START AND RUN YOUR OWN PUBLISHING COMPANY
Classes Nine (and Ten)
Text Reading Assignment for Ninth and Tenth classes:
MUSIC PUBLISHING- THE ROADMAP TO ROYALTIES
Chapter 6(Independent Songwriters)
PLAIN & SIMPLE GUIDE TO MUSIC PUBLISHING
Chapter 13 (Do it Yourself)
WHY OR WHY NOT?
Most songwriters who start out in have little choice but to be their own publishers. By default, the unknown new songwriter who creates a song which is recorded by an unknown artist (including themselves) is rarely going to be approached by a major, or, for that matter, a minor publishing company.
Out of sheer necessity the new songwriter of a recorded composition which is intended for public release (either on CD or over the internet) would be well advised to take basic steps of setting up their own publishing company, confirming the shares they own in the work if written with others, protecting their work, and registering with the appropriate performing rights agencies. Only then can the writer control the registration information, licensing deals, and income streams that may be generated from the success of their composition(s)
PITFALLS FOR THE UNWARY
Many songwriters, who have not taken the steps to set up their own publishing company, are lured by more experienced associates in the business into “using” their established company to represent the song to the outside world. The novice songwriter may feel that it is too much trouble to set up their own company, be led to believe that it is more “convenient” to use someone else’s publishing company, or have a ‘partner’ who already has a publishing company that is established with a performing rights organization. They may feel that the owner is knowledgeable about what has to be done to register songs with the agency to collect royalties, and will share those royalties with them when they are paid. There may or may not be any formal paperwork between the songwriter and their acquaintance-publisher.
Inevitably, in such situations, the composition does indeed get registered with the performing rights organization, but the songwriter may never see that registration to verify that the information is correct. Their percentage as a songwriter may be inaccurate and understated. And, if the song is earning income, all the administrative details and royalties will be handled by the publisher, and the songwriter may never know how much the song has earned because the publisher never rendered them a statement or copies of statements that they have received. Or, the publisher could occasionally pay them only a fraction of what they may be entitled to receive.
I have been aware of situations where a manager and a singer-songwriter form a publishing company together as a partnership, and all of the artists’ songs are registered for copyright under that company, and registered with the PRO’s. The artist becomes successful and large sums of money are paid to the publishing company, but the manager’s is the only address for statements and payments of royalties.
The artist finally wakes up years later and feels that they may have been taken advantage of in this situation and by that time, the manager has spent the money and failed to account properly to the artist. Because they are co-copyright owners, and the proper monies have been paid by the various users of the compositions, all the artist can do is take legal action against the manager, who by that time, may not have any assets or be difficult to locate. In short, it is a very difficult situation to rectify.
FIRST STEPS OF PROTECTION FOR THE SONGWRITER:
Be Aware of the Copyright Share That You Own In Your Composition
As you recall, the copyright to the composition comes into being when Author of the song reduces it to a “tangible form”. Humming the tune is not enough to create copyrighted composition. Beethoven would have simply written the music in notation form to create a finished musical work in tangible form. But in contemporary times, the songwriter uses musical instruments to create a new song. If the songwriter is working alone, they may have recorded a rough version of the song in a ‘demo’ version themselves using keyboards or guitar. It may have music and words, or just music alone. Either way, as soon as there is a song that is recorded, the author or authors have vested rights of copyright ownership in the material.
Copyright Registration is separate from the creation of the copyrighted work. Whether it is registered with the US Copyright office or not, it is important for the songwriter to understand that as the sole or partial author of a composition, they are the owner of copyright to the composition they have created, and should safeguard evidence of their creation with care. That means keeping a computer copy, with backup files, that is accessible at all times going forward as it may be necessary to present that copy if a dispute arises with a co-writer in the future.
Copyright Ownership and Types of Deals with Co-writers:
If a songwriter feels that their song is not completed, and wishes to work with a lyricist to complete it, the demo recording will be provided to the lyricist as the basis for writing the lyrics to the new song. Depending on their situation, the songwriter has several options at this point:
-They can work out a deal to pay the lyricist a fee for their lyrics on a work for hire basis, and get them to sign a work for hire agreement stating that they are assigning the lyrics over to the songwriter in exchange for an agreed amount of money.
