Publishing

Once you start to use studios or do radio and TV sessions or even just start playing live on a regular basis then you should have your music published in order both to protect your copyright and to benefit from income that will be generated either from mechanical rights and/or performance rights.

Even a modest level of success can generate global income and collecting your money from all around the World is a touch more than a couple of calls to a pal in Australia or wherever.

Isa Music Publishing is a long time member of all of the national collection societies and through them, and direct, can and does collect royalties & usage income from here, there & everywhere.

It might not be rocket science but it is still a rather specialised chore that must be done and done professionally. In this modern World of technology the ‘paper-trail’ will be necessary in order that you can qualify and quantify your income (and expenditure) to satisfy the growing number of demands made by various Government bodies not least being the ‘terrible twins’ - the taxman & the VAT man.

Isa uses industry-recognised programmes to gather and split income as required from a solo performer to the biggest band in the land.

And we don’t stop there.

Isa writers have been featured in movies, television programmes, radio & TV advertising, exhibitions, fashion shows, corporate presentations, educational productions & more.

And then there are the ‘cover versions’, withholding tax, currency convertions, sub-publishing…

…and on & on.

Once that tune comes out of your head our heads start working too, for you.

Isa Music - an independent music publisher based here in Scotland.

Why Do I Need A Publisher?

The collection societies are lumbering elephants. Necessary, of course, but they handle millions of titles and can only spend a minimal amount of time taking care of the niche sides of the music usage industry (if at all). We are closer to both you and your music and in a much better position to negotiate to meet your needs, concerns and life preferences.

Who Does What?

The Mechanical Copyright Protection Society (MCPS) is owned by The Music Publishers Association (of which we are also members) and collects income from music used by mechanical method be it record pressing, replication on CD/DVD, downloads, video, cassette tape etc. They charge the user a percentage of the dealer/trade/download price for the use of the copyright material they control. Any percentage income is paid pro-rated to each composer or arranger on the production. The Performing Rights Society (PRS) is owned by its members and collects income for the usage of the music on CD/DVD, records & tapes used on radio, television, jukebox, karaoke etc. and live performance and even including background radio in your local hairdressers. Silly though it may sound even your local record store should have a PRS licence to play music. This income applies to the copyright composition even though it may not be your performance. The Phonographic Performance Limited (PPL) was, until a few years ago, the income gatherer from all sources who used the recording (in whatever manufactured format) predominantly on radio, TV, jukebox etc. and the money was paid to the record companies. This has now changed and 50% is now paid out to ALL the listed performers on each release right down to ‘the guy who played the Chinese finger cymbals’.

Recording companies, broadcast media, jukebox operators etc. must make regular sales usage returns to the societies in one form or another on a regular basis. Other users should have an annual licence to use music in their establishments. How is the pay-out calculated on this latter group? Don’t ask! But probably pro-rated to your other usage income unless it is all registered and trailed properly.

What Does It Cost Me to Get My Material Published?

Nothing! (Don’t pay anyone a single cent!) Publishers earn their money for the work they do in managing & promoting your copyrights through every means available to them (unless debarred by you) and then collecting that income from the various sources around the World.

When Do I Get My Money?

Things may change as technology gets faster but, currently, the industry standard is three monthly upon receipt by the publisher, who generally grabs another sixty days to equate the figures at his end. Remember that there are a whole lot of copyrights to attend to and not all with a single composer - but it is the system, so don’t come in shouting that as you are ‘sole writer’ you should get you money earlier. Money from around the World can take a bit longer as international societies get their figures (and act) together.

What About The Rest of the Band?

Yeh! Why does everyone look at the drummer!! But that does depend on you, the writer(s). If you want to sustain as a band, and want to continue to progress upwards and onwards to ‘superstardom’, might we suggest (and it’s only a suggestion) that, perhaps, the rest of the group gets a ‘few points’ to keep them totally involved and enthusiastic. Getting that first hit is a heap of very hard work collectively; and after any costs have been deducted by the record company there may only be a relative pittance left, but everyone’s still ‘up & happy’ and going for the bigger prize. Then you draw up at the rehearsal room in a quiet Porsche - bought with your money from your publishing. Hey! Watch the smiles on those faces - are they happy or what!!!! Share the joy & make it last (but it’s only a suggestion).

What About Songs That Are Not Yet Recorded by Anyone?

Who needs 100% of nothing? Well that, again, is one of the benefits of a publisher. An ear for a good song should also link to a thought of a suitable artist. It’s not as easy as it once was but that is a challenge for us. So many successful artists today write their own material, so that angle has gone (the BIG artists might even change a word or two to suit their style and want to claim co-writer status) but this is the music industry and we’re all creative (some more so that others!)

I’m Not A Singer Myself But I Write Songs.

See above. First create a portfolio, from any basic level, and try to make that grow. Don’t try to sell a hundred songs. One or two at a time is good (in fact if you get them recorded at all that’s helluva good!!). Obviously pick your best, keep them ‘up’, melodic and, maybe, with a story. Some folks get a mental picture of a ‘star’ in mind and compose from there but don’t think that the star will share your enthusiasm, that’s if he/she ever gets to hear it. (There are a heap of barriers between the songwriter and the ‘star’ )

What Do You Need From A Writer

One MIGHTY BIG INTERNATIONAL SMASH would be nice. But let’s walk before we run. Don’t send us any more that two or three of your best songs/tunes. On CD is best but we can still handle cassette tape or e-mail as a jPeg file. With songs you should also send typed lyrics. Mark clearly ALL of the writing participants, who did what and the agreed share of any income.

Do I/We Need To Sign A Contract?

Yes is the easy answer and these are tailored to suit your & our situation. It really is a case of different strokes for different folks but none of it is disgustingly brutal. And can become very necessary in the long term (especially if there is any dispute between any of the parties).