However, as part of the co-publication agreement, the author receives not only his 50% share in the songwriter`s income, but also a portion of the music publishing house. If we maintain the current example of US$100,000 received by the CD and tape sales publishing house, and start from a « 50/50 split » co-publishing arrangement, the author`s total income would be in advance: one of the most tempting aspects of a co-publication agreement is advance. Publishers typically offer $25,000 to $250,000 when the contract is signed. This can be tempting for a songwriter, as it means you can give up your day job and focus all your energy on writing. But it is important to know that this advance must be fully recovered by the publisher before you receive royalties from your compositions. On the co-publication side, it is essential to remember the purpose of the agreement. As publishers make a larger investment in you, they have much greater incentive to help you monetize your compositions. As a result, not only do they provide the necessary administrative instruments, but a publishing house should also obtain synchronization opportunities in television, film and advertising and pass on your composition to labels and artists to record and publish by major artists in major record labels (in search of large label placements). A good publishing house should also get you into the studio with other talented producers, songwriters and artists. In addition, there should be a co-pub agreement with an advance that should range from $25,000 to almost $1 million, depending on where you are in your career and what you are giving up. B) If you are not an artist, the agreement could also stipulate that you have a so-called « Record-Release » obligation.
This means that you must have a minimum number of songs recorded by an artist on a legitimate label, and the songs must be published at the end and start earning income. Our music publishing contracts are written and updated by our experienced entertainment lawyer. Address rights for songs with a music publication agreement now. Now you`re stuck with a company that can`t provide the support or advertising tools you need to succeed all because a paycheck is suspended at a sensitive time. Imagine a scenario in which you used your online and offline connections without the help of your co-publication company for shore placements, but you`ll still get half your publisher`s share, no matter what work they do. This is a situation that happens all the time to discrete composers who have an immediate need for capital and have a little money without competent management or a legal team.