No Results Found
The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.
The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.
MetaComet® Systems’ Royalty Tracker® Solution helps music publishers manage royalties, but you need not focus exclusively on music to add such licenses to your revenue stream. If you are a book publisher or other media company interesting in expanding into music licensing this article will help explain how music royalties work. Please note that the following pertains to the U.S. only. International copyright laws regarding music vary widely and must be approached on a country-by-country basis.
The primary reasons for a songwriter or composer (the terms are synonymous here) to work with a publishing company is to receive an advance against future income and to get help in licensing their music. Traditionally, music publishing royalties are split evenly, with half going to the publisher and half going to the songwriter (or songwriters). Once a musical composition is copyrighted by the songwriter only the copyright owner may profit from it. Others wishing to use a composition must first get permission from the copyright owner. It’s important to note that recording companies and performing artist have separate copyrights and royalties. For example, when a song is played on television two people are paid: the songwriter (or publishing company) and the recording company who paid for the recording.
A musical copyright grants the right to:
Songwriting copyrights owned and controlled by publishing companies are valuable forms of intellectual property that can earn profits from a variety of sources. There are five different kinds of music royalties:
In the U.S., music societies such as ASCAP, BMI, SESAC, and SoundExchange collect performance royalties on behalf of their members (composers and publishers) from companies and establishments that play recorded music. This includes night clubs, bars, restaurants, radio stations, Internet radio, office buildings (for music in elevators or lobbies), among other users. Mechanical royalties paid to publishers by record companies are generally handled by the Harry Fox Agency or the American Mechanical Rights Agency, although smaller competitors also exist.
As the lines between mediums continue to blur in the digital age you may decide that it makes good business sense for your publishing company to start licensing music. If you are currently using a flexible rights and royalty management system, such as MetaComet® Systems’ Royalty Tracker® Solution, incorporating this new revenue stream should be seamless and efficient–and before long, profitable.
"*" indicates required fields