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I noticed that an exclusive library I write music for, registers my tracks with their PRO as publishers, re-titling them with their initials.
I think I don't quite grasp the reason why I should register the tracks I write for them with my PRO, since they already did that and it's exclusive so I won't have any chance to sign these tracks with another library.
Can you guys give me some info on this?

Musical works can have multiple income streams, see https://www.taxi.com/music-business-faq ... /#articles

There could be backend on your writers share, if they release your tracks on a compilation, and performance fees, if they get the music placed.
If you don't register the work with your PRO, you won't get your writers share.

Kolstad wrote:Musical works can have multiple income streams, see https://www.taxi.com/music-business-faq ... /#articles

There could be backend on your writers share, if they release your tracks on a compilation, and performance fees, if they get the music placed.
If you don't register the work with your PRO, you won't get your writers share.

Thanks for your answer!
So they re-register to get their publisher's share and I need to register to get my writer share. Is that correct?

Sonora wrote: So they re-register to get their publisher's share and I need to register to get my writer share. Is that correct?

Yes, that is correct.

With my PRO, KODA in Denmark, the publisher registration and the alternative title is still a subset of the original work I registered. So, I can see everything on the same page when I open the registration page for that particular work. The rights are specified into composer (me) and publisher (the library/ publisher).

Here's a short article on rights with the most typical types of deals you will encounter. http://diymusician.cdbaby.com/music-rig ... licensing/

Very useful, thanks Kolstad!

Hi!

I don't know about 'subsets of the original work', but you shouldn't be registering anything with a PRO yourself when it is signed to an EXCLUSIVE library.
How would you even register it other than the exact same way that the library has registered it?! They have it exclusively.
The library will register it and state you as the writer (so you collect the writer's share).
There is nothing you need to do.

SteveBaruah wrote:Hi!

I don't know about 'subsets of the original work', but you shouldn't be registering anything with a PRO yourself when it is signed to an EXCLUSIVE library.
How would you even register it other than the exact same way that the library has registered it?! They have it exclusively.
The library will register it and state you as the writer (so you collect the writer's share).
There is nothing you need to do.

+1.

It might be different in Denmark but for US and Canada based PROs the tune has to be registered with a writer and a publisher.

So if the library is registering them they have to put your writers info in.

As Steve said.

In fact the ONLY reason you ever have to register any music by yourself is for the following case:

It is self published, it’s not signed exclusively anywhere, and you pitch it personally to ad agencies, film or tv productions or video producers.

You might think that having it signed non-exclusively would require you to register the pieces and that is not true - unless you intend to pitch the music personally as well as having the non-exclusive publisher work the retired work.