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I'm new in this business so I need some helps:What is this mean? "You must own all publishing rights (master/sync) to your song in full" If I'm a song writer, what do I need to do to own that rights? Taxi's FAQ explains that If I'm the song writer, I don't need to do anything. So how's things done in this scenario?

If you are the only writer, then you already own the rights. Most companies that put this kind of language in want to be able to pitch the material with "no strings attached". In other words, they want to know that no one will come along later and, for instance, stake a 50% claim to the song after the contract has been signed and the song has been placed and is making money.If you have co-writers, this kind of thing needs to be worked out amongst yourselves before you submit the music to any listings.There's plenty of material published on this kind of thing out there. I strongly suggest picking up some books and hitting the woodshed on your business chops.As I mention continuously: act as if you're going to get the deal. That probably means learning the language and terminology of the business before you have a contract in your hand. It's truly not rocket surgery to learn the basics. The material is readily available and the basics really don't change that much or that often.Also, part of this is to cultivate a relationship with an attorney that specializes in entertainment law.Be prepared!Mazz

Publishing rights refers to who handles the permission side (administrative aspects) of what gets done with your song.If you are both the composer and the one who gives permission for others to use your song, then you are both the composer and the publisher, and own 100% of the song.If you and others co-write a song, then you and your fellow composers would split 50% of the song's royalties (the composer/ writer share), while whoever is the publisher (the administrator) generally owns 50% of the rights to the song.As your work gets out there more, the publishing side does take a bit of work: registering your songs with ASCAP, copyrights, doing the paperwork involved with licensing your song for use on albums, etc. So the publisher definitely earns their money for taking care of the biz side of things.And then you might have a foreign publisher or sub-publisher who deals with the biz aspects of representing your music outside the U.S.For more info on copyright and music biz matters, I highly recommend:"The Musician's Guide Through the Legal Jungle", and "The Permission Seeker's Guide Through the Legal Jungle", both by Joy Butler. hey are two of the clearest books I've read about music copyright law. http://www.sashaycommunications.com/publications.htm ,Suz

Aug 18, 2008, 8:21pm, suzdoyle wrote:As your work gets out there more, the publishing side does take a bit of work: registering your songs with ASCAP, copyrights, doing the paperwork involved with licensing your song for use on albums, etc. So the publisher definitely earns their money for taking care of the biz side of things.Just a clarification for the film/tv side of things... let the publisher register the track(s) with the PRO. I know that's what Suz meant but just to make it clear.