Join Richard Stim for an in-depth discussion in this video Copublishing, part of Music Law: Recording, Management, Rights, and Performance Contracts.
- View Offline
- A co-publishing provision allows the record label…to own a piece of the artist's songwriting revenue.…Songwriting revenue is distinct from recording revenue.…For example, the song owner gets separate payments…when radio stations play a song,…when a song is used in a commercial,…when a song is used on TV or in movies,…or even when the song is used on a ring tone.…When a recording artist also writes the songs,…the label may want to obtain some of that revenue.…In order to make that happen,…the label uses a co-publishing provision.…
Note that these deals, though still popular,…are becoming less prevalent.…A little background about song ownership is necessary here.…The artist who writes the song…is the initial owner of that song.…Because of an antiquated system used by the music business,…songwriters must create or affiliate with a music publisher,…an entity that supposedly represents…the songwriter's interests, although in many cases…it is simply a shell company receiving income…on behalf of the songwriter.…
A co-publishing provision requires that the artist…
For example, when it comes to record contracts, it's important to know how advances and royalties work, how to maintain creative control, and what happens when a member leaves a band. Rich also tackles management contracts, describing what managers can do for you—and what to do when you need to let them go. Next, he explores the basic terms, riders, and payment options in performance contracts. Then learn about releases, artwork permissions, publishing and producer agreements, and other types of legal arrangements. Rich wraps up the course with a discussion of oral agreements, attorney fees and roles, and five basic rules worth remembering for every music contract.
DISCLAIMER: This course is taught by an attorney (or other instructor) and addresses US law concepts that may not apply in all countries. Neither LinkedIn (including Lynda.com) nor the instructor represents you and they are not giving legal advice. The information conveyed through this course is akin to a college or law school course; it is not intended to give legal advice, but instead to communicate information to help viewers understand the basics of the topic presented. The views (and legal interpretations) presented in this course do not necessarily represent the views of LinkedIn or Lynda.com.
- Why bother with a contract?
- Understanding terms, options, royalties, and deductions
- Making provisions for marketing
- Including warranties and indemnity clauses
- Hiring a manager
- Understanding performance contracts
- Getting permission to use samples
- Creating a band partnership
- Record keeping
- Going through mediation or arbitration