How Do Producer and Songwriter Splits Work?

[@ArisTake]

Are you a musician collaborating on sessions with other musicians? Make sure you fill out a Split Sheet, so you establish who owns what pieces of the song when it comes time to collect royalties. Get my free split sheet template here: aristake.io/tgBxRA

[@OMOYANKEE]

this deserves 100 million views

[@joedohn]

nah fr. his whole book is fire

[@vfxgolden]

fr

[@NavyJonesMusic]

Dude, this is the clearest and most concise video I've found on the hell-bound paper trail that is copyright. Thanks so much. I am gonna have to watch this several times for it all to sink in but it's all here. You're an absolute legend mate.

[@pureevergreen]

This is an awesome explanation of how this works. Other videos were confusing. Thank you for doing this video.

[@JoelVeena]

Thankful that these videos are out there. I was just thinking, "So what do I do if we both own the recording AND the composition..?" Answered my questions. How was I not subscribed before! 😅

[@olihhayes]

Thank you for keeping it simple without over complicating it, i finally get it 🙏🏼

[@altermoremusic]

Oh dude, you just broke my mind with all of this things 🤯😄 But thank you!

[@RaytownProductions]

Thank you so much for breaking this down man. Articulate, entertaining, knowledgeable... you got a new sub! Keep up the amazing work 🤘

[@ArisTake]

thank you!

[@keithzengeya5604]

@@ArisTake this is good, but producing is part of writing as well

[@Rizzlyricist]

Thanks bro. My contract states 50/50. The only place I believe I made a mistake on was BMI, but I've recently emailed them the producer's name and IPI# in hopes that they will correct this soon (I wish we as artists had the option of editing/updating our repertoire on BMI/ASCAP, etc); otherwise from that, the other 9 million (exaggeration) agencies and societies I've signed with are up to date on splits. Luckily for me, the song is just my first in 6 years (which this is my trial and error phase). So, future songs will definitely get splitted correctly everywhere. A tip for independent artists as well. Download a split sheet and email it to your producer (in my case, Hip-Hop) and have them print and fill it out, then scan it and email it back to you (if they aren't physically there to fill it out). Then, you do the reciprocated aspect as such, thus, both of you have what you need when applying splits. I can't tell you how long it took for me to hunt down the real name of my very first professional producer (being everything prior to 6 years was just a hobby done on downloaded beats). His BMI number registered slightly matched his dad's, which his dad and his name are the same (Sr. and Jr.). Take care.

[@ArisTake]

I'm assuming that's 50/50 on the MASTER. Publishing (what BMI covers) is totally different. Whoever wrote the song gets publishing. You have to work that out separately. Artists and Producers sometimes do 50/50 on the master recording but songwriting credit (publishing) may be different. Maybe you had 3 songwriters that worked on it. They wouldn't get any of the master - but they would get publishing. Or maybe the producer doesn't get any publishing, and the artist wrote the entire song. You have to separate Master and Publishing. Master = Recording. Publishing = Composition (song)

[@Rizzlyricist]

@@ArisTake He composed the instrumental, and I've composed the lyrics to it.

[@Rizzlyricist]

Hey @@IAMEffelle, in many cases, producers are considered songwriters, being that they had played a part in constructing/composing the song's instrumental. Which in part, means for every piece of instrument constructed on a live recording, or a DAW. However, the works recorded on was pre-existing, and had already been unregistered publishing rights accordingly. Thus, you're correct, that is the biggest confusion pertaining splits. In my case, however (being that I wrote 100% of the lyrics), my publisher ended up owning 50% while I get the other 50%. On the backend, the producer gets 100% as a composer per BMI standards. But in the real world (somewhere 🤣), a producer is deemed a songwriter. In conclusion, I still end up getting 100% songwriter credits (being that my publisher pays me directly per collecting performance and mechanical royalties). Though, this can indeed negate the fact.

[@Rizzlyricist]

@@ArisTake Also, yes, it's for the Master.

