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Question about statements like this:

"You must own or control your Masters and Copyright to pitch for this opportunity."

I think the Master is easy enough. Yes I own it. I made it all myself.

But the copyright as well? I think I automatically own the copyright by law since it's my recording, but are they saying that it also has to be a registered and purchased copyright? Isn't that $100 per track? Do I have to create a track and then spend $100 on the copyright just to submit it? Appreciate y'alls help with this.

Musicmonk84 wrote: ↑

Sat Feb 03, 2024 12:46 pm

But the copyright as well? I think I automatically own the copyright by law since it's my recording, but are they saying that it also has to be a registered and purchased copyright? Isn't that $100 per track? Do I have to create a track and then spend $100 on the copyright just to submit it? Appreciate y'alls help with this.

Yes you created the copyright when you put the music down in " tangible form " i.e. you recorded it somehow. You don't have to formally register the copyright ( here in the UK there is no formal mechanism to do so unlike the US ) and none of the library writers I know would bother, especially when knocking out lots of tracks in a year. I certainly don't think anyone does it for instrumental cues.

If you've written a cast-iron hit record though that's sure to sell millions then it may be worth considering registration before you fire it off to people.

Mark

You bless me cosmicdolphin!

The wording of the listing prompts you to think (as you rightly have done) whether there are any complications. Libraries don't want to have to wait while you sort out such things (like ownership, splits, PRO membership, WFH agreements, streaming platform monetization agreements, or even other publisher agreements), or risk possible legal action down the road for them and for you too.

In addition to the great answers given, some pitfalls that are common:

(1) Not having work-for-hire agreements signed by anyone who performed on the track unless they are a co-writer/owner. Always get these early on. Trying to track folks down months or years later is difficult and later they may hesitate to sign. Present a WFH agreement before they start and make sure they are OK with it. If you don't get these signed, your ownership of the master can be questioned. Some libraries even ask for copies.

(2) Releasing songs to distribution using CD Baby, Tunecore, etc. and checking the box that makes them your publishing administrator. NEVER agree to this. If you do, you no longer own your track free and clear.

Best,
Casey