Dancehall artist Mr Lexx formerly Lexxus debut album Mr Lex hits #12 on billboard reggae charts and spends 12 weeks 8/5/00.
Mr Lexx & Santigold - Hold The Line
2009 MTV Bestthru Video Nominee
Dancehall artist Mr Lexx formerly Lexxus debut album Mr Lex hits #12 on billboard reggae charts and spends 12 weeks 8/5/00.
Mr Lexx & Santigold - Hold The Line
2009 MTV Bestthru Video Nominee
Cleversoul Publishing help singers, songwriters, producers, artist, soundrecording owners collect performance, digital, mechanical and synchronization royalties. We also provide digital music distribution to major online stores (Itunes, Amazon, Spotify, Google Play, etc) worldwide. As members of ASCAP, BMI and THE HARRY FOX AGENCY we publish writers works and administers their rights. This includes negotiating and issuing licenses, collecting royalties and fees, and preparing all necessary contracts and related paperwork so that the writer does not have to. For publishing, the company receives the statutory fee from ASCAP/BMI. For administration, we receive a percentage % of the gross receipt. Our Services include:
Song Copyright Registration
Youtube Sync & Royalty Collection
Music Sample Clearance
Global Digital Distribution
Music Publishing & Administration
Cover Song License
Music Mastering & Mixing
Social Media Marketing
What benefit does Cleversoul Publishing provide if I'm already a member of a PRO, PPL or Soundexchange?
What ASCAP, BMI, SECAC, PRS Collect?
What Cleversoul Publishing collect that they don't collect?
What Soundexchange/PPL Collect?They collect and distribute royalties from platforms like satellite radio (like Sirius XM), internet radio (like Pandora) and cable television stations (like Music Choice).
Our goal is to represent every kind of music including but not limited to pop, rock, alternative, country, R&B, rap, hip-hop, Latin, film and television music, folk, roots and blues, jazz, gospel, Christian, new age, theater and cabaret, dance, electronic, symphonic, concert, as well as many others - the entire musical spectrum.
We help artist/producers/publishers collect 30 different royalties in 5 categories worldwide:
13. Ringtones / ringbacks
19. TV shows
25. Lyrics reprints
28. Online streaming (e.g. Spotify)
The Five Functions of a Music Publisher:
Function 1, Acquisition: Get some songs. Since most of you are probably songwriters, this will not prove too challenging for you. For that reason, we won't focus much on acquisition in this course. But for most large music publishing companies, the battle to acquire new and valuable copyrights is a highly competitive and expensive game.
Function 2, Exploitation: Exploitation means selling and marketing your songs. Once you got 'em, you gotta do something with 'em. The exploitation function drives the entire business. Until someone gets a song on a record, or in a movie, or an advertisement nothing happens. For that reason, we will devote much of our attention toward learning how to exploit our music.
Function 3, Administration: Ah, paperwork. This means administration: collecting split letters; registering the song with mechanical and performing rights societies and the US Copyright Office, and issuing licenses to those who want to use your music.
Function 4, Collection: With income flowing from record companies, performance societies, foreign subpublishers, and film and television companies, someone has to collect the money and distribute it to the writers. Collection is all about paying and getting paid.
Function 5, Protection: If songs are what you own, you'd better take care of them. Whether it's from sampling, illegal downloading, or outright theft, songs need protection.
We put your music on iTunes, Amazon, Spotify, Google Play, Facebook, eMusic, Rhapsody, Rdio, Nokia, LastFm, Xbox Music and many other major online stores and give you 70% of the money from your music sales along with detailed streaming and sales reports. We handle all the payment transactions, download fulfillment and customer service so you can concentrate on music. Email us for more information.
It is a digital distribution service that distributes independent artists and labels to online retailers like iTunes.
We provide FREE marketing tips in a monthly newsletter, don’t have No yearly fees which means you’ll never lose money if your sales slow down and can design your artwork internally for a small fee.
We charge $140 as a set-up fee per album with a FREE UPC code and $39 for single song setup/sale with a FREE bar code. (All Currency is USD).
Universal Product Code (UPC) is a number (from 12 to 14 characters long) exclusively associated with your release. Retailers use the UPC as a unique identifier for your release and track and report all sales according to the UPC. Most published CDs have the UPC printed, along with the bar code form, on the back cover.
An International Standard Recording Code (ISRC) is a 12 character code that serves as a unique identifier for your songs. Each song has its own ISRC code, which is necessary for tracking and accounting purposes.
The retailers, online distributors, and the Billboard Charts (SoundScan) set forth these requirements:
You need ISRC codes for each track of your album. However, the album itself requires a UPC code. In fact, if you plan to sell your album as a digital download AND as a physical audio CD then you need 2 UPC codes: one for the digital album download and a second one for the physical audio CD. This is the only way that performance on your individual songs can be tracked versus sales of the physical audio CD versus downloads of the complete digital album.
For example (Apple keeps $.29 per ITUNES single download as their fee) and we take a % of the balance. (Fee varies depending on your products).
Essentially five things: (1) Music on a CD or WAV files, (2) Cover artwork at 2400×2400 pixels, (3) Song information called Meta Data, (4) A signed contract, (5) a W9 form (to get paid) and (6) the set up fee.
It takes approx. 2-3 weeks after you turn everything in.
A: Your label.
Promotion and marketing is the responsibility of the label you. You must do online and offline promotion and marketing to lead your fans to iTunes. We are the digital distributor. Our relationship with iTunes and the other retailers is such that we can suggest banners, bricks, and prominent placement of your music on the site but at the end of the day Apple makes these decisions.
No. iTunes makes all decisions about where things are placed. The more marketing drivers you have (radio, TV/film placement, touring, press, video, etc.) the greater your chances of getting great placement.
No. Apple makes all decisions based on whether or not they are feeling the music.
We are looking for artists and labels who understand that selling music is hard WORK. You must be willing to put in the work. We are looking for clients who have substantial online/social media presence.
You must have the basics: facebook, myspace, soundcloud, twitter, youtube, bandcamp, etc. If you don?t know the importance of building your online following using social media, take time to learn – before you contact us. Cool?
It varies depending on the service.
We distribute music masters recorded by artists in many different genres including: Tony Curtis, Anthony Cruz, Gwhizz, Mr Lexx and others.
We account to you 45 days after the end of each quarter (every three months).
You, as the record company, must pay any 3rd party publishers. If you record a song written/published by someone else, you must pay them. If you write/publish your own material you get to keep all of the money for your self.
We pay you and you pay any 3rd party royalties.
No. unless you have the written permission of all record companies and publishing companies, you can't sell music you don't own on iTunes.
No – you have to break up the mix into songs.
you provide the finished artwork at 2400×2400 pixels or we can recommend a 3rd party designer.
Your songs are automatically available for ringtones on iTunes when you upload your music to iTunes.
No. With the exception of special promotions, you must sell music on iTunes. No free giveaways.
We know of distributors that charges 15%-30%. We think the personal service we offer is worth the extra 5%.
OUR CATALOG: We handle the music publishing admin for several producers whose catalog includes: Beres Hammond, Gyptian, Dennis Brown, Vybz Kartel, Tony Curtis, Anthony Cruz, Beenie Man, Sizzla, Sean Paul, Capleton, Lady Saw, Tanya Stephens, Buju Banton, Bounty Killer, Elephant Man, G Whizz, Sammy Wilk, British Dependency, Jahcure, Mr Lexx, Formila One, Turbulence, Jr Reid, Luciano, I-Octane, Khago, Konshens, Mr Vegas, Gully Bop, Bushman, Daville, Warrior King, Ceceile, Wayne Wonder, Wayne Marshall, Michael Rose, Gregory Isaacs, John Holt, Jahmason, Kymani Marley, Lee Lee of SWV (Sisters With Voices) which became one of the most successful R&B groups of the 1990s with hits "Weak", "Right Here/Human Nature', I'm So Into You, You're The One. DISCLAIMER: We do not represent all artist listed and advise you to consult with their respective agents for song clearance.
We are looking for country singers!
We are looking for rock bands
We are looking for Latin artist. Email for details
– When a song is written, the writer owns the rights to that song. When that song is recorded and made available to the public, the writer publishes that song. Once published, the song can be performed by anyone so long as certain royalties or fees are paid to the owner of the copyrights. Often, writers hire companies that specialize in publishing to assist in the administration of their copyrights.
– While the writer can act as his or her own publisher, publishing companies serve as agents on behalf of the writer. They issue licenses and collect royalties. Additionally, they try to get other artists to record the song or try to have the recorded song used for another purpose such as a movie soundtrack. To register a publishing company with ASCAP or BMI, a contract is signed and a fee is paid.
– Royalties are the fees paid for the use of a writer’s song. These include usage fees, mechanicals, and synchronization fees. A usage fee is owed when a writer as artist has recorded his or her song and that song is played over the radio or other commercial situation. Mechanicals refers to the recording by another of the writer’s work. When that occurs, the writer is entitled to a fee. As of January 1, 2000, that sum is 7.55 cents per each recording unit (such as CD or cassette) manufactured containing the writer’s song on it. Synchronization refers to the use of the writer/artist’s recording in a different medium such as on a movie or television soundtrack. Other uses are generally referred to as licenses. The fee is negotiated between the parties.
– No. We are currently only accepting material from our contracted writers or from legal or business representatives known to us; we are not permitted to review any songs or accept any packages that are submitted otherwise. It is not our intention to hinder or frustrate the creative process. There are legal reasons for strict adherence to this policy on our part which cannot be altered. So, thank you again for your interest, but permission cannot be extended at this time.
– Anytime the song is played over the radio or over any other commercial medium, a royalty or fee is owed to the writer and to the publisher. Organizations such as the ASCAP and BMI serve writers and publishers by collecting royalties owed for the commercial use of a song such as when that song is played over the radio, at a nightclub, or any other commercial venue. To join either organization, a songwriter may request a contract. Once executed, the writer registers his or her songs with the chosen organization. However, in order to collect royalties from ASCAP or BMI, the song also must be published by the writer through a separate publishing agreement or published by an independent publishing company. Royalty amounts are split equally between the writer and the publisher. However, the two are free to enter into their own arrangement..
– When the songwriter chooses to hold all of the songwriter and publisher rights, the songwriter often will hire an administrator to handle mechanical and synchronization licenses and collect royalties. The administrator generally collects a percentage of the publishing fee. This often ranges from 10% to 20% of the publishing royalties.
– The relationship between the music copyright created by the composer, producer or author of a piece of music and a music publisher, is governed by a publishing contract. This is normally drafted in such a way that each party would have rights and obligations to the other. It is normally the case with these sorts of contracts that the music copyright owned by the composers, producers or authors is assigned to the music publisher in return for a commitment to promote, exploit and protect that music. It should be noted that it is usually the case that the musician will retain their moral rights – these include such things as having their name attributed to the work or not having other pieces of work falsely attributed to them. The music publisher also normally has to agree to pay the musician a percentage of any income earned from such exploitation. These are called royalties.
– Synchronization licensing involves the licensing of songs for use with visual images (i.e. films, commercials, etc.). Mechanical licensing involves the licensing of songs for audiotape or compact disc.
– Publishing involves the licensing of a song copyright. Licensing a master involves a particular sound recording by an artist. You normally need both licenses for synchronization.
– The record company that released the specific version in question owns the master rights.
– Unsolicited material refers to material that is sent by someone who has no relationship with anyone at a particular company. Occasionally, unknown writers, claiming that they have submitted songs, have sued publishers claiming those songs were stolen and given to other writers to work on. Second, there is so much material coming into the creative departments from reliable sources that it’s difficult to listen to everything.
– (1) STANDARD PUBLISHING AGREEMENTS Standard music publishing deals come in several varieties. These include song-by-song publishing deals for specific compositions, and exclusive songwriter agreements that may last for a fixed period of years (usually 1 year with options to extend the term). These publishing deals may cover all songs written by an artist, or just those songs commercially released during the term of the agreement.
Under either arrangement, the publisher becomes the copyright owner of the songs. In exchange, the Publisher may pay the artist an advance based upon the potential value of the compositions. Subsequent income generated from these songs is then split, usually on a 50/50 basis. After the publisher recovers its advance, the artist is paid the writer’s share of net income received, while the publisher retains its publisher’s share.
(2) CO-PUBLISHING AGREEMENTS Co-publishing deals are similar to the above arrangement, except the artist (or the artist’s publishing entity) co-owns a percentage of the copyright along with the publisher. It is common for both parties to each own 50% of the copyright, though percentages can vary from deal to deal.
In a CO-publishing deal, the songwriter’s publishing entity also receives a percentage of the publisher’s share of income. Thus, using the above hypothetical, an artist would receive the writer’s share of the publishing pie (i.e., 34 cents), while also receiving up to half the net income from the publisher’s share of the publishing pie(i.e., an additional 17 cents).
Although CO-publishing deals are sometimes better than standard publishing deals, not all CO-publishing deals are in the artists best interest. For instance, some independent record labels require new artists to enter into a CO-publishing deal with the label’s publishing entity. (Ironically, few major labels require this of their artists). Even if you are offered an additional advance for such a deal, you should resist it! Here’s why:
The record company’s goal here is to reduce the amount of money payable to you from record sales (since the record company gets to keep 50% of the publisher’s share of mechanical royalty income);
Independent record labels may lack the experience and resources to promote your songs like an independent publishing company;
An independent publisher has more incentive to demand and accounting and collect publishing income from your label; and
It may actually be in your interest to retain these copyrights and enter into an administration deal instead.
(3) ADMINISTRATION AGREEMENTS In an administration deal, the publishing administrator collects income and also helps promote the songwriter’s catalogue. An administration deal may last for a specific period of time (i.e., 3 years) or for one year with several options to renew. When the term is over, all rights revert back to the artist.
A publishing administrator is typically paid by deducting a percentage of the income it collects on behalf of the artist. After deducting this administration fee (anywhere from 10% to 20% of the gross proceeds) the administrator distributes 100% of the remaining net income to the songwriter(s). As an incentive to promote your songs, some administrators may also charge a slightly higher collection fee for income earned from cover songs.
In some cases, a songwriter may receive as much income from a co-publisher as a publishing administrator. However, while a CO-publisher may be able to offer a generous advance, an administration deal can provide an artist with greater financial and artistic control. There are also many advantages to retaining the copyright to your songs. For example, if your first record sells only moderately but your next CD becomes commercially successful, you may gain greater leverage to negotiate a favorable publishing, CO-publishing or administration deal at a later date.
– As members of ASCAP, BMI and THE HARRY FOX AGENCY we publish writers’ works and administers their rights. This includes negotiating and issuing licenses, collecting royalties and fees, and preparing all necessary contacts and related paperwork so that the writer does not have to. For publishing, the company receives the statutory fee from ASCAP. For administration, we receive 15%-25% of the gross receipt.
– Songwriters/Composers/Producers who own their own music publishing.
Songwriters/Composers/Producers who do not need a song plugger.
Songwriters/Composers/Producers who have had at least one song recorded commercially (available at ITUNES,AMAZON).
– Copyright registration with the Library of Congress
PRO registrations with ASCAP, BMI, SESAC, JACAP, SOUNDEXCHANGE
Licensing for users: mechanical, print, synchronization, performance
Quarterly royalty statements for publishers and writers
Top Song Reports.
– A non-refundable initial setup fee (email for details). Think of the initial cost as an investment that ensures that from that point you are able to receive all the royalties due to you.
– A flat percentage of gross income for publisher each quarter. (TBD in the contract)
– Charge back fee of $35 per song to register with Library of Congress.
– We do not Pitch songs to be recorded.
We Do not guarantee radio airplay.
We Do Offer writer advances.
– No, since we do not pitch songs we are only able to service clients that already have their songs recorded for commerical release.
– Generally it takes 30-45 days to turn your request around.
– We only licenses the publishers portion for songwriters or composers that we represent. You must contact the record label directly to get their permission to use their recording.
– You have to meet all of the requirements below: To qualify for membership in ASCAP or BMI, you must be the writer or co-writer of at least one musical work or song that has been commercially recorded, performed publicly in any venue or medium licensable by ASCAP / BMI, performed in any audio visual or electronic medium, or published and available for sale or rental as sheet music, a score or folio. We consider songwriters/artists:
☑ that are signed to record labels or have digital distribution
members of a performance rights society such as (BMI, ASCAP, SESAC, PRS, JACAP, etc) or want to be members of these societies
☑ have an established fanbase and can be proven thru stats/sales
☑ have active website (www.yourname.com)
☑ Have social media channels (Twitter,Youtube, Facebook, Reverbnation,etc) with constant branding names across each platform
☑ press kits (EPK) with well written bio, photos, music, videos, press clippings, concert/performance history
☑ write original songs/lyrics that are registered with the US Copyright Office
☑ have songs/albums released at ITUNES or AMAZON
performed their materials live in concert
☑ Have a professional TEAM which includes: Publicist/Managers/Booking Agents/Lawyer
☑ Have a valid US Social Security Number or Foreign Tax Registration Number
☑ Have a full list of your catalog with the song name, record label, release date, producer full name, songwriter full names if there are co-writers or co-producers
☑ Have a valid government issued ID or drivers license.
– We can help singers, songwriters and producers/composers setup their music publishing with ASCAP or BMI but will require:
☑ (1) ASCAP/BMI Writer/Publisher Application
☑ (2) ASCAP/BMI Membership Agreement
☑ (3) Non Re-Fundable Application Processing Fee (email for details)
☑ (4) W-9 Form Request for Taxpayer Identification Number and Certificate for US Citizens or W-8 (Certificate of Foreign Status of Beneficial Owner for United States Tax Witholding) (Required by the Internal Revenue Service)
☑ (5) Music Publisher Administrator Agreement (Normally between Cleversoul Publishings & You)
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