-They can make an offer to give the songwriter 50% of the song for which they are writing the lyrics, on the condition that the song is published by the original songwriter, and that they will receive 50% of all income earned by the song as a songwriter. This will require a songwriter agreement containing the agreed upon terms.
-They can sign a paper that states that each of them own an agreed share of the new composition, usually 50/50. Although a simple statement that they each wrote and own the song equally (or 40/60 or any other split) will suffice, there are also more formal co-administration and authorship agreements that cover more details where the parties feel they are needed.
Songwriting Credit Issues between Artist-Songwriters and Producers
If the songwriter is an artist who seeks to have the song produced by an outside producer who will co-write the song, there are steps that can be taken to minimize the possibility that at the end of the finished recording, the producer may attempt to take more credit for their contribution than is warranted under the circumstances.
For example, if the songwriter gives their demo of the song to the producer, and it has words and music, the producer may make changes to the music during the recording which the producer feels warrants a significant share of the songwriting. The songwriter can protect themselves from this by having a properly drafted Producer Agreement that clearly states that the Producer and the Artist agree upfront what the publishing splits will be for the compositions even before the sessions begin.
If there is no written agreement in advance with the Producer on songwriting issues, and a dispute arises over the appropriate shares due to each co-author, the Artist-songwriter should be able to present their original recording of the demo version of the song which was given to the producer at the outset for comparison of what creative contribution was made by each. If they fail to agree, a mediator can be called upon to assist in a determination to resolve the matter. If the song already had words and music when presented to the producer, the producer will have little leverage since the song was already complete for copyright purposes, and any changes that the producer made to the song in the studio would not give rise to a co-authorship claim under copyright law. All derivative works belong to the original songwriter.
On the producer side, there are often producers who create “beats” or music tracks waiting for possible buyer who may be artist-rappers for example. These producers may regard their music tracks as unfinished works, and do not take any formal steps to register them for copyright, even though they can be copyrighted as instrumentals. Many times they simply keep them handy for playing to interested artists who to use.
Whether the copyright to the “beat” (both the composition and sound recording) is transferred outright to the artist client, or whether the producer retains a share of the copyright to the composition, will usually be the subject of negotiations resulting in a written producer contract describing the arrangement. At the same time, the agreement should also provide what the writing splits are for the finished recording and composition based on the anticipated contribution by the producer.
There are times when circumstances may justify awarding the songwriter credit between the artist and the producer in shares that differ from the usual 50% being awarded to the author of the lyrics and 50% awarded to the author of the music. Here are a few:
1. The producer is a top fight producer working with a new songwriter/lyricist
Under these circumstances the producer might well seek to get an upfront agreement with the lyricist that their share of the composition for writing the lyrics will be 10, 20, 30, or 40 percent, even though they are the sole authors of the lyrics. The rationale is that the producers are well known and can use anyone to write the lyrics. So if the lyricist wants the opportunity to be a songwriter on the song, they have to give up a higher percentage.
2. The artist is better known than the producer
Under these circumstances, the artist may demand from the producer a higher share of the composition for their contribution based on the fact that by recording the song, they are guaranteeing the producer a substantial income stream. If the producer honestly believes that the artist might use someone else instead of him, he might agree to get the break.
3. The artist and producer are of equal stature
Usually, the artist and the producer simply accept the shares that are appropriate based on their contribution. I have seen some instances, where the artist agrees to giving the producer 20% of songs written by the artist solely before the producer is engaged, to encourage collaboration and suggestions from the producer. They believe the offer fosters a sense of partnership and incentive for the song to be as powerful as possible since the producer is also sharing in the writer/publisher royalties.
I have also seen independent artists who hire relatively unknown producers and request that they agree to sign their publishing rights over to the artist’s publishing company so that the artist can control 100% of the licensing activity. The producer gets to keep his 50%-75% songwriter share, and of course the agreed producer fee.
BASIC STEPS TO TAKE IN FORMING YOUR NEW PUBLISHING COMPANY
1. Create your entity: Sole Proprietor, Partnership, LLC, or Corporation
Here are five basic business entities that are used to form publishing companies:
(a). Sole Proprietorship
Requires applying for local business license and filing fictitious name certificate ( if a name other than the actual owner's name is used for the business). As part of the fictitious name filing process, the fictitious name and owner’s legal name are advertised in a newspaper of general circulation. Owner is totally liable for debts and liabilities of company.