[@Rizzlyricist]

Anytime @@IAMEffelle, I'm always here, and yes, you're correct, there aren't any laws pertaining entitlement. Record companies would also label producers as songwriters via the crediting system to avoid legal tribulations ahead (a kerfuffle between artist, producer, and the likes). In regards to my situation, everything is split 50/50 for just the master recording. Going back to your statement on re-recording the same lyrics to another beat and the producer still getting paid will be the day I retire 🤣. I can't afford to give up my publishing, ever. As a sagittarius that's too philosophical at times; that'll be asenine to just let something that important slip through my fingers.

[@BryceDoesLife]

wow this is incredibly helpful

[@moybaun]

This was super useful ! Thank you

[@BohanPhoenix]

hey Ari i have a question for the master side: in a non signed indie Hip Hop artist situation, if the masters belongs to whoever recorded the actual recording, and the rapper + producer (who also made the beat) is both in the studio tracking it at the same time, that means the rapper and the producer would split the master recording 50/50? In addition, what happens if the rapper took the beat home, and then recorded the song at his home studio, does this mean the producer would STILL get 50% of the master recording - even tho he wasn't in the room during the actual recording of the vocals - because he also had to "record the beat" on his own time when he made it? Just as how you said that in a Hip Hop case, the publishing is split 50/50 between the artist and the producer because the producer also made the beat which counts as composition of the whole song. Thank you!

[@SixthSavior]

Did you ever get an answer to this elsewhere?

[@Vaseholly]

You splitting hairs on this one Bohan

[@KAILAOFFICIAL-v8k]

What if I created the beat and tune and lyrics but the producer did the sound engineering? I am confused should I call him a composer too but I give a good percentage to him. Help me.

[@mtungwanokthula2431]

So enlightening. Thank you Just had a disagreement with my producer, he is demanding 50% but I'm the composer of the song and he was paid for studio time

[@hamzz6824]

50% of the sound recording aka the master or the publishing?

[@dhjallumni]

Who ever produced the music and thought of the music, melody, riff etc owns the "intellectual property" of the music/production

[@FeistySavage1]

@@dhjallumniexactly, producers are also considered are writers cause when inputting the pub data you’ll see producers as options also; that’s cause they composed the sound and all that

[@MrMarcusAlexander]

Ari, I'm super confused. I thought a producer/composer is also considered a writer and therefore gets access to the writer's share. When I register a new work with ASCAP, do I register the producer's IPI on the writer and publisher side? If I'm independent, I'm my own publisher, but does a portion of the publishing go to the producer if they're also their own publisher? Please help.

[@zoned9541]

this

[@jennifermcnuttmusic6353]

You can contact an entertainment attorney and / or ASCAP with your specific questions. Writing / Publishing is 50/50 equaling a 100% for some reason per song. So if my song below splitting 3 ways, 16.66% to the 3 of us on writers side and 16.66% publishing side unless I’m mistaken. I own 100%, writer 50/50 pub on my first CD so…. Example: I just collaborated with my producing guy and vocalist on a fully baked song. I didn’t have to but I split it with them, 3 ways across the board. I felt the song needed their impact and no one got paid upfront. And it worked out. I will retain admin rights and we will all get a portion of composition AND sound recording even though someone else sang on it. More of an ‘indie Nashville split.’ My other song, I did 90-95% of it, production, arranging, so I’m giving a small sound recording % to producer but I wouldn’t have to, he’s also getting paid for his time, isn’t pushing the song for me (if he did I’d include a pass thru fee or finders fee sort of thing) and I retain composition rights. Hope this isn’t too confusing 🙏🏼

[@ArisTake]

Yes, if the producer is a writer on the song then they split the writers share. When registering with your PRO (ASCAP in your case), you register them as a writer with their respective cut and their corresponding publishing company. Every writer should have their own publishing company. Even if it’s a “vanity publishing company” in name only. Publishing = Songwriting. There’s no difference. It’s confusing because ASCAP splits it up, but if you and your producer co-wrote the song 50/50 then you have 50% of everything and your producer has 50% of everything. In ASCAP this would be 25% writer’s share to you, 25% publisher’s share to you, 25% writers to producer, 25% publishers to producer.

