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Music Publishing News Roundup: May 22nd, 2015


Downtown Music Publishing has acquired Eagle-i Music, a london based music publisher. In this deal, Downtown has acquired catalogs from Deep Purple, Jeff Healey, and Brian Jonestown Massacre. They have also acquired Eagle-i’s neighboring right and production library which they will be integrated into general operations of the business. Eagle-i’s co-founder, Roberto Neri has now been named managing director of Downtown UK.

Sony Music and Spotify has forced removal of their contract from a recent publication. The document was leaked earlier this week with major news outlets such as Billboard, The Wall Street Journal, and New York Times covering the story. The Verge, who also covered the story managed to leak the document and was quickly forced to remove the contract by attorneys of Sony Music citing “a copyright claim”.

The BMI vs. Pandora court battle resolved last week in BMI’s favor and the music publishing community feels it is a very positive step in the right direction. Although, a success, the publishing community wants to continue to fight for fair compensation for rights holders. Read more about certain views from the publishing community as well as details in regards to this ongoing issue.

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Repost – ASCAP, BMI & SESAC: What’s The Difference?



You’re indie. You’re authentic. You’re DIY. But you still want to get paid for your music. Who doesn’t? Admitting that is a crucial first step to a long career as a musician. And affiliating with a Performing Rights Organization, or “PRO,” is the second.

As per the Songtrust music publishing glossary, PRO’s are “societies responsible for collecting income on behalf of songwriters and music publishers when a song is publicly broadcast.” That means PROs track down cash for you when your music is played on television and AM/FM airwaves, through internet radio services like Pandora, at a club, inside a restaurant, at a concert, or publicly broadcast in some other fashion. These places and stations pay fees to PROs, who in turn pay their registered songwriters, most of whom are owed more money than they know.

Songtrust can help you get started with ASCAP and BMI. Find out how!


ASCAP, The American Society of Composers, Authors and Publishers
Launched: 1914
Official site:
Twitter: @ASCAP
Location: New York, London, Miami, Puerto Rico, Los Angeles, Nashville, Atlanta
Vitals: With a 500,000-strong membership of composers, songwriters, lyricists, and music publishers, this non-profit is, according to its website, the only American PRO created and controlled by composers, writers, and music publishers—its Board of Directors is elected by its members. “A music creator is like a small business,” reads ASCAP’s website, “and we exist to ensure that ASCAP members are paid promptly and fairly when their compositions are performed publicly.”
Notable affiliates: Justin Timberlake, Vampire Weekend, Duke Ellington, Dave Matthews, George Gershwin, Stevie Wonder, Beyonce, Marc Anthony, Henry Mancini
Fee: One-time fee of $50 as a writer (free when you sign up through Songtrust) and $50 as a publisher.
Publishing Companies: In order to collect your publisher’s share of royalties as an ASCAP member, you need to have an ASCAP publishing company (Becoming a Songtrust member will also allow you to collect your publisher’s share).
Pay Schedule: Click here for ASCAP’s writer and publisher pay schedules.


BMI, Broadcast Music, Inc.
Launched: 1939
Official site:
Twitter: @BMI
Location: Nashville, New York, Los Angeles, London, Atlanta, Miami, Puerto Rico
Vitals: Founded by radio executives as a non-profit, BMI now boasts more than 650,000 members. According to its website, “BMI is the bridge between songwriters and the businesses and organizations that play their music publicly…BMI serves as an advocate for the value of music, representing 8.5 million musical works created and owned by more than 650,000 songwriters, composers and music publishers.”
Notable affiliates: Mariah Carey, Lady Gaga, Taylor Swift, Eminem, Rihanna, Maroon 5, Sam Cooke, Willie Nelson, Dolly Parton
Fee: Free for songwriters, $150 as a publisher
Publishing Companies: You do not need a publishing company to collect your publisher’s share of royalties at BMI.
Pay Schedule: BMI pays royalties quarterly. Click here for more info.


Launched: 1930
Official site:
Twitter: @SESAC
Location: New York, Los Angeles, Atlanta, Miami, London, Nashville
Vitals: SESAC is the only PRO in the U.S. that is not open to all songwriters; instead, you must receive an invitation to join. SESAC represents over 400,000 songs on behalf of its 30,000 affiliated writers. “With an international reach and a vast repertory that spans virtually every genre of music, SESAC is the fastest growing and most technologically adept of the nation’s performing rights companies,” reads the SESAC site. Note: the SESAC abbreviation is, today, meaningless; the organization was originally founded to serve European composers underrepresented in America before branching out to become a full service PRO.
Notable affiliates: Bob Dylan, Neil Diamond, Cassandra Wilson, Rush, MGMT, Mumford and Sons (via PRS).
Fee: None (invitation only to join).
Pay Schedule: Click here for SESAC’s royalty distribution schedule.