(b) General Partnership
One of the most common forms of business. Requires two or more people. Also requires city business license and fictitious name certificate. Although can be formed orally, good practice requires written partnership agreement. Partners are owners and totally liable for debts and liabilities of company. If a debt is created by the partnership, any one of the partners may be sued individually for that debt. Creditors will usually go after all the partners, and try to collect against the one who has the most money.
(c) Limited Partnership
Also requires local business license and fictitious name certificate. Must have written limited partnership agreement which meets legal requirements. Certificate of formation must be filed with the State. Limited partners are only liable to the extent of their investment. General partner(s) who run limited partnership are totally liable for debts and liabilities of company. Another variation of this is the Limited Liability Limited Partnership. This is similar to a Limited Partnership, but the General Partner receives liability protection to the same degree as the Limited Partners. As with a Limited Partnership, the formation documents must be filed with the State to be effective.
(d) Corporation
Requires city business license and filing of Articles of Incorporation with the State. Also compliance with Federal and State securities regulations. Owners of corporation can run the business and have their financial liability limited to the extent of their investment if all legal corporate requirements are met. Annual minimum tax fee. In California, there is also a minimum tax of $800 a year or higher (depending on corporate profits) before the shareholders can be paid. If the shareholders make a subchapter S election, the profits can flow through to the shareholders without being taxed at the corporate level, and are only taxed as part of the individual’s tax return. This can prevent double taxation.
(e) Limited Liability Company
Requires filing with the Secretary of the State. Annual minimum tax fee of $800 similar to corporation. Easier to administer. Limited liability for investor - "members". Key document for this type of business organization is the Operating Agreement. Very similar to a partnership agreement. Contains the rights, duties, and percentages of ownership. Can be taxed as a partnership or an LLC, depending on the election of the company.
WHICH FORM IS BEST FOR YOU?
For most beginner songwriters, a music publishing company set up as a sole proprietorship is an adequate form of business to use. It costs almost nothing to set up and can serve as the basic home for all the writer’s music publishing activities until such time as the writer is successful enough to attract a larger publisher to take over the administrative and commercial tasks associated with exploiting the compositions on a world wide basis.
If there are multiple owners, a partnership is the next preferred method, as there are no annual fees as there would be in the case of a LLC or a Corporation. The only disadvantage of a partnership approach is that if the partners have a falling out with each other, the administration and accounting may be disrupted until the partners agree how to dissolve the partnership. On the other hand, groups often prefer to have one publishing company set up under their group partnership entity to administer and copyright all of their jointly written songs. In this way, control over all the compositions is maintained by the managing partner(s) of the partnership.
If the publishing company is a division of an LLC or Corporation, which is already formed for the purpose of running a record label, it may be wise to use the existing LLC or Corporation as the owner of the publishing company to take advantage of the limited liability aspects of that both of these forms of business entities provide. The primary types of liabilities that can attach to a music publishing company would be the failure to pay songwriter royalties to outside songwriters, and sample claims from other publishers claiming that their works were sampled and included in the compositions published by them without their permission. Since the LLC or Corporation is already formed for another purpose, there will be no added cost to use that entity for the publishing company as well.
2. Affiliate with Performing Rights Organization Both as Songwriter and Publisher
Affiliating with either ASCAP or BMI or SESAC is the only way you will be able to secure a unique name for your publishing company which has not been used by any other US publishing company. Even if you form a publishing company as an LLC or Corporation, and the name of your entity is cleared by the State of formation, it may not be available because a sole proprietor who never sought to incorporate under that name has already applied for a publishing company name under the same name that you are using for your LLC or Corporation. There is not much you can do about it except chose another name that clears with ASCAP or BMI and call it a subsidiary of the company that you established.
Affiliation with a PRO is also the only way you as a songwriter and as a publisher will be able to collect royalties for the public performance of your compositions over the radio, television, and internet. This will assure you are paid royalties both as the publisher and the songwriter of songs that you author.
To secure an available name to use for your music publishing company the songwriter will need to go on-line and visit the site of the PRO. They will find sections both for writer applications and publisher applications. If you have not signed up previously as a writer, you need to do both. If you have already signed up as a writer with one of the Performing Rights Organizations, you need to return to that same organization to apply as a publisher as well. Whichever entity is selected for establishing your publisher affiliation must be the same PRO that the songwriter has joined as a songwriter since each PRO will only pay writers whose publishing shares are also represented by the same PRO.