[@parisestrella]

This is a very informative video, thank you for sharing! I like the way you talk with your hands ☺

[@almighty_glad]

I love this explanation ❤❤

[@BillyWrightLive]

Ari What if someone releases an album… and there’s different producers on different songs. How would the Masters split if one producer only work on 1 song?

[@ArisTake]

you split by song. each song has different splits. it's not done by album.

[@jacob.olmos713]

Question: I'm a hip-hop and RnB artist, I typically have leased my beats through BeatStars. These beats will more than likely be used by other artist. Can I register the compositions I've written to these instrumentals even though the "music" may be used elsewhere?

[@bravioso]

Question @aristake , can song splits be credited between two different distributors … if I’m on Distro kid and the artist I wrote for is on Tunecore, will you get your percentage that’s agreed upon from streaming or would I need to go to tunecore in order to get my percentage?

[@itsmadisonhughes]

Hello! Quick question: if you use an indie distributer like Symphonic, don't you register the producer's percentage on that in addition as sound exchange ?

[@officialmarshe]

I wrote a song with a melody, took it to a producer who composed the music around it. I also sang and recorded it while he engineered in his studio… How is this properly split up? Do we both get publishing? He did charge me a minimal fee for his work.

[@MarkLavengood]

this is a great one brother - thanks for the #proofofwork...this knowledge is deep - respect 🎶🐻🕺🏻🎸

[@davidrickard9869]

We record on a 8 trak tascam produce mix master ourselves cutting out all that money and time and we are going to press custom pressings of vinyl ourselves!

[@Xiaomansounds]

This is gold bro 🔑 can’t thank you enough 🙏🏼🙏🏼

[@SofaCitySweetheart]

Hey Ari, do you have a link for the admin publishing companies review on your site? Thanks for the great video!

[@ArisTake]

aristake.com/admin-publishing-comparison/

[@noahpoetik]

Great info!!

[@heartbreaker5734]

So as an artist who is not signed, I would get a lot of points/royalties bcuz there’s no label to pay/to recoup? 🤔 I would only have to pay the producer of my songs their royalties, correct? Also, what if i co-produced my song? Is it fair to credit myself as a co-producer in the credits? Would the producer mind? Does that take away from them in anyway?

[@rahhoney1638]

Yes and yes. You are correct.

[@1632Chitty]

Well this is an actual difference in a producer and beat maker a producer actually produces the song and helps the direction of the song with say effects adlibs, and was to enhance the full song a beat maker just makes the beat weather in stems or a single wav if you mix and master your own music your the executive producer and the co producer/beat maker would be who ever made the beat on all my projects in my own executive producer

[@MarcusTHESOUNDPAINTERMiles]

Great video!

[@MatthewSeanMcDermott]

Forgive my ignorance, but I'm confused on producers getting royalties. Do they always? It makes sense to me if an artist doesn't have enough to pay upfront for the producers services, but if they do and pay the Producer in full at time of recording then haven't they been paid? And the artist now owns the work?

[@ArisTake]

Yes it’s common now but it’s not always the case. Usually more up front = less backend. Less up front = more backend.

[@timbradley135]

What are “mechanical” royalties? Are they paid to whoever played on the recording? Are the hot session players, e.g., Brent Mason, able to get points, especially those whose style is crucial to the sound and success of the recording? I’ve seen songs that list eight people as writers. Is that just the artist giving everyone a little extra taste or did each of the eight really contribute something? Great video. I’ll definitely check out the rest.

