Help.

Composition means the underlying song: its music and lyrics. The writer percentage in this planner records the split the writers have agreed for that song. It does not describe ownership of any particular recording.

Use one 100% writer pool for each song. For example, three writers might agree 50%, 30% and 20%. That example is an entered agreement, not an automatic rule based on how many words, melodies or studio hours each person contributed.

Agree the split with all writers and retain the signed split sheet. A singer, producer or instrumentalist can also be a writer, but a credit alone does not decide the writing share.

Publishing arrangements sit alongside the writer record. Do not add a publisher as an extra writer merely to make another 100%. When registering, follow the receiving organisation’s own writer and publisher rules; this planner’s 100% pool is not a substitute for its registration format.

Related: Publishing, ownership and administration. · Master ownership: this particular recording.

Further reading: U.S. Copyright Office: music and recordings ↗

The master is a specific recorded version of a song. It is separate from the music and lyrics. A new recording of the same song can have different master owners while the underlying composition remains a separate work.

Enter the agreed legal ownership of that recording, totalling 100% for the song. For example, an artist and a production company might record 60% and 40%. The same people can have completely different composition shares.

Record the legal person or company that owns the interest and the agreement, assignment or other documented basis. Paying for a session, producing the track or releasing it through a distributor does not, by itself, establish the ownership entry you should use here.

Ownership is different from income. A producer royalty, distributor revenue split, licence or recoupment arrangement can affect payments without being the same as a master ownership percentage. Record those terms in the agreements and keep the reference with the release.

This planner records the position you enter. It does not transfer copyright or determine who owns it. Keep the supporting documents and the authorised signer for each owner.

Related: Composition shares: the music and lyrics. · Royalty points are a separate deal.

Further reading: U.S. Copyright Office: the two separate works ↗ · UK Intellectual Property Office: ownership of copyright ↗

Music publishing concerns the song: its music and lyrics. A publisher can help register works, license uses, develop opportunities and collect and account for composition royalties. The master recording has its own separate rights and income.

The agreement decides what is being granted. Ownership, permission