Knowledge

When you sign a publishing deal, you'll either assign or license your copyrights to the publisher. The specific arrangement depends on your contract. In a traditional deal, you might assign your copyrights to the publisher for the term of the agreement, though you'll always retain your writer's share (50%) of performance income collected by PRS.

An admin deal typically involves licensing rather than assignment (you retain ownership while the publisher handles registration and collection). In co-publishing deals, you might assign copyright but retain a share of the publisher's income. The key is understanding what rights you're granting and for how long. Most deals include reversion clauses, meaning your copyrights return to you after a set period or when certain conditions are met. Always seek legal advice before signing, as these agreements fundamentally affect your rights and income.

Yes, lyrics can be protected separately from music under UK copyright law. When you write lyrics, they receive copyright protection as a literary work, distinct from the musical composition. This means:

• If you write only lyrics, you own the copyright in those lyrics
• If someone else writes music to your lyrics, you each own your respective contributions
• Lyrics can be licensed independently for uses like printed songbooks or merchandise
• Digital platforms increasingly need separate lyric licences for display features

This separation becomes important in collaborations. If you're a lyricist working with a composer, you'll need to agree on ownership splits for the complete song. Industry practice typically treats the finished song as one copyright work for licensing purposes, with agreed percentage shares between all contributors, regardless of whether they contributed words, music, or both.

As a songwriter or composer, you automatically receive a bundle of exclusive rights the moment you create an original song. These include the right to control:

• Reproduction - making copies of your work
• Distribution - issuing copies to the public
• Performance - playing your music in public
• Communication - broadcasting or streaming your work
• Adaptation - creating new versions or arrangements
• Making available - offering your work online interactively

The music industry typically groups these as mechanical rights (reproduction and distribution) and performing rights (performance and communication). You also have moral rights - the right to be identified as the author and to object to derogatory treatment of your work. These moral rights cannot be assigned to others, though you can waive them. Understanding these rights helps you recognise how different uses of your music generate income through various licensing routes.

In the UK, copyright in your songs lasts for your lifetime plus 70 years after your death. This means your songs remain protected assets that can benefit your estate and heirs for generations. The 70-year period begins on 1 January following the year of your death.

No, you don't need a publisher to monetise lyrics, but the process differs for published and independent songwriters. Publishers typically handle lyrics licensing as part of their broader rights management, meaning lyrics revenue flows through them according to your publishing deal terms.

Independent songwriters can work directly with lyrics aggregators or use platform tools to distribute their lyrics. However, you'll need to handle all administration yourself - from ensuring accuracy to managing any disputes. Some aggregators offer different service levels, from basic distribution to full administration.

The trade-off is between control and convenience. Publishers provide infrastructure and expertise but take a share of revenue. Going independent means keeping more revenue but handling more complexity yourself.

Yes, lyrics can be protected separately from music under UK copyright law. When you write lyrics, they receive copyright protection as a literary work, distinct from the musical composition. This means:

• If you write only lyrics, you own the copyright in those lyrics
• If someone else writes music to your lyrics, you each own your respective contributions
• Lyrics can be licensed independently for uses like printed songbooks or merchandise
• Digital platforms increasingly need separate lyric licences for display features

This separation becomes important in collaborations. If you're a lyricist working with a composer, you'll need to agree on ownership splits for the complete song. Industry practice typically treats the finished song as one copyright work for licensing purposes, with agreed percentage shares between all contributors, regardless of whether they contributed words, music, or both.

While some platforms technically allow you to upload lyrics directly, this can be legally problematic if you're not the sole owner of the composition. If you have co-writers or a publishing deal, you likely don't have the unilateral right to distribute lyrics.

Most publishing agreements grant lyrics rights to the publisher, meaning they should handle distribution through proper channels. Even with co-writers who aren't published, you'd need their agreement before uploading shared lyrics. The safest approach is to work through your publisher or a lyrics aggregator who can ensure proper rights clearance and attribution.

For independent songwriters who own 100% of their compositions, direct upload may be possible. Consider whether you want to manage lyrics across multiple platforms individually or use an aggregator for broader distribution.