[@ArisTake]

hey! mechanical royalties are earned when a song is streamed, downloaded or purchased (like a CD or vinyl). i breakdown how all of this works here: aristake.com/producer-splits/

[@MadaAtoms]

When you say writes the song is the music considered a part of writing the song or it only referencing writing lyrics so would the producer get songwriting credit for writing the production in pop or hip hop? Lastly how do you ensure your music can get synched if the producer has a percentage of the sound recording master? Do they have to sign off every time you shop a deal or can you get them to waive their rights and artist has full control of placements

[@ArisTake]

Typically songwriting is considered melody and lyrics. If you can play the song on piano or guitar the song is done. if the producer just adds beats, instrumentation, arrangements, that’s just “production” and typically they get a cut of the master but not the composition/publishing. Oftentimes producers just get a royalty share or the master *not* ownership. So if they don’t have ownership they do not need to sign off on syncs. If they have publishing they do.

[@mrmusicwriter]

Helpful

[@JonnyZye]

Great, informative content man. Keep it up!

[@ArisTake]

Appreciate it! -Alexis

[@FrederickLewisDeAngelis]

Helpful information

[@alexisortegamusic]

Thanks for your time Ari, a quick question: I have a new song that’s is going to be available soon but I want to add a collaborator, they need to have a Tunecore account? they have to pay for that ? God bless you sr

[@indietop3923]

As always, super good! Thank you Ari!

[@ArisTake]

Glad you like it! -Alexis

[@Remsleep00]

5:11 by “producer” are you talking about beat makers? im in hiphop & record/write in a home studio so im wondering does my beatmaker go get 50% overall or around 20-30%

[@Remsleep00]

beautiful video btw

[@ezaccess214]

Str8 to the point. Just got a sub 🎉

[@RaepaMusic]

Thank you for sharing bro

[@SBTCP]

Does segue aka continue without stopping counts on a album 💿 what happens when I skip ⏭ a track on a album 💿 why do I hear 👂 the last note from the very first track like example when segue happens on king of fools album 💿 I hear sanctify ending when deeper begins but my cousin Stephanie’s boyfriend Danny Crooke said don’t skip ⏭ a track when segue happens or else 😅 you won’t know when segue happens so what am I supposed to do when segue happens am I supposed to listen 👂 to the whole entire track from start to finish aka beginning to end?

[@colindevane]

awesome info as usual, thank you again man!

[@freddylawyer]

You’re the best ☝️

[@SBTCP]

And is breakdown and break and also interlude same or different because in my honest opinion they are totally 💯 100 💯 percent different from each other?

[@richardwilliamsmusic]

When it comes to splitting the publishing royalties, I can go with Songtrust which is awesome. But is there anyway to automate and let my distributor know the splits for the Master royalties? Apparantly Cdbaby doesn't do that. Do any of the distributors split the master royalties so I don't have to manually figure out what I made and pay a cowriter manually? (Publishing splits are automatic conversely)

[@ArisTake]

Yes many distributors do. DistroKid, Synphonic, Amuse, Stem all have this built in.

[@richardwilliamsmusic]

@@ArisTake Thanks!

[@PoloCapalot-jy2oj]

@@ArisTakeSo what are the Master splits for a hip hop producer on Distrokid?

[@ilinskimusic]

Thank you!

[@afrikankodo]

Brilliant info 👌🏾.

[@amanmoroney2475]

What is the difference between master points and net receipts?

[@emmieleeepstein8943]

Thanks! That was super helpful!

[@rachelchuu4287]

do producers need a distribution account to get their precentage?

[@damientrujillo4470]

So how would I go if you use a sample from a song to record into yours? They’ll either make you take it down or pay them pretty much?

[@ProdbyFoley]

Online it says that if you have songtrust you should only register the song on there and not on BMI. Is that true or should I still register on both websites?

[@matthewarroyo3118]

What if your voice is on the song do you get sound masters or no?

[@ArisTake]

If you’re the lead singer/Artist and if there’s no label then yes. If you’re a backup musician then not usually.

