2.4 Publishing and Sub-publishing



1. Export Strategies

2. Digital Rights

2.1 Insurance

2.2 Trademarking

2.3 PRS and royalties

2.4 Publishing

2.5 Synchronisation

2.6 Youtube

2.7 Other income streams

2.8 Legal Primer

2.9 Being commissioned internationally

3. Support and Funding

4. International 101

5. Conclusion

2.4 Publishing and Sub-publishing

If you have a publisher you can expect them to register your works, collect royalties on your behalf from performing rights organisations and return the percentage agreed with you, alongside a comprehensive report of how the content was used, in what capacity, where and for how long.  The best publishers are the ones that collect the most rights possible across live, film, radio, television, synchronisation, brands and in some cases, library music.

Sub-publishing is when you sign a publishing contract with a publisher outside of your home territory, or your publisher does it on your behalf. This is only accomplished by ensuring that your music is registered through PRS and you can track it through their online system.  The key to sub-publishing is to entertain offers that can only be provided through a specific sub-publisher, like access to another market and their film, TV and advertising opportunities.  In Poland, for example, there are opportunities on domestic adverts and television, controlled by domestic publishers. If you have a UK publisher, they will have an agreement with someone there to pitch for and collect these royalties. If you don’t, you can still go to a publisher in Poland if you feel it’s where your compositions have weighty opportunities. No longer is it standard to only deal with publishers in your home territory. The world is a big place. For more information, the Music Publishers Association is the best port of call. Visit them here.

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