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5

If you plan to represent and collect for other songwriters/composers, you obviously need to register as a publisher. If you collaborate with other songwriters/composers, one (possible) advantage of registering as a publisher is you don't need to tell the PRO the split between the collaborators; you can establish that separately (usually in a contract ...


4

To sell reproductions of a copyrighted composition, you must have a mechanical license. Normally this is secured from a rights agency (e.g. RightsFlow, Harry Fox) or directly from the composer. For sheet music, the standard mechanical licenses offered by the agencies may not cover sheet music publishing, so you may often end up going to the composer (or ...


3

It goes like this: In virtually every nation in the world, except the United States of America, each nation's government has its own bureau which collects royalties for songwriters and publishing companies, and disburses the funds to the songwriters and publishing companies (the "rights holders") after they withhold administrative costs. However, in the ...


1

For the first half of your question, the easy route is to inform your PRO of the sync deal. Alternatively the sync supervisor can evidence it when asked. It shouldn't put off any sync organisation, as the expectation is that most artists will be registered with at least one PRO.


1

More and more people are self publishing, as the standard model of the music publishing industry gets further and further behind reality and the price of self publishing goes down. I would say: weigh up the annual cost and if there is a chance you may publish (and this includes online only eg through iTunes, Play.com etc) it is well worth looking into. As ...



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