If and when royalties are earned by the compositions that are written by the songwriter and published through their company, the PRO will pay in two separate checks, essentially the 50% of the amount to the songwriter as the individual and the other 50% to the publishing entity in its name. If the publishing rights are thereafter assigned to a new publishing company, the new company will notify the PRO that the publishing shares are to be paid to them directly, but the songwriter share will continue to be paid to the songwriter. The new publisher will then share that income with the songwriter according to their agreement.
3. Register Your Songs with Your Performing Rights Organization
Following successful affiliation as a songwriter and publisher with your PRO, the next step is to register your share of all the individual songs which have been recorded and released. The only songs that can be registered with your PRO are songs that have been commercially distributed because otherwise there would be no way for the song to generate any income. A songwriter could have a hundred demo recordings on their computer, but if they were not available for commercial use, they do not qualify for registration. Historically, this meant that the release must consist of a physical record, but now any composition which is recorded and available for streaming or downloading over the internet is sufficient.
The registration process for all three PRO organizations is set up to be done at their website over the internet. The registration page asks for all the information about the composition and its authors. It is important to try and be as accurate as possible about all of the songwriting and publishing shares if more than one songwriter is involved on the song. Conflict in percentages owned between songwriters on the same song can cause monies to be held up until the parties finally agree on the correct percentages of ownership, and notify the PRO accordingly.
4. Copyright Registration of Musical Compositions with the US Copyright Office
What is Copyright Registration?
Registration is the process of filling out the forms required by the U.S. Copyright Office in Washington, DC, paying the associated fees, sending in the forms and copies of the work to the U.S. Copyright Office for review and registration of your copyright with U.S. Copyright Office.
Why is Copyright Registration important?
Registration is advisable but not required by Law. The benefits of Registration of Copyright are:
1. You cannot file a lawsuit for copyright infringement without first registering your copyright.
2. You also cannot collect damages or attorney’s fees for certain acts of infringement without timely registration i.e. within 3 months of public release
Copyright Forms used in the Music Industry
Copyright Forms are available on line at the website of the Copyright Office http://www.copyright.gov/ . The Copyright Office uses the form “eCO” for on-line registrations, or “CO” for paper form registrations. It is currently $35 to file on line and $65 to use the paper form. Two examples of your work have to be mailed separately to the Copyright Office, which can be a digital copy and sent in on-line. If the author(s) of the composition are the same as the author(s) of the sound recording(s) being sent in to register that composition or compositions, the authors can secure copyright registration in both the sound recording and the composition at the same time using the same form and for one fee.
Keep in mind the difference between the copyright for a musical composition and that for the master recording of a song since there are two copyrights involved in every recorded song. One composition can only be registered for copyright once. However, there can many different recorded versions of that same composition, and each time the new master recording can be copyrighted as a separate work
(Note, the copyright act gives the owner of a musical composition the initial right to determine whether or not to allow anyone to make a commercial recording of his composition. In other words, only the owner of that song can grant a mechanical license for it to be recorded. But once the composition is recorded commercially, the act states that anyone can re-record that composition as long as they pay the statutory mechanical license fees and do not change the fundamental nature of the song, this is called a “compulsory license”. The publisher cannot stop anyone from taking advantage of the compulsory license provisions in the copyright act as long as the song has been recorded and released commercially one time, and fees are paid as required by statute. As stated above, the new recording may not fundamentally change the composition)
As noted above, there are significant benefits that accrue to the author and copyright owner of the composition if they file for registration for copyright within 90 days following the commercial release of the composition on a recording. If economics make it prohibitive to register copyrights during the 90 day period, it is still possible to register the works afterwards and even as late as the discovery of an act of infringement (the use of the composition without the permission of the author). However, the benefits listed above would not be available.
5. Commercial Exploitation of the Composition
Many songwriters are quite proud of the number of songs they have written. But if the goal is to generate income, just writing the composition is not enough. Indeed, a gifted songwriter may have hundreds of song written and recorded in demo form and safely stored on the hard drive of their computer, and have yet to earn even one dollar from any of them. The missing link between creativity and profit is the commercial exploitation of the composition.
