MUSB 2305 Study Guide 3

 MUSB 2305 CHAPTER 3 “Types of Publishing Deals” 

STUDY GUIDE 

THE PLAIN AND SIMPLE GUIDE TO MUSIC PUBLISHING

 by Randall D. Wixen

Study Guide by Dr. Aubrey Tucker

T/F MULTIPLE CHOICE

______ 1. T/F The most important variables (contract clauses) in publishing deals are ownership, administration, term and financial considerations

______ 2. T/F Publishing administrators share ownership of the copyrights

_____ 3. T/F When you write music as work for hire, you don’t collect royalties but you are legally recognized as the author of the work

_____ 4. T/F In songwriting deals, the writer is usually paid a regular salary, payment, royalties, or advance against future royalties, but does not own his/her songs

_____ 5. T/F 360 deals are done by concert promoters as well as record companies

_____ 6. Record companies usually collect 10 points (10%) of your publishing income in a 360 deal

__ ___ 7. Wixen encourages 360 deals

______8. In an administrative deal ownership is retained by the writer or designated publisher

_____ 9. Administrative deals require long-term contracts

_____ 10. In a copublishing deal, the writer/publisher usually gives 50% of his publishing to the new publisher

_____  11. Copublishing deals are often encouraged by managers

_____  12.  You may be “betting against yourself” with a copublishing deal

_____  13. You are normally splitting your publishing income 50/50 in a copublishing deal.

______ 14. Copublishing deals can hugely limit your future publishing profits

______ 15. Songwriter sometimes sell all of their songs (their masters)

MUSB SG CH 3

______ 16. The price for a publisher’s catalog is usually based on net publisher’s share

______ 17. NPS can sometimes bring the publisher a huge sales advantage when they’ve had an extraordinary year

______ 18. To arrive at a typical catalog sales price, NPS is multiplied 8 to 16 times

______ 19. Historically, musical copyrights throw off lot of money with little additional overhead

______ 20. Publisher’s professional managers can usually give you a lot of intangible assets, such as networking you with music supervisors

______ 21. Your compensation to song pluggers should be a share of your copyright

_____ 22. The best song pluggers are aggressive writers and publishers who actively network on their own behalf

_____ 23. It’s a bad idea to try approaching established writers with a co-writing idea

____ 24. Wixen urges songwriters to do some of their own publishing

_____ 25. It’s not that important that you keep copies of all of your contracts in a safe place where you can locate them; that’s your lawyer’s job

Essay/ Outline questions for Exam I

1. Describe work for hire for songwriter/ composers

2. What is a songwriting deal?

3. What are the pros and cons of a 360 deal?

4. Describe an administration deal and its advantages and disadvantages

5. Describe a copublishing deal, its advantages and disadvantages

6. Name 5 or more items to consider if selling your musical catalog

7. Name three or more places to “start with polite and gentle networking” to plug your songs