[@matthewarroyo3118]

@@ArisTake oh ok got it but what about background vocalists

[@ArisTake]

@@matthewarroyo3118 Usually back up musicians/vocalists are only entitled to digital radio ("non interactive streaming") royalties - like what's earned from Sirius/XM, Pandora, iHeart, etc. It's not a lot - about 5% of total earned (which isn't a lot). You can get this by checking with The Fund: www.afmsagaftrafund.org/

[@matthewarroyo3118]

@@ArisTake oh ok thank you

[@MarkLavengood]

insightful as always team

[@orlandoyork2587]

Aight so if John Jack and James all co-write a song and John provides the vocals then how should the split go? Also consider that a ghost producer made the beat, and John had to go to Henry to get track recorded. In addition John wrote the hook and one of the verses.

[@SBTCP]

Does an album 💿 count having 6 or more songs aka that is above 6 tracks and also more than 30 minutes to count as a album 💿?

[@mixbygygyondbeat1295]

Thanks a lot I learnt a ton from this video. I just sold an instrumental and d artist asked how much royalty I want and I was confused 😖

[@LucasDellaporta]

I have a general question. If we have a writer that helped to write a song but they did not play on the sound recording, would it make sense/be in the wise to give them just writers credit (publishing)?

[@bryamonthebeat]

thanks for this video. you are the real MVP

[@PoloCapalot-jy2oj]

So on Distrokid splits does the artist keep 95 and the producer 5?

[@jusshy]

Thanks for this video!

[@enlightenedchristian]

This was great. What occurrences cause any of us to get paid? I am the writer and we are working on a project right now and we are trying to structure the deal so anything that you can offer will definitely help

[@JDAZ]

good video

[@rawgroovetheory]

The question is, what counts as "writing the song" would that make arrangement and writing of the instrumentation worthy of publishing?

[@ArisTake]

Here is a helpful article aristake.com/what-is-soundexchange-ascap-bmi-pros-hfa-mechanicals-and-how-to-get-all-your-royalties

[@carolinebelk1806]

I still get confused with the difference in ownership of copyright percentages vs royalty percentage agreements. If I'm an artist working with a producer and we are working on recording and finishing my songs together in production but I've already written all the core melodies and lyrics but they help solidify the structure and even contributed some chord changes for example on top of producing, I have the inclination to want to keep majority of my copyrights that I can but when it comes to royalty splits, I am happy to split those with more of a percentage of course. Is this the right way to think about this or should I be thinking of royalty splits and copyright ownership in this case as one in the same? The producer also has connections and publishing opportunities he wants to push the songs for me, which is an extra step and has said they want publishing and sound recording in order to do this and again I'm not sure if this means it should be complete copyright ownership or just royalty splits? I just wonder what is common practice for how much of my song I should be owning the copyright at the end of the day once I've worked with a producer who's also worked on the song with me in a way (it's a hairy line how much a producer is also a songwriter) but also will need to give some up to a publishing company eventually to? Any insights appreciated!

[@Tubulous123]

Thank you!

[@seventhegoddess]

Ok so just to be clear I paid to use the beat right,but I wrote,recorded,sung it myself .I already paid a fee for the song I still have to pay out 25% for streams?

[@SBTCP]

And also according to what music gateway Gateway said about song structure he said that Song structure is the form of the song and how it is arranged. Song structure is the form of the song and how it is arranged. As an important part of the songwriting process, it is typically sectional and uses repeating forms. Song structure is important because it organizes our songs. Song structure is the form of the song and how it is arranged. As an important part of the songwriting process, it is typically sectional and uses repeating forms.

[@frankthebassist]

Awesome video bro, very informative. I'm a bass player and if I record bass on a song, what kind of royalties do I get and how many percentage do you think I should get?

[@ArisTake]

hey! here's how to get your music royalties: aristake.com/what-is-soundexchange-ascap-bmi-pros-hfa-mechanicals-and-how-to-get-all-your-royalties

[@NerdMusic3]

Great video...What if a songwriter and an artist are writing a song together without any money involved upfront....Isn’t the songwriter entitled to a percentage of the master since the artist isn’t paying them? If not, then how does the songwriter get paid if the song gets a sync placement? ..... And , Doesn’t whoever pays for the master entitled to ownership unless otherwise negotiated?

