Publishing

As a composer, you own the copyright on the music and lyrics that you write. You can earn money in various ways with this copyright. For example, you can allow a well-known artist to perform your numbers or allow them to be used in a commercial or game. In addition, you can write a radio jingle or intro, or let part of your composition be used as a sample.

The publisher

In brief, you could say that a publisher is a broker who stimulates the use of your works.  The earnings model of the publisher is laid down in a legally determined remuneration of one third of the revenue from the copyright. A third also goes to the composer/composers and a third to the lyricist/lyricists. The revenue from the copyright is collected centrally by the collective management organisation Buma/Stemra.

If your composition is used without permission in a commercial, for example, your publisher can (in consultation) speak on your behalf. A publisher can also be a good partner in terms of financing, because publishing contracts are often long-term. A publisher can give you an advance on future royalties.

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Copyright

Sync deal

A 'sync deal' means that a publisher licenses your composition(s) to agencies that are involved in advertisements, films or games. The sync agent from the publishing organisation pitches your compositions to his or her network and enters into licensing agreements for the use of the music. An advertising agency can even be a publisher too and sometimes even employs composers. Examples in the Netherlands include Massive Music and Sizzer.

Sync fee
Once an agreement is reached, following approval from the copyright owner and master owner, the user must pay for the synchronisation rights. This amount depends on the term of the license, the length of use, the number of countries for which the licensing agreement is entered into and how well-known the composition is.

This sync fee is ultimately divided between the copyright owner and the master owner. This is often the same amount (thus a 50/50 split), but different agreements occur. In the event of a re-recording, no money is paid for the master rights.

Co-writers

A publisher usually represents an extensive portfolio of composers and lyricists, and therefore organises writing camps sometimes. Repertoire may be created here that is not suitable for personal use perhaps, but which is suitable for another artist! In that way, you can earn money with your copyright from repertoire that is not released under your own name. It may occur that you compose a melody line for a dance producer, a so-called ‘topline’.

The person within the publishing organisation who is responsible for these meetings of composers, artists and publishers, at writing camps and on an individual level, is the A&R Manager (Artist & Repertoire Manager). He/she is also called a ‘creative’ sometimes.

Administration and registration

The publisher ensures that your compositions are properly registered worldwide. They also collect money that arises from the copyright (royalties) at home and abroad. The copyright revenues from films and commercials (at home and abroad) are – just like revenues from radio airplay or shows – collected by collective management organisations (Buma/Stemra in the Netherlands). The publisher checks these bodies and ensures that the information which they work with is accurate.