Let Songtrust help you professionally register songs with ASCAP, BMI and SESAC!

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Music Publishing News Roundup: Friday May 15, 2015

BEVERLY HILLS, CA - MAY 12:  Singer Pink attends the 63rd Annual BMI Pop Awards at Regent Beverly Wilshire Hotel on May 12, 2015 in Beverly Hills, California.  (Photo by Frazer Harrison/Getty Images)

The 2015 “I Create Music” ASCAP EXPO took place a few weeks ago with many industry professionals talking in several informative panels over the course of three days. Not only did ASCAP as a team participate but great songwriters and artists from all around came together to be at this event and discuss many topics as well as connect as creative professionals that want good things for the music industry as a whole.  Read more about details of event and all that took place.

BMI’s annual Pop awards took place on May 12th in Beverly Hills, California.  This was a great year for BMI songwriters as Taylor Swift, Ed Sheeran, and Aviccii were among the songwriter of the year winners. Not mention, John Legend claiming the song of the year award with his composition of “All of Me.”  Pink also took the spotlight by being honored at the Award ceremony as well.

ASCAP now has a new Executive Vice President and General Counsel effective May 12th, 2015 by the name of Clara Kim.  Ms. Kim will be overseeing legal and business affairs internally and externally is thrilled to be a part of mission-driven organization such as ASCAP. Prior to joining the ASCAP executive team, Ms. Kim worked for the National Geographic Channels within legal and business affairs as well.  Beth Matthews is thrilled to have Clara Kim join the ASCAP team.

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4 Things To Remember When Co – Writing


You’ve closed the door in your room and churned out your favorite songs all by yourself, but what about collaborating? Almost every song you hear on the radio today was co-written, and the skill of collaboration will go a long way for you as a songwriter. with a co-writer, the song may not end up better, but guaranteed to be different.

Before you step into that room however, there are a few things you need to keep in mind:

Who is in the room?

You’re excited, and want all your friends to join you in the session – STOP. You may be writing the next “Call Me Maybe”! Keep in mind that if anyone else is in the room while you are co-writing they may be entitled to some form of percentage of the song (even if they just write one word). Keep the distractions out, and keep the creative juices in, make it just the writers.

When you take a break, everyone takes a break:

If you’re nice enough to leave and pick-up lunch for everyone, your co-writers should be nice enough not to finish the song without you. If you are really co-writing make sure everyone knows its a break!

Is it done?

Its important that you and your co-writer(s) agree on when the song is finished or not. Once your song is “fixed in a tangible medium for which it can be reproduced” the copyright exists, and if your co-writer uses a part of the song you wrote together for his new song, that would be a derivative work and (technically) infringing on your copyright.

How much do I own?

Once the song is done, make sure you and your co-writers all agree on an appropriate split. Its always better to get this in writing as soon as possible, so that when the song explodes there will be no fighting and no lawsuits. Always fight for what you believe you deserve, but remember that 1% of something is better than 100% of nothing. (Sometimes its best to have this worked out prior to the session)

Sign-up your co-writer to Songtrust TODAY to earn $10 (offer expires May 20th*)

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Music Publishing News Roundup: Friday May 8, 2015


The NMPA has finalized their licensing deal with SoundCloud as of this week, with the effort to benefit the independent music publishers and songwriters a part of the organization. This deal ensures that if SoundCloud were to profit from the songwriters that put up their creative works on the website, then so do the songwriters. This is a great mark in the music industry as it benefits both the SoundCloud platform as well as the many talented songwriters who deserve proper compensation.

Warner/Chappell North America president, Jon Platt, has received the “Visionary Award” this past Monday at the New York Public Library in Manhattan. Jon Platt has either signed, developed, or worked with big time artists such as Jay-Z, Kanye West, Drake, and many others.  He is an industry professional that has worked hard to become what he is today and has some significant experience in the music and publishing world.  Read more about what he has to say about his award and experiences throughout his career.

Spotify just raised another $350 million and the total funding is estimated to around the ballpark of $900 million. This news has come around for Spotify at the perfect time since it’s calculated losses from the years 2010 through 2013. Through this advancement, the company’s overall value has been determined as a little over $8 billion.

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