Make Money With A Music Co Publishing Deal Start Price USD 50,000.00 Current Price USD 50,000.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Friday, July 04, 2008 End Time Friday, July 11, 2008 Location kennesaw, GA See more about 'Make Money With A Music Co Publishing Deal' Description Hot new R&B singer's independent record company, EXIT26MUSIC, is looking to offer a co-publishing deal for the next single released on their recording artist, Franklin Williams, Jr (www.myspace.com/franklinwilliamsjr). His debut single, 'POP,POP,POP', quickly charted at number one on Europe's "dj-league" chart earlier this year.  For a minimum bid of $50,000 USD, you can have a 50/50% co-publishing split of his next single.  Here are some facts on music publishing: ======================================================================================= "We aren't solely reliant on the CD," says Universal Music Publishing Group Chairman David Renzer. "We've been able to develop multiple revenue streams, and those continue to grow." Publishing revenue will total about $4 billion this year and swell at least 4% a year through 2013. That's attractive because about 24% of revenue flows to earnings before taxes and depreciation, according to Credit Suisse. Recorded music generates cash-flow margins of about 14%. New sources of revenue Publishing is getting another jolt now, as songs become staples for ring tones, websites and games. "What has changed is the digital revolution," says Sony/ATV CEO David Hockman. "Publishing is the quintessential intellectual property-rights business." New markets are important: Publishers suffered when CD sales fell, because federal copyright law sets the license fee at 9.1 cents per song for each CD or download sold. But deals for movies, TV and new media are unregulated. "Publishers now have free market power," says National Music Publishers Association CEO David Israelite. NEW YORK — The music business is starting to resemble an old-fashioned, two-sided LP. On the "A" side, executives who depend on album sales sing the blues. Since 1999, that business decrescendoed nearly 29% to 759 million last year — even after factoring in digital downloads. Album sales are off 1.2% this year vs. the same period in 2005. But on the flip side, the beat goes on in music publishing, the part of the business where copyright owners get paid whenever their songs are performed or sold.  SONG SUNG GREEN There's a lot of competition in music publishing even though the leading record companies dominate. Market share by company: EMI 20% Warner Music 16% BMG 13% Universal 13% Sony 7% Independents 31% Source: Credit Suisse On the publishing/writer’s side: 1. Mechanical Royalties: Due from sale of recordings of the song through MP3s, CDs, LPs, etc. The current statutory rate is 9.1 cents or 1.75 cents per minute of playing time (whichever is greater). 2. Synchronization Licensing Fees: Due when a piece of music is “synced” or matched with a movie, tv show, commercial, video game, etc. These fees also apply to online audio-visual production. 3. Public Performance Royalties (via ASCAP, BMI, and SESAC): When a song is played/performed/streamed/broadcast publicly (on the radio, internet, on TV, etc), royalties are owed for this use. Performances are generally broken down into feature performances and background music. If there is a sync license deal, additional royalties are owed for the broadcast of the works the music is used in. Conceptually, music publishing is a fairly simple business model. Relying on the single asset of a musical composition copyright, the publisher can generate revenue from a variety of sources. They include mechanical reproductions (CD's, digital downloads, ring tones), public performances (TV, radio, venues), synchronization deals (audio-visual media) and print media (sheet music). For music publishers, ensuring that every composition is accurately registered throughout the world in order to track global earnings is a constant struggle. The basics may seem clear-knowing who collects what for whom and how. Yet beyond the basics is where the nuances of the collection and royalty distribution processes lie. Gerd Leonhard has spent over twenty-five years in the technology and entertainment industries, both in the U.S. as well as in Europe, and recently, in Asia. In 2005, Gerd co-authored the critically acclaimed book "The Future of Music" which has become a must-read for music industry professionals around the globe, and which is now available in German, Italian, and Japanese. Recently he presented the following statistics. a. In the past 12 months over 300 MILLION people joined online communities that use music b. About 75,000 different devices can play MP3 files c. In 12 – 18 months, digital broadcasting with “drag & drop” TV and radio stations will be widely available. d. In the next 12 months high-capacity wireless devices such as the iPhone will be widely available.   The music business has changed into the licensing business; will you be a part of the new paradigm? However in today’s new music business model publishers have begun to adjust their business practices to the new digital paradigm. The two main areas that are seeing significant growth are: 1. Wireless Broadband which is allowing the acceleration of device convergence. Now the iPhone has the capabilities of a computer, a PDA can be a music player and video game consoles can now access the Internet. 