A. FIRST STEP: THE COMMERCIAL SOUND RECORDING
The primary way for a composition to have the potential to become financially successful for the songwriter is for that song to be recorded and commercially released for consumption, preferably both digitally and physically. If all the songwriter has is a rough demo of the composition, the next step is to get that composition recorded in a professional and commercial manner that is likely to be released to the public, or perhaps performed by a talented artist with commanding audience.
If the songwriter is also a performer and recording artist, they are no doubt doing their best to create the most compelling Master of their composition that their musical talents will allow. With economical recording facilities being within the grasp of practically everyone, there is no reason why the singer-performer-songwriter should not be able achieve this goal. (of course even after the recording is completed, no matter how wonderful it is, unless it is released and discovered by the public or licensed for a film, neither the sound recording or the musical composition will bring in any income). For the singer-performer-songwriter, setting up their own publishing company is pragmatic since they are in a position to promote their songs directly to the public via their performances and recordings, thus increasing the possibility that income may result if and when they and their material is discovered.
If the songwriter is not a recording and performing artist, the path of getting a compelling artist to record the song is not as easy. The likely candidate for the composer’s material would be the most successful artist around who doesn’t write their own material. This rules out all the successful artists who are ‘self-contained’, or who are attached to producers who write for them.
Every genre of music has different patterns when it comes to where the artists get their material. Country singers are more likely to rely on outside songwriters than rock bands for example. Hip-hop artists practically always write their own lyrics, while often relying on producers for the original music. Therefore, the genre will dictate the approach used by songwriters in that field to get their work recorded commercially.
If the songwriter is also a talented producer, the producer has the advantage that their skill in the studio will enable them to create powerful musical recordings of their work. If they are hip-hop producers, they will usually market their instrumental ‘beats’ to talented and successful hip hop artists.
Regardless of the method used, the goal is the same: find a way to get the material recorded by a talented performing artist – hopefully one with a following. If the song is successful, the songwriter will have made the first step towards having a commercially successful composition and career as a songwriter.
It is also true that there are composers who are hired to compose original music for films and who are highly paid based more on their reputation as a composer of film scores than popular recordings bought by the public. These composers thrive by landing a succession of lucrative commissions to create music for well budgeted films. Of course, they have to consistently deliver recorded soundtracks of the music that please the director and producer of the films, as well as audiences. Many of the contracts which they sign are work for hire agreements, which transfer the publishing rights of the music to the film companies which effectively removes the work from the control of any publishing company that they may have created.
B. NEXT STEPS: BUILD THE CATALOG
There are some songs which are so popular that you might only need to write one song to have a substantial income for life. The Beatles song “Yesterday” for example produced 3,000 recorded versions by various artists, each generating varying amounts of royalties ever since the song was initially recorded and released. Most songwriters will not be that lucky. So the goal is to slowly build their publishing catalog, one song (or one portion of a song) at a time, by whatever means are available to them.
If they are singer-performer-songwriters, by having a successful recording career they will necessarily be building their own catalog of recorded compositions over time. If they are successful songwriter-producers, having a string of releases by various recording artists will accomplish the same thing. If they are solely writers, the ability to build a catalog may result from having enough success in the field so that they are sought out by artists eager to work with them. Or, a songwriter may form valuable writing partnerships with recordings artists who prefer to have a writing partner. Whatever the path, the publishing company and copyrights it controls will become increasingly valuable as the number of recorded songs with commercial appeal featuring those compositions increases.
With a catalog of good songs, there is more potential that a commercial use will be made of the compositions on a regular basis. i.e.
- cover songs made by artists seeking to do the song in their own way
- film licensing opportunities
- commercial advertising
- performance income from streaming and performing on the internet, satellite, mobile, and radio
- continued sales of the original recordings on CD and MP3 formats
If the catalog is lucrative enough, it may attract an offer to buy the entire catalog for multiple of the net earnings or an administration deal from a major publisher.
1. How Do You Build The Catalog?
-Write and Place Songs on a Regular Basis
For the prolific songwriter with a knack for getting their songs recorded, this is of course the most direct way
-Sign other Songwriters Works
So far we have been talking about writers who form their own publishing companies to protect, control, and commercially exploit their work. Another option which is always open to build the publisher’s catalog is to sign outside songwriters and their compositions.