[@ArisTake]

Typically, up front sync fees are split 50/50 publishing/master. So if the song gets a $100,000 sync placement, then $50K is split amongst the songwriters/publishers and $50K is paid to the master rights holder (artist/label). Mechanical royalties are the earnings that songwriters get from the master. It's 9.1 cents per download/sale and a complicated formula for streams. Songwriters also earn Performance royalties when the song is "publicly performed" (whether that "performance" is just the recording in a coffee shop, or on TV or on the radio. Yes, whoever pays for the master, typically owns the master. But this should all be worked out/discussed before it's released. In the indie world there aren't hard set rules. So, 3 people come together to create a song without any money exchanged and you want to split everything down the middle - master and publishing, go for it.

[@NerdMusic3]

@@ArisTake Awesome, great answer, that makes sense now.....Thanks, you Rock!

[@user-cp8wn3oc1n]

​@@ArisTake If we are talking about a song that the singer-songwriter himself recorded and produced. As far as we know, many exclusive libraries take 50% of the advance for themselves, while registering themselves as publishers. And to whom does the share for the master go into the pocket - only the author-performer (and he will receive a total of 150% of the advance) or is she also somehow divided?

[@v9956]

I didn't understand one thing sir? In pop . Say If i produced a beat or a main melody of the song for a major artist signed to some major label will i get publishing right ? I'm not involved in the song writing process.

[@lilacswithtea]

Concise and helpful as always! 🥰

[@ArisTake]

Glad you think so! -Alexis

[@jamespatient7438]

Thanks so much for this, v helpful! I'm wondering, if I produced a 2 song EP for an artist/producer duo and ended up writing one of the songs and recording vocals on both (with extensive harmonies), am I entitled to ask for 50% of the master rights? The EP will be released to their self-owned record label High Soul Records. Cheers!

[@DarienneEmpire]

So are we talking like on ASCAP 50% of a song is the publishing/songwriting and the other 50% is the master? So if the producer gets 15%, is it actually 15% of the 50% of the song which is on the master side? Need this clarity. I just heard ascap does a 100% system & bmi does a 200% system.

[@ajia6053]

So as an artist who wrote the whole song, I own all of my publishing and it doesn’t have to be split with the producers?

[@EmpoweredIndieArtists]

Yes!

[@ajia6053]

@@EmpoweredIndieArtists thank you for answering

[@ArisTake]

correct!

[@jennifermcnuttmusic6353]

Yes as the boss man says, unless you agree to a deal because you are getting recording for free and peoples time. I felt I needed to get things moving on a song. And I decided on one song to split everything with a singer and producer / engineer. I could have just done on the master not writing and publishing but I will get a cut of that bc I also produced it and everything is 33.33% between us. I am just making sure to have my attorney create an admin release saying that I own the right to do with the song what I want bc I will be the biggest advocate for the song and placing.

[@PoloCapalot-jy2oj]

@@EmpoweredIndieArtistsEven if the producer created the instrumental? What does the producer get then?

[@Ginnyguitar1]

Lyrics question- if a poem was used to inspire lyrics - some lines in the poem are used. What is a fair %. The recording, arrangement, music, and lyrics are written by one person.

[@pierreroquemore5410]

Your channel is very helpful... thanks

[@ArisTake]

Thanks for watching! -Alexis

[@williambrown643]

if I compose only melodies, is there an easy way (online) to hook up with an existing team (which compose and produce the other parts) and split the royalties?

[@louudarbeatz220]

Great video 👍.. Am a producer and do I have to register to all the distribution platforms for me to be able to get my percentages? I’m asking cus all the artist I work with distributes their songs from different distribution platforms

[@ArisTake]

No, the artist or label who distributes the song should add you into the backend for payment splitting. Otherwise the artist should be paying and reporting to you regularly.

[@Jeaninabottle._7]

What does “writing the song” entail? What if you take a song that you’ve written on an instrument to a producer?

