slides used in my music business class based on Baskerville's book

1. Professional Songwriting
 Serious?
 Study Great Songs of All Styles
 General Characteristics:
• Memorable? A Hook?
• Immediate Appeal
• Vivid Phrases/Imagery
• Beginning, Middle, & End

2. Song Success
 IF!
 A Good Performance
 Label Promotes Strongly
 Suits Current Tastes
 Effective Distribution

3. Collaboration
 Know Your Strengths
 Agreement in Writing
• What is the Split?
• Who Can Make Changes or Mutually
Agreed Upon?
• Can Contribution be Withdrawn?
• How Does Relationship Terminate?

4. Work Ethic
 Tin Pan Alley -was a job
 Brill Building Pop - a bit more freedom
 Home Studio - discipline, writing
schedule, network, promote songs

5. Revenue Streams
 Mechanicals Royalties-
$.091 x 1,000,000 = $91,000 (per song)
50/50 split w/publisher= $45,500 each
Controlled Composition Clause 75%
75% x .091 x 1,000,000 = $62550
50/50 split = $34,125 ($11,375 difference)

6. Revenue Streams
 Performance Royalties collected by
ASCAP, BMI, SESAC, not the publisher
 General Split is 50/50 between publisher
and writer(s)

7. Revenue Streams
 Film/TV/Cable – Synchronization License
 Commercials – Special Use License
 Sheet Music – % per copy

8. Types of Publishing Deals
 Sign with Established Publisher - single
song or exclusive services
 Negotiate with Publisher “co-publishing or
split the publishing”
 Self-Owned Publishing Co
 Manager operated Publishing
 Set Up Corporation W/Others
 Staff Writer

9. Staff Writer
 Writer receives recoupable monthly
income (draw) as an advance against
future royalties
 Usually pay ½ of Demo costs
 1-3 yrs initial term, with options
 Work Made For Hire deals more common
in film industry, keep the performance
royalties

10. Label Deals
 Singer/Songwriter with Label deal is good
for Publishers
 Pressure to Assign some Rights to Label
Publishing Co
 “Controlled Composition” Clause (75%)
 Avoid Cross-Collateralization

11. Evaluating Publisher
 Reputation for Integrity
 Stable Leadership
 Who Cares About You (Key Man Clause)
 Long Term Track Record
 Making Money?
 Song Promoter Contacts
 Understands Print Business
 Foreign License Experience

12. taxi.com an A&R Service
 www.taxi.com
 Song Writer Resource/Service

13. Song Writers Guild
 www.songwritersguild.com
 Standard Contract
 Collect Royalties (5.75% w/$1750 cap)
 Reviews Publishing Contracts
 Audits Publishers
 Administers Catalogs

14. SGA
 Collaboration Services
 Estate Administration
 Evaluation of Catalogs
 Workshops for Writers
 Lobbies Congress

15. Demos
 Home Studios, Learn to Use Them
 Not More Than 3-5 Best Songs
 Vocals Clearly Heard in Mix
 Hire a Singer If Your Skill Lacks
 Min. Guitar/Piano; Max. Rhythm Section
1-2 others.

16. Demos
 Some Can Hear Potential, Others Need
Song Arranged In Target Style
 Demo Recording: name, address, phone,
email on EVERY piece;copyright notice;
lyric sheet; cover letter

17. Promotion by Mail
 No one opens unsolicited recordings
 Names of Publishers in your style from
Billboard International Buyers Guide
 Get Phone & Address
 Call for name of professional manager, be
polite to secretary
 Write letter for permission to submit (p45),
include self-addressed, postage paid
answer card

18. Direct Contact
 Visit New York, LA, or Nashville.
 Write letter to publishers requesting an
appointment. Drop name of any referral
 Call to schedule appointment
 Write thank you note after appointment

19. Writers Workshops
 Songwriters Guild
 ASCAP, BM,I SESAC provide events.