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Why? Because the copyright holders are entitled to a claim of the new work even if they are not part of the creative process. Clearing samples with recording and publishing ownersĪnytime you use someone else's intellectual property - whether it’s a sample, re-recording of someone else's melody (i.e., an interpolation), or a combination of multiple preexisting works to create a new song (i.e., a derivative work) - you are legally required to obtain permission from the owners of the composition. In other words, if a song has a 150% share for one writer and a 50% share for another writer over at BMI, that track will break down to a respective 75% and 25% ratio at Songtrust and other global pay sources.
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Basically, they view the writer’s share as a full 100% and the publisher’s share as a full 100% rather than both shares equaling 100%.
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Quick note: If you’re with BMI in the U.S., this number will add up to 200% during song registration because BMI defines the writer’s share and publisher’s share as their own individual units. Think of this as a safety net it verifies all of that song’s registration information before any royalties are paid out so you don’t have to worry about a co-writer going rogue and earning more than they should. Should they not match, the registration will conflict and all payments will stop until the parties resolve the issue. Including who else worked on a song and their ownership shares helps publishers and societies match the information when your co-writers register the same song. That way, once it comes time to register the song, you know exactly who to include in the registration as well as what shares to allocate to them.
One of the best and easiest ways for all parties to know what percentage of a song they own is by completing a split sheet. Once finalized, get it in writing and make sure the splits add up to 100%. To make sure this doesn't happen, the first thing you should do once you’ve finished writing a song is agree on ownership shares for each writer. If the information is inconsistent with prior registrations or inaccurate (e.g., your shares are over-claimed or add up to more than 100%), collection societies will hold onto the money until they are able to figure out who is entitled to what. Incorrect song ownership information is one of the most common reasons copyright owners have their royalties withheld. Including all your co-writers and/or their shares in the song registration Likewise, providing the correct publisher or songwriter contact information will ensure that your collection society can easily find you and properly allocate your royalties. Similarly, if you have your own publishing entity set up at your society, you must also use its name and IPI number in addition to your own when registering your works.
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Make sure you know what your IPI number is ( here’s how to find it) so that you have it readily available when it’s time to register your song. If you don’t provide your IPI, or if you provide an incorrect one, collection societies won’t be able to identify you as the copyright owner and pay out your royalties. Your IPI number - and those of your co-writers - is vital in identifying you as the owner of a song, regardless of where your music is played in the world. (Think of it as the musical equivalent of a social security or passport number.) Every writer and/or publisher in the world who is affiliated with a collection society is assigned one, and no single IPI number is the same. Including the IPI number and contact info for the songwriter and publisherĪn IPI (Interested Party Information) is a nine-digit number assigned to songwriters and publishers by their collection society in order to identify them as rightsholders. Here are seven details worth getting right no matter who is handling your song registrations.
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This is why we recommend sending your registrations directly to Songtrust: because we can deal with your PRO directly and keep everything as organized, accurate, and efficient as possible. Any mistakes or omissions put you at risk of having your hard-earned royalties withheld by collection societies, allocated to the wrong parties, or redistributed to top-earning creators as black-box income. While we’ve streamlined the registration process for Songtrust clients, parts of it still trip songwriters up, and prevent them from receiving the proper royalties.Ī Performing Rights Organization (PRO) or CMO (Collective Management Organization) relies on song registration information to determine who they need to pay and exactly how much. We encounter it time and time again: a songwriter doesn’t understand why their work isn’t fully registered in their account.
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