[@rahhoney1638]

You still own 100% publishing. Do not split it

[@osoBooking]

What’s up Ari? Question : If I song write for another artist, what are the splits between us if he doesn’t write anything?

[@Trenchchild97]

So if I purchase a beat and have full ownership is it normal that I spilt publishing with the producer

[@ariherstand]

No. In this case it sounds like a "work for hire." But this has to be clarified **in writing**. Sometimes producers do maintain publishing when selling beats.

[@ArisTake]

No. In this case it sounds like a "work for hire." But this has to be clarified **in writing**. Sometimes producers do maintain publishing when selling beats.

[@NateNittii]

The producer wouldn’t be who made the beat right they refer to themselves as composers in the agreements where would the engineer that actually recorded you stand?

[@dulla8469]

here is what confuses me the most, these day we use distrokid, almost all of upcoming artists or even bigger indie artists, so you said there is master royalties and publishing royalties, i noticed beatstars licenses says the artists and producers split 50/50 of the publishing, but how the hell do i know which amount of money is the publishing and which is the master, do i just take the total amount of money i made from the song, split it 50 50 and half of it is masters and the other half is publishing? and then i split that half into another half im confused even more just trying to ask this question

[@RonVelvet]

Say my producer and I are homies and we create a song and split everything down the middle (publishing & master). If I eventually become a KZbin partner and my song blows up and I get say $2,000 in Adsense money from views, do I owe my producer $1000 based off our split? Or is revenue made from KZbin Adsense and stuff separate and I’m NOT obligated to pay my producer money from that?

[@jennifermcnuttmusic6353]

If you are doing 50/50, across publishing and sound recording, then I’d say everything is split. That’s only fair

[@RonVelvet]

@Dutch R Kelly word. Yeah KZbin doesn’t do splits unfortunately so that’d basically be manual admin work on my part for like the rest of my life across multiple producers which kind of sucks (unless I were to remove my videos for some reason, or sign w a label that handles that for me). Unless I were to one day get relatively so big that I could find an accountant that’d handle payments. Hypothetically speaking of course. Kind of a drag. I see the importance of owning masters now and/or paying a producer off for a track.

[@RonVelvet]

@Dutch R Kelly ahhhh nice one! I never thought of that actually. I’ll try and bring that up with my guys and see what up. Thx bro!

[@chadalancarson]

One thing that always confuses me when I’m talking to or listening to non-hiphop guys talk about music is your use of the word “producer.” Because 99.999% of the time in my experience over the last 20 years in hiphop when we say producer we’re talking about who made the beat. When rock guys say producer, to me it sounds more like you’re describing the role of maybe an executive producer or even a recording engineer sometimes. Does anybody else notice this or can someone give some insight on that? Thanks 🙏🏽

[@doleo_metal]

Absolutely! I find it incredibly annoying and cheap that so many artists rely on other people to basically write their songs for them. As a heavy metal musician, I'm the primary creative influence. I would just need a producer to help manage the recording and sound production process. While I welcome some creative feedback, I'm doing most of the songwriting. It's literally the main point of being a musician. If I wanted to play something someone else wrote I would just play cover songs.

[@chadalancarson]

@@doleo_metal interesting! See what I mean, for you a producers is someone that manages the process. Not someone that is involved in the recording or mixing of the production of the song.

[@doleo_metal]

@@chadalancarson no they're the main actor with the controls in regards to recording and mixing in all cases. My main differentiation is creative input. In regards to hip hop, the producer is also literally making the music rather than the artist. To each their own though.

[@chadalancarson]

@@doleo_metal the artist is making the music as well. Even if he didn’t make the beat. He wrote and performed the lyrics. It’s no different from a having a lead singer in the band and the other guys play drums, keys and guitar so don’t do that. Don’t try and downplay what hiphop is. I was just pointing out the difference in the way the word producer is used between the two genres. How’s metal doing these days btw? 🤔

[@SBTCP]

why every single track starts at @ aka binary zero and stop 🛑 when the audio is complete like when I skip ⏭ a track why every single album 💿 has to start at the very beginning even though if it has a intro at the beginning or verse one at the beginning or without verse one at the beginning or even without a intro at the beginning?

