Examples of documentation are the split agreements between songwriters, for example how much Songwriter A contributed to the song as compared to Songwriter B and C. The total would sum up to 100%, for example:
Songwriter A= 50%
Songwriter B= 25%
Songwriter C= 25%
Documentation makes it easy for you to manage your catalog. The book includes a form that you can use. Aside from the above example, there are lots of form sheets illustrated on the book. You can simply copy that and implement in your business. The templates provided would be very useful.
3. Useful references –> the book actually provides tips where to find useful resources for your business.The author has years of experience in music publishing business and knows the best references to find useful information such as finding contacts/ clients. These informations can hardly be found in search engines or other websites. It is considered as an insider information.
4. Useful tips to assess your catalog –> the book do illustrate very clearly how you are going to assess the strength of your catalog. This includes finding this and prioritizing these songs in your marketing process. It even describes the characteristics of popular/hit songs as well as the importance of having great lyrics.
1.) Some very complicated music publishing matters are not being discussed especially the legal aspects. I understood that this problem is much better consulted with an entertainment lawyer. For example, if you created both the lyrics/melodies and sound recording (which most indie writers/producers does) of a certain song, does filing Form SR in the copyright enough to support both claim (ownership of song and recording)? A lot of music publishers particularly the beginners have this question.
2.) Some hot/modern topic in music licensing for independent publishers is not being covered such as royalty free licensing, creative commons licensing and free music licensing. Tradition music publishing does not embrace these concepts. But today, it is very common to see artists and independent producers giving away their music for free, or in exchange for some non-monetary reward.
3.) Online music licensing is not thoroughly covered and explained. This is a hot topic in modern music licensing where traditional paper work is becoming less popular particularly for independent music projects and publishers. As you might have observed, there is a strong trend for independent music publishers to be building businesses online. It would be great to have this included.
Other than that, the book flawlessly explained everything in detail; I suggest reading this book over and over again. This is where I build my first foundation of knowledge as a music publisher. It contains a lot of useful information which is always helpful in your daily role as a music publisher. I have purchased this book in year 2009 as a paperback copy in Amazon for around $18.
OVERALL RATING: 4/5
Content last updated on July 4, 2012