2. Mobile phones have become basic mini-PC’s and there are over 3 Billion mobile phone users in comparison to only 1 Billion internet users. What is happening worldwide is that the idea of “selling copies” of music (mechanical license) has become secondary to having access to music. The Internet has become a huge machine that is allowing individuals to have access to and copy music, movies and other forms of entertainment instead of buying physical copies. Wireless Broadband access is opening up huge international markets in South East Asia and Latin America and this new access is creating shifts in how publishers must do business. The co-publishing agreement is one of the most important contractual arrangements in the music industry. It gives the songwriter a share of certain rights and income that he or she would not be entitled to under the standard writer-publisher contract. For example, under the terms of an exclusive songwriter contract, the writer transfers the copyright of a song or songs to the music publisher and is paid 50% of all earnings received by the publisher from those songs. Under the terms of the co-publishing agreement, however, the writer sells and transfers only a portion of the copyright and retains the other portion for his or her own publishing company. More importantly, the writer receives not only the standard 50% songwriter share of all earnings but also a portion of the 50% that is normally reserved to the music publisher (the so called "publisher's share of income"). As a general rule, the co-publishing arrangement is usually available primarily to writers who have a successful track record of past hits, writer/ performers who have the potential of securing a record deal, writers who have a current recording artist contract, writer-producers and any other writer who has the bargaining power to negotiate such an agreement with a music publisher. A common situation is where a writer has signed a single-song contract and the song becomes a major hit. Such a writer, because of this success, will have the necessary bargaining power to negotiate not only an exclusive songwriter's agreement but also a co-publishing agreement with a major publisher for all future songs.  Sharing of Income One of the most important aspect of the co-publishing agreement is how the songwriter and music publisher share the income that is earned from CD and tape sales, videos, performances, motion picture and television synchronization rights, commercials, downloads, and all other sources of revenue generated by a writer's songs. The most common sharing of income arrangement is known as the "50/50 split." This equal sharing of income (50% to the writer's company and 50% to the major company) refers only to those monies that represent the music publisher's share of earnings.  It does not relate to the writer's share, since the songwriter will still receive his or her 50% songwriter's royalties regardless of the terms of the co-publishing agreement. For example, under the standard music industry publishing contract, the writer is entitled to 50% of the net income earned from uses of the songs, and the publisher entitled to the other 50%. For example, if a total of $100,000 in royalties is paid by a record company to the music publisher for the sale of CDs or audio cassettes, the publisher would be entitled to keep $50,000 and the songwriter would receive $50,000. Under the co-publishing agreement, however, the writer receives not only his or her 50% share of songwriter income but also receives a portion of the music publisher's share. If we keep our previous example of $100,000 received by the publisher from CD and tape sales and assume a "50/50 split" co-publishing arrangement, the total income received by the writer would be: $50,000 Songwriter Royalties   (50% of $100,000) $25,000 Songwriter's Share of Publisher Royalties   (25% of $100,000) $75,000 Total As can be seen, the songwriter is entitled to 50% of all monies received as a songwriter, with the writer's publishing company and the major publisher sharing the remaining 50% of income equally. In effect, the writer and his or her company receives 75% of all monies earned, and the major publisher receives 25%. Signing Advances. Depending, of course, on the reputation of the writer, the existence of any recording artist commitments, the quantity and quality of the songs controlled by the agreement, and the inclusion of any pre-existing hit songs, the major publisher will pay certain monies to the writer or the writer's publishing company at the time the co-publishing agreement is signed. These monies are treated as advances recoupable from any future royalties that may become due to either the writer or the writer's publishing company. To put it simply, all royalties that become payable to the writer or his or her publishing company under the agreement will be used to reimburse the financing publisher for the monies advanced at the time the contract is signed. For example, if $50,000 is given to the writer at the signing of the contract, then the first $50,000 in royalties due the writer or the writer's publishing company will be used to recoup the advance given. Until that happens, the writer and the writer's company will not receive any royalties.   TW LW  Artist Title   1 NEW   Franklin Williams, Jr POP,POP,POP Jan, 24 - 2008 2 1   Michael Jackson ft. Akon Wanna Be Startin' Somethin' Jan, 12 - 2008 3 NEW   Million Dollar Billz Do Her Thang Jan, 21 - 2008 4 NEW   Colby O Donis ft. Akon What you Got Jan, 21 - 2008 5 6   Lil Kim ft. Snoop Dogg Suduction (RMX) Jan, 12 - 2008 6 7   T-Money ft. Gemini I got one (Mista B RMX) Jan, 02 - 2008 7 8   Atiba Wish You Were The One Jan, 09 - 2008 8 9   S.Lopes feat. Donny Roc Get Somethin´ Started Jan, 08 - 2008 9 11   KO She Wants 2 Get It Jan, 12 - 2008 10 12   Twista ft. R. Kelly Love Rehab Dec, 28 - 2007 11 13   Juganot ft. Busta Rhymes, Fat Joe & Swizz Beatz En Why Ceequal Jan, 11 - 2008 12 14   Talib Kweli Hostile Gospel Jan, 12 - 2008 13 16   Che'nelle I fell in love with a dj Jan, 17 - 2008 14 17   The Dey Give You The World Jan, 10 - 2008 15 18   Lil Kim Lost One Jan, 11 - 2008 16 21   Bow Wow ft. Omarion Hey Baby Dec, 27 - 2007 17 23   AZ Undeniable Jan, 10 - 2008 18 24   Afro Hesse & DJ Van Tell Street Life Jan, 01 - 2008 19 25   Rick Ross The Boss Jan, 08 - 2008 20 27   Big Punisher ft. Marc Anthony 100% Preciosa Jan, 16 - 2008 21 28   Tiffany Evans ft. Bow Wow I'm Grown Dec, 27 - 2007 22 29   Lil C featuring KO Tore Up Jan, 12 - 2008 23 30   Fat Joe 300 Jan, 15 - 2008 24 31   Clap Cognac U Knowww It Jan, 17 - 2008 25 32   S.Lopes Cant touch this Jan, 17 - 2008 26 34   KO & Lil C Don't Go Dec, 31 - 2007 27 36   Big Noyd Money Talk Jan, 10 - 2008 28 38   Stealth No Tomorrow(Produced By Wattz) Jan, 07 - 2008 29 39   Lil Kim Wrath Of My Madness Jan, 11 - 2008 30 40   Jim Jones Love Me No More Jan, 16 - 2008 31 41   Shawty Lo ft. Ludacris, Plies, Young Jeezy & Lil They Know (RMX) Jan, 08 - 2008 Place a Bid!