere on the entire planet). Realistically, there is no way that I'd be able to do all of that myself, and I'd rather spend my time and effort making music anyway.

Short answer - under most circumstances you're the writer and keep 100% of the writer's share, whilst the publisher (whoever that might be, and it could be yourself) keeps 100% of the publisher's share. There are variations on the equation but it mostly holds true for sync licensing.

Yep, what Telefunkin said. I'd say if you really want to find out, try doing the publisher's job for your catalog.

All good answers. Also, it's the publisher that MARKETS your music through industry contacts, building those relationships, etc. It's a full time job to itself. Those of us who've had placements know that we could never have gotten them without a publisher. (At least in 99% of cases). There are a few Taxi members who became publishers. They can tell you what it's like on the other side. They earn their 50% of the pie... Easily.

Best
Casey

Thank you for the answers. It is certainly a reasonable explanation which I essentially agree with. But for what concerns these two different sources of income, writer's share/publisher's share, how are they accrued?

Writer's share --> 50% of Performance Royalties
Publisher'share --> 50% of Performance Royalties and 100% of Mechanical Royalties

Is it correct? Is it everything I need to know about it? How much can contracts signed with libraries on a case-by-case basis change these simple rules in your experience?

Thanks in advance

My experience is that all income is split 50/50 except one deal I have where I get 100% writer's share and 25% of publishing. Not every deal is 50/50 but, again in my experience, the vast majority are.

Have you had a Google around? If you can get to grips with the basics it will help you a LOT. After that there might be complicated issues that come up where you might need help and advice, but understanding the basics will be to your advantage.
Here's a start....
https://www.themusickitchen.com/music-b ... licensing/
https://www.themusickitchen.com/music-b ... bmi-sesac/

It is a good starting point. Thanks for your help.

Telefunkin wrote: ↑

Mon Mar 22, 2021 12:16 pm

Have you had a Google around? If you can get to grips with the basics it will help you a LOT. After that there might be complicated issues that come up where you might need help and advice, but understanding the basics will be to your advantage.
Here's a start....
https://www.themusickitchen.com/music-b ... licensing/
https://www.themusickitchen.com/music-b ... bmi-sesac/

Thanks for the recommendations. You are right, an understanding of the basics is necessary, but for some reason I could not find this information. Didn't know where to look.

Telefunkin wrote: ↑

Sat Mar 20, 2021 11:53 am

EdoSev wrote: ↑

Sat Mar 20, 2021 9:55 am

I'd like to understand more in deep why the libraries usually take 100% of Publisher'Share.

As a publisher, what slice of the pie would you want for organising contracts and storing them on a database, organising multiple versions of a track, checking all the audio, checking all the metadata, cross-referencing the track with its contract and writer account, collating it with other similar tracks to make an album, organising artwork, making the track and album available on the massive website and database server you maintain, registering all the tracks with both your own and often the artist's PRO, then approaching every possible hard-earned contact to attract them to buy it before you can make a cent from it, then if you're lucky and they do, striking a contract with the client, and possibly organising and distributing the payment of any upfront fees to all artists?

Oh my gosh is it weird that I just read this part and think it sounds like so much fun? All that organizing!! Got me wondering if I’m on the wrong side of this.