Blog
Straightforward writing on the publishing business details independent songwriters are rarely told.
Latest essay
September 14, 2026·6 min read
The underlying composition is the song itself, a separate copyright from the recording. What it earns, who collects it, and how to check yours.
September 7, 2026·8 min read
Grand rights in music are dramatic performance rights. Neither ASCAP nor BMI licenses them, so a theater staging your song must clear it with you.
September 3, 2026·9 min read
A sunset clause lets your old administrator keep collecting after you leave. What the window covers, how long it runs, and the clause that ends it.
August 31, 2026·7 min read
Music distributor vs publisher: one collects on your recording, one on your song. Which royalties each pays, and why distributors now do both.
August 27, 2026·9 min read
Cover song royalties go to the original writer, not to you. What the compulsory license buys, what it refuses you, and the 2026 statutory rate.
August 24, 2026·10 min read
The P line and C line in music mark two different copyrights: the recording and the song. What each claims, and why neither one gets you paid.
August 20, 2026·8 min read
A controlled composition clause cuts your mechanical rate to 75%. In 2026 that is 9.825 cents per song, not the 6.82 cents most explainers quote.
August 17, 2026·10 min read
Publisher's share vs writer's share: ASCAP pays the second half only to a registered publisher. BMI hands it to you. The MLC ignores the split.
August 15, 2026·6 min read
A performance royalty pays songwriters when a song is performed publicly — played on radio, streamed, or performed live. How it works and who collects it.
August 15, 2026·8 min read
CMO vs PRO: a PRO is one kind of CMO. What each collects, why the US splits the job across three bodies, and which societies actually owe you money.
August 3, 2026·4 min read
Unregistered royalties don't wait for you forever. Where the money goes, how long you have, and what the law says happens to it.
What a split sheet has to contain, why writer and publisher shares are counted separately, and the mistakes that stall payment.
A beat is a composition. What that means for producer splits, why a lease isn't a split sheet, and how to register the work correctly.
August 3, 2026·5 min read
Four US performing rights organizations, but only two you can actually join. Costs, payout timing, and how to choose between ASCAP and BMI.
May 5, 2026·15 min read
Publishing administration is the back-office work of registering and collecting publishing royalties. How it differs from a deal, self-admin, and a PRO.
May 5, 2026·8 min read
Mechanical royalties pay songwriters when a song is reproduced — streamed, downloaded, or pressed. How they work and why yours may be missing.
May 5, 2026·12 min read
Spotify Credits shows writers, producers, and performers on every track. Where the data comes from, how to fix yours, and why it matters for royalties.
May 5, 2026·6 min read
The MLC and HFA both collect mechanical royalties for songwriters, but only one is automatic. A clear breakdown of who pays what, when.
May 5, 2026·7 min read
ISWC identifies a song. ISRC identifies a recording. One song can have many ISRCs but only one ISWC. Why the distinction matters for getting paid.
How much does Spotify pay per stream? About $0.0017 per US premium stream in 2026 — the breakdown by tier, country, and who gets the money.
Do I need a music publisher? Usually not — most indie songwriters need a publishing administrator instead. How to tell the difference.