Inaccurate lyrics usually result from breaks in the data chain between creation and platform display. Common causes include:

• Publishers lacking accurate lyrics despite controlling rights
• Platforms using crowdsourced versions when official versions aren't available
• Transcription errors during digitisation
• Multiple versions existing without clear authority

To correct errors, first identify the source. Check with your publisher if you have one - they should be providing accurate lyrics to aggregators. If independent, you may need to submit corrections through aggregator tools or your digital distributor.

Remember that platforms receive lyrics from aggregators, not directly from artists. Correcting the source ensures fixes propagate across all platforms, though this can take several weeks.

Without a written agreement, UK law presumes equal splits between all contributors to a joint work. However, proving who contributed what becomes extremely difficult without documentation. This can lead to registration conflicts at PRS/MCPS, delayed royalty payments, and expensive legal disputes. Unlike some territories, UK law doesn't distinguish between lyrical and musical contributions in determining splits - all creative input is valued equally unless otherwise agreed in writing.

Use a split sheet at the end of every writing session. The Credits Due campaign provides a free template that captures all essential information: each writer's legal name, IPI number, publishing affiliation, contact details, and agreed percentage splits. Have everyone sign it before leaving the session. This simple document can prevent years of disputes and ensures everyone can be properly registered with PRS/MCPS. If splits aren't finalised, at minimum document who was present and contributed creatively.

An IPI (Interested Party Information) number is your unique international identifier as a songwriter - think of it as your creative passport. You automatically receive one when joining PRS as a writer member. You may have multiple IPIs: one for your legal name and others for professional names or pseudonyms. Keep all your IPIs handy as you'll need them for split sheets, registrations, and any time you're identifying yourself in the global music system. Your IPI stays with you throughout your career, regardless of publisher changes.

Essential information includes: everyone's legal name and IPI number, publishing affiliation (even if self-published), performing rights organisation membership, contact details (email and mobile), and role in the creation (lyrics, music, or both). Also document: the date and location of the session, working title of the song, and any samples or interpolations used. If you're producing a recording simultaneously, note the artist name and who's handling distribution. The Credits Due split sheet template covers all these elements.

• Fees vary enormously: £1,000 for small ensemble to potentially much larger amounts for major orchestral work
• Payment terms crucial: Always get a contract in place and negotiate 50% upfront before writing any notes
• Consider consortium commissions to increase fee and performances
• Factor in 6-12 months of work for major pieces

Production Music:

• Upfront fees often buy out mechanical rights
• Performance royalties remain your main ongoing income
• Library handles all licensing and pitching
• No artist royalties to consider
• Simpler metadata and registration

Commercial Songs:

• Full royalty participation (mechanical and performance)
• Multiple stakeholders (artists, producers, labels)
• More complex licensing negotiations
• Potential for cover versions
• Higher sync fees for known songs

Via PRS (Performing Rights):

• Radio and TV broadcasts
• Live performances
• Background music in venues
• Streaming services (performance element)
• DJ performances
• Online uses

Via MCPS/Publisher (Mechanical Rights):

• Physical sales (CD, vinyl)
• Digital downloads
• Streaming services (mechanical element)
• Cover versions

Direct Licensing (usually via publisher):

• Synchronisation (film, TV, ads, games)
• UGC platforms (TikTok, Instagram Reels)
• Grand rights (musical theatre)
• Sheet music and print
• Lyrics licensing

You must join PRS for Music to collect performing rights royalties. MCPS membership depends on your publishing situation:

• If self-published: Yes, join MCPS directly to collect mechanical royalties
• If you have a publisher/administrator: No, they'll access MCPS on your behalf and collect mechanical royalties for you

PRS and MCPS work closely together with one website and portal, making the process straightforward.

Incorrect metadata can result in lost royalties, delayed payments, or money going to wrong parties. Common issues: misspelled names, wrong splits, missing co-writers, incorrect publisher information. PRS and MCPS allow amendments through their online portal, but changes can take 3-6 months to process internationally. Historical corrections may be limited by society rules. Conflicts between writers require resolution before payments resume. Always verify registration confirmations carefully. Major errors might require publisher intervention or formal disputes. Prevention is crucial - double-check all data before submission. International societies may have different data, requiring separate corrections.

The music industry operates on a fundamental principle that performing rights income is split 50/50 between writers and publishers. This split is so entrenched that PRS pays these shares separately - your writer's share always comes directly to you, regardless of any publishing deal you might have. This protection ensures writers always receive at least half their performing rights income.

Publishers receive their 50% share directly from PRS, not through you. This is different from mechanical rights, where publishers typically collect 100% from MCPS and then pay your share according to your contract terms. The beauty of the system is that your writer's share is protected and cannot be assigned to anyone else, providing crucial income security.

When negotiating publishing deals, you might see different splits like 75/25 or 80/20 in your favour, but these only affect how the publisher's 50% share is divided between you. Understanding this split structure is essential for tracking your income accurately and ensuring you're receiving everything you're owed. It also helps in negotiations - any deal trying to take your writer's share should be rejected immediately as it goes against fundamental industry principles.

Essential codes include: ISWC (International Standard Work Code) - unique identifier for your composition, generated after PRS registration. CAE/IPI number - your personal identifier as a writer, issued when joining PRS. For recordings: ISRC (International Standard Recording Code) - unique per recording, obtained from PPL or distributors. Publisher codes if applicable. Society member numbers for all territories where you're registered. These codes ensure accurate tracking and payment across global systems. Always include ISWCs on cue sheets and in metadata. Keep a master spreadsheet of all codes. Incorrect or missing codes are the primary cause of lost royalties.

Join PRS first via their website. Once approved, register your songs through the online portal, providing song title, co-writer information, publisher details, and splits. For MCPS, if you're self-published, apply separately and register the same works. Registration requires accurate data: full legal names, IPI numbers, and percentage splits totalling 100%. Register songs as soon as they're complete - you can add ISRC codes later when recordings exist. Both societies use the same online portal for work registration.

Publishing advances are prepayments of future publishing earnings, not additional money. Publishers estimate your future publishing royalties and advance a portion, typically 60-80% of projected earnings over the deal term. You receive this upfront, then publishers recoup from your share of publishing royalties until repaid. After recoupment, you receive royalties according to your deal split. Remember, this only affects publishing income - your recording revenues and writer's share of PRS income remain unaffected.

Advances enable focusing on creativity without financial pressure. The amount of an advance depends on track record, catalogue value, and publisher confidence. Unrecouped advances typically aren't repayable, but may affect future negotiations. Some publishers offer rolling advances or minimum guarantees. Consider advance size against long-term earnings potential - sometimes smaller advances with better terms yield higher lifetime income.

Administration encompasses all the business processes that ensure you get paid publishing royalties for uses already happening - registering songs with global societies, tracking recordings and versions, processing royalty statements, matching ISRCs to ISWCs, managing copyright data, and pursuing unpaid publishing royalties. It's essentially the "back office" of music publishing.

Exploitation means actively creating new opportunities for your music - pitching songs for synchronisation in films and adverts, promoting songs for cover recordings, arranging co-writing sessions, developing creative strategies, securing brand partnerships, and finding new ways to generate publishing income from your catalogue. Full service publishers handle both administration and exploitation, while publishing administrators focus solely on the collection side.

Self-publishing means handling all registration, collection, and exploitation yourself. It works when you have limited commercial activity, write mainly for your own artist project, have time and inclination for administration, want to learn the business before committing, or value complete control over limited income.

The breaking point usually comes when administration time interferes with creative work, international usage increases complexity, sync opportunities require industry relationships, or you discover money you've been missing. Most professional writers eventually need at least administration support. The question becomes not whether to work with a publisher, but what level of support you need. Starting self-published can be educational, but don't let pride or misunderstanding of publisher value leave money uncollected.

Collecting societies like PRS and MCPS operate collectively, issuing blanket licenses to users and distributing royalties to all members according to usage data. They handle specific rights in specific territories - PRS for UK performing rights, MCPS for UK mechanical rights. Publishers work individually for their writers, providing a much broader service. They ensure registration with societies worldwide (not just UK), chase royalties from sources societies don't cover, provide creative services, and actively create new exploitation opportunities for your music. While societies are essential infrastructure for collective licensing, publishers are your personal representatives in the global music business. Most professional writers need both - society membership for collective licensing, publisher support for everything else.