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writeandwrong

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writeandwrong last won the day on May 3 2017

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  • Website URL
    http://www.facebook.com/TheIanBlackBand; http://www.reverbnation.com/IanBlackBand4; http://www.twitter.com/TheIanBlackBand

Music Background

  • Songwriting Collaboration
    Not Interested
  • Band / Artist Name
    The Ian Black Band
  • Musical / Songwriting / Music Biz Skills
    Lyricist for male band; social media; merchandise; publisher/label co-owner; ASCAP writer/publisher
  • Musical Influences
    Boston, Phantom of the Opera (Andrew Lloyd Webber), Pink Floyd, Dan Fogelberg, Queen, 38 Special, Eagles, Foreigner, Bruce Springsteen, Asia, Black Sabbath, Triumph, Def Leppard, John Williams, Bach

Profile Information

  • Interests
    Writing & music; continued education in the music business
  • Location
    United States of America
  • Gender
    Female

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  1. Great to see you're back, Cheryl  !!! :D

  2. It's good to be back :-)

    1. Janeva

      Great to have you back !!!

  3. Hi, 21miles. You may want to seek advice from an entertainment lawyer to go over the contract provided on the licensing company to ensure you understand all it entails. Do you have a written agreement with these musicians you have paid that was agreed on before they started? Does that contract hand over all their rights to you? Even if you paid them, they are on the recordings, and unless there is some contractual agreement that states otherwise, it seems they would qualify for performing rights payments if you have or if the licensing company publishes your digitized recording that uses those musicians. If they are just listening to it and redo it with their own musicians...the ones you paid wouldn't see any of it (unless you have published a recording with the musicians you used)...again...depending on any agreements. Non-writer musicians can receive artist royalties if they are signed to a label and a recording agreement is involved stating that fact, which might be what is going on here. This has nothing to do with Copyright. Copyright is only for the owners/writers. This is only my take on this. I am not a lawyer. I don't work for the copyright office but most importantly, without seeing all the agreements, etc. it's difficult to fully offer the advice you need, I suggest you seek professional advice as I said in the beginning. Cheryl
  4. Hi, Chuckk. Once a song has been recorded with lyrics and music together. The song legally belongs to both you and your co-writer. It is not a situation where you own the music and the lyricist owns the words. There is no need to submit a score. Audio is sufficient. If it has lyrics, though, a lyric sheet would be submitted. If there are unique chords, you can include the chords on the lyric sheet. If you submit a collection, the authorship has to be the same for everything submitted in that collection. As an added note on collections, if you get a bite on a song, it is recommended you do an individual copyright registration on the song of interest. As for the public domain material, that is an area I'm not familiar with enough to say too much on. You can call the copyright office at (202) 707-3000. Make sure it is a time when you have nothing else planned as you will be on hold for awhile. Morning is the best time to call. *NOTE* I've responded to the best of my ability and am not associated with the Copyright Office or a legal expert. Just offering information based on my own personal experiences. I hope this helps. Cheryl
  5. No, you explained it well (tho you should be getting some rest...caught you!! ;-) They should have had this put into more circles rather than just two to do it properly, which would have had the person creating the circles easily see the pieces to their pies that are missing... Largest circle...obviously...the record company going down in size to the smallest circle, the songwriters. If they had done that, they would have seen the band members would be receiving less than 18%, and it would also show just what tiny portion the songwriter gets...but it could also show the different avenues a songwriter can make money as well as a band rather than just from the song. Okay. I'm shutting up now because I'm gonna be compelled to create all these yummy circles of pies and...I need to watch my weight. The holidays are upon us
  6. I'm not sure how it all works outside of the US, but the songwriter's share usually doesn't come from the "band payout". That belongs to members of the band after all the expenses are paid (costs above that John noted). The songwriters get paid from performing rights agencies like ASCAP, BMI, SESAC and also from the publishing company. I don't take anything from the band when they get paid. My cowriter gets his share because he is the guitarist. He doesn't get extra for being a songwriter when the band gets paid for a performance from a club, bar, festival or wherever they are getting paid for their performance. The performing rights agencies get their money to distribute to their publishers/writers from licensing fees they get from users of music (radio, cable and network TV, bars, clubs, shopping malls, concert halls, airlines, etc.). The value of the payout to the publishers/writers has several different factors, including how much they received in licensing fees from where your songs were performed. These agencies will pay the songwriter directly for the performance, not the club that the band has performed at. As a rule, what the agencies collect, the publisher gets 50% and the writers split the difference of the other 50%. If you self-publish and you are the sole writer, you get 100% of the royalties. This is why it "pays" to have multiple "jobs" in the music industry. Band manager, publisher, publicist, web designer, writer, performer, photographer, videographer, studio musicians...as many jobs as you can fill on your own especially when you are starting out. It keeps more money in your own pocket. The agencies pay for performance royalties. Songwriters also collect mechanical royalties from the sales from downloads, CD sales and other sales containing the musical compositions. Mechanical royalties get paid to the record companies who pay the publishing companies (or representatives like the Harry Fox Agency) or if you self-publish, directly to you. The publisher shares these royalties with the writer (the amount being whatever is in the contract between the publisher and writers). The statutory rate for mechanical royalties is 9.1 cents per song and so much more per minute over for a longer song. Hope this makes sense and helps you understand a little bit from this end of the songwriting process. This is fresh in my head as this is the step I've been working on a LOT over the past several months. It pays to be be as knowledgeable as possible in every step in the song process regardless if you have a separate publisher or have been signed by a record company because you do not want to be ripped off. P.S. Just because you register your songs with a performing rights society doesn't mean you can skip registering your songs with the copyright office...that's a whole other topic in itself... Cheryl
  7. Hope everyone has a safe and happy holiday season!

  8. Nice article. We have refrained from using actual "live" video because we want to have them hear a fairly clear demo first...but maybe I'll put video clips into a longer video from the next performance and post it.
  9. On this summer's eve I wait for you I wait for you to knock on my door I wait for you to show me the stars I wait for you to show me the moon On this summer's eve I wait for you I wait, I wait, I wait for you
  10. I woke up this morning to bees buzzing in my head From the dreams swarming around with you in my sleep It took everything I had to pull myself from the bed The anticipation of being with you tonight Got me up and ready and running high
  11. Excellent work, guys! Let's start a new topic!
  12. It would make my day a lot better All I have from you is this old letter I miss how we used to be How we used to be
  13. Hi, lord. I almost always write the chorus first, but as you can see, we're all different in 'how' we write. Since a song has a beginning, middle, and end, that's how I think of it...got the chorus...great! Then build the rest of the song around it...how did this story all start if this is the chorus, then what happens, then the chorus hits, we're winding down toward the end...so what happens last to finish the story...at least that's my thought process...but we all have our own ways. Good topic conversation tho as I think sometimes just reading how others create helps add to how we create :-) Cheryl
  14. Hi. In 1985 I co-wrote a song with a guy. In 2013, my current co-writer rewrote the music and I rewrote half of the original lyrics. Copyright law says that 1/2 of the full song is still shared with the first cowriter...so now there are 3 of us. When I write up a lyric sheet or we post the song as a whole, how to we notate the copyright message? Here is an example of how I currently have it: Copyright © 1985 by JLM & CJW. All rights reserved. Copyright © 2013 by JLM, CJW, & BSH. All rights reserved. Is this wrong? Can I have it all on one line as in: Copyright © 1985, 2013 by JLM, CJW, & BSH. All rights reserved. Now that there is the new co-writer, that does not change the original copyright, correct? Any thoughts would be appreciated. Thanks! Jena
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