FAQ

Registering your copyrights is not required but it is highly recommended since doing so will give you certain protection under copyright law in case you need to sue someone for using your song without your permission.

No, that’s part of the PRO’s function. If your songs are registered with a performing rights organization and you are receiving radio play, then the PRO will get that information automatically.

The Musician’s Atlas and the Music Registry are just two examples, but there are lots of directories on the market. Google can help you find them and most are available via Amazon.com or directly from the publishers.

Each performing rights organization has its own fees for setting up a publishing company and many impose an annual charge or collect annual dues. BMI, for example, charges a one-time fee of $150 for individually owned publishing companies and $250 for partnerships, corporations (including sole stockholder corporations) and limited liability companies.

No. This is a common misconception. PROs collect royalties for songwriters, composers and music publishers from radio, television, the Internet, restaurants and thousands of other businesses that use music. In effect, a PRO acts as a representative so writers can get on with the business of creating new music while their royalties are collected for them. There are three in the US: BMI, ASCAP and SESAC, and one in almost every country you can think of. (See “What does a publisher do?”)

Yes, a new version of an old song, also called a derivative work, should be copyrighted, noting the ways it’s been altered from the previous version.

A synchronization license for the use of a song as an accompaniment to a film or television show. The rate is usually negotiated by a music publisher.

As a songwriter, you inherently own the publishing rights to your music and you retain creative control.

In today’s competitive climate, major and indie labels are looking for something unique, talented and well developed. Record labels are in the business of making money from the artists that they sign. The labels want bands and artists that have built a following by touring and that have already sold self-released CDs. Be smart, do your homework!  Know where your fans are, develop savvy marketing strategies that will help you stand out from the rest of the unsigned artists. Apply to play at a BMI showcase in your local area. Apply to showcase at one of the top music conferences, such as SXSW or CMJ. Attend seminars and other educational workshops where key a&r people will be in attendance and contact the local colleges, radio stations and newspapers to further publicize you. Built a unique, informative website that includes a bio, photos, song samples and tour dates.

All of these approaches are suggestions and should be part of assembling your game plan for your future. The best way to attract label attention is to build a success story that will help you stand out from the rest of the unsigned artists and help gain the attention of the industry

It varies depending on the co-writing situation. What is important is that all writers as a collective agree on the decision.