Topic
A split sheet says who owns what. It pays nobody. Money only reaches each collaborator when every royalty stream, master and song, has its own split set up at the place that actually pays it. Here is how to map the streams, where each split gets entered, and how to catch the gaps before they eat a year of royalties.
Workflows
An admin deal charges a percentage and leaves your copyright with you. A co-pub or full publishing deal can pay an advance, but you give up part of the copyright, often for years after the contract ends. Here is how to compare the two on cost, control and time.
Workflows
A performing rights organisation (PRO) licenses the public performance of songs and pays the writers and publishers. Here is what that covers, how joining works at the big societies in the US, UK, Germany and India, and the income streams a PRO will never collect for you.
Workflows
Every recorded song carries two copyrights: one in the composition (music and lyrics) and one in the sound recording (the master). Here is who owns each by default under US law, how work-made-for-hire and transfers change that, and the registration basics that decide what you can do if someone copies you.
Workflows
Every stream of your song in the US earns a mechanical royalty, and your distributor and your PRO do not collect it. Here is what a mechanical is, how a self-administered writer joins the MLC and registers or claims works in its portal, what MCPS and CMRRA do outside the US, and the order we would do it in.
Workflows
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