As mentioned above, this sometimes occurs when singer-performer-publishers seek to secure control over the songs that they have co-written by getting the co-writers to assign their share of the song to their publishing company. If the outside songwriter resists an outright assignment of their share of the publishing to the artist-publishing company, a compromise can be an agreement that only the artist-publisher will control only the licensing (and income that flows from that licensing) where the original recording is also licensed, say for a film or a commercial. Where the composition is licensed for purposes that do not involve the original recording, such as print licenses, and cover recordings, the other songwriter will control the licensing of their share of the composition directly and separately.
This practice will generally not add any new songs, but merely give the artist-publisher publisher full control of the songs that the artist is performing and promoting to build their public career.
Publishing Entities Owned by Independent Record Labels
It is becoming increasingly common for Independent Labels to seek the publishing rights to any songs recorded by the artist-writers that they chose to sign to their companies. Because the artist may be already be signed to either BMI, ASCAP, or ASCAP, it would be necessary for the label to create a publishing company for each PRO so that it could be recognized by the writer’s PRO for the purpose of receiving performance royalties as publisher which it could not do otherwise.
By continuing to sign more and more artists, the label’s publishing companies build their catalogs. However, to truly be a source of income for the label, the compositions have to be licensed for outside uses other than the reproduction on the label’s releases since the label has the obligation to pay mechanical license income for sales of those compositions. Either that, or the label must assign the artist’s contract to a major recording company who will take over the responsibility of paying mechanical income, in which case the label’s publishing arm will actually receive an income stream from the outside, instead of having to pay it themselves.
C. PROMOTE THE CATALOG
Generally speaking, a music publishers catalog will consist of the songs in two categories: Those that are “Published” which is to say they have gotten recorded at least once and those that are “Unpublished” which are completed and recorded, are either in demo form or otherwise never commercially released.
Unpublished Songs
If the song has been written, but not recorded commercially, the goal is to get it recorded as we have discussed above. There are many ways to attempt this which range from cultivating relationships with A&R staff at record companies and producers to hiring song pluggers to do the same thing. Song pluggers are individuals who use their contacts to try to the get the song recorded. The best arrangement for compensating them is to give them a share of any income that results from that exploitation, not a share of the copyright.
Published Songs
To a great extent, the exploitation of published songs depends on the success of the sound recording. The more popular the song, the more likely income will be generated from film, TV, and commercial licensing and mechanical license income.
Publishers often promote the licensing of their catalog by focusing attention on the great records that were released featuring their works.
D. ORGANIZE THE CATALOG
Every music publisher needs to keep information and records about the compositions they own and control such as:
1. Full title of composition and alternate title if any
2. Full names of all Authors and their respective publishing companies,
amount of shares owned and contact information for each
3. Copy of lyrics of the composition
3. Copy of any copyright registration document
4. List of all released recordings of that composition with Artist, Label, and Distributor, and release date information
5. Copy of all mechanical licenses for the composition, or letters confirming mechanical rates
6. ASCAP, BMI, or SESCAC registration information
7. Copies of licenses for any authorized uses of the compositions
There should be an Excel file containing all the songs controlled by the publisher, and information about the recorded versions of those songs, including release date, artist, and label. When new songs are added to the catalog, a checklist should be created to insure that all appropriate steps have been taken to register and protect the song, or if not, that this step has not been taken yet. For example:
SAMPLE CHECK LIST FOR PUBLISHER’S MUSICAL COMPOSITION
1. Entered in Master Database of Compositions? Yes
2. Registered with performing rights organization? Yes
(BMI, ASCAP, SESAC)
3. Signed memorandum between songwriters to
confirm percentages written by each and name of
their publisher? Yes
4. Copyright Registration sent in? Yes
5. Copyright Registration received back? Yes
6. Mechanical Licenses issued? Yes
7. Lyrics printed? Yes
8. MP3 Copy of the Demo or Commercial recording
saved on the computer? Yes
E. PROTECT THE CATALOG
Publishers have to be vigilant regarding the prohibition of unauthorized use of their works. If one of the publisher’s songs has been sampled without permission and ends up on a successful Artists’ record, they need to hire counsel to send a claim letter to the offending parties, which would include the artist, record label, distributer and possibly the producer. If another writer comes up with a composition which borrows too heavily from another publisher’s work, the publisher may decide to sue for copyright infringement. This is why it is good practice to register for copyright all the compositions which are commercially released as this will be required before commencement of any lawsuit alleging infringement in court.
CLASS TEN
START AND RUN YOUR OWN PUBLISHING COMPANY
(Continued)