[@zoned9541]

So what is the difference between producer points on the backend, and the publishing percentage via BMI/ASCAP? What royalties is the publishing tracking. I was under the impression it was streaming royalty? But from the video streaming royalty is coming out of the backend master recording from points

[@jennifermcnuttmusic6353]

This episode may help. kzbin.info/www/bejne/sKGVYomCYrdgjZo Googling also helps. And pay an entertainment attorney for an hour and write down everything they say. It really comes down to what you work out with your people. For the first time I’m co-writing, but we really just did the recording together and I brought in another singer. We are splitting that 33.33% bc we all made it happen. Across Writing/ Publishing and the Master/Sound Recording.

[@thetriplethreat3]

So to be clear. If you are with Distrokid on the splits on streams etc. Artist gets 80% and the producer gets 20%?

[@NerdMusic3]

What is covered under the composition copyright? Does this include chord progressions and arrangements? Or is it only lyrics and melodies?

[@ArisTake]

Technically, you can't copyright chord progressions. Arrangements is a separate copyright - like a derivative work. Basically, whoever contributed to the lyrics and melodies should get songwriting credit however there is a case to be made for producers making the 'beat' since they inspired the melodies and rest of the song to share equally in the publishing (composition/songwriting copyright). ~Ari

[@NerdMusic3]

​@@ArisTake Interesting , if a songwriter/guitarist starts a songwriting sessions with an already composed set of chords , and doesn't write the vocal melody at all....I guess that could be considered song writing credit ....? ...since it helped it create the melody.....

[@adambaxter4649]

But how does the master split change if the artist signs a deal? How does actually " owning " part of the master copyright differ from getting a " backend royalty split" ?

[@waxmaster-c]

Very informative. Thanks!

[@damientrujillo4470]

So if I buy a beat in the hip hop industry, it’s okay to give the publishing? I usually want 100% but I can understand because they made the beat. I did write the whole song though, thank you in advance!

[@NevosTyler]

when you have a feature artist that did not write the song just sang on the track. Are they added under the publishing/composition as a song writer? and what's the norm percentage they get if they are?

[@LukeChappellVevo]

define indie deal vs Major Label Deal

[@theeself]

Hi Ari. I have a couple of questions on this 1. Just so I know that I've understood this, if I write the whole song but feel like a part of it should be sang in a female's voice, she would get part of the master but I would still maintain full control of the publishing? 2. Related to the first case, what if I've contacted the same female to work with me, but this time to provide harmonies/background vocals to what I've already sang? What is she entitled to in this case? Thanks

[@iamvacs]

So if i work with 20 Artists and they are all using different distributors how do i take my split ? Do I sign up with all 20 distributors ?

[@In-Ear-Studio]

Good question! I have that doubt too.

[@djkakip]

If I pay a producer to make a beat, does he still get royalties?

[@jewelthompson4210]

He answers that @6:22

[@dsorrells999]

Do you offer any one of the one classes or services that I could use to enhance my music business industry skills and knowledge about the music industry so I could become more successful?

[@ArisTake]

yup! aristakeacademy.com

[@leifer5604]

If someone has different publishing vs master splits, how do you direct the splits on the publishing if the splits directed by the distributor are master splits

[@ArisTake]

Every songwriter needs to register their own publishing. So, you register your % of the song with your publisher. If you don't have a publisher register it with your PRO (ASCAP, BMI or whoever you use) and the MLC (in the US). If you do have a publisher - or admin publisher register it with them. For the master splits, that's totally different. When you distribute the song, some distributors (like DistroKid) you can setup automatic payment spitting. Otherwise, the label or artist needs to payout the correct amount based on what they receive from their distributor.

[@PoloCapalot-jy2oj]

@@ArisTakeSo on Distrokid is it 50 for the split or a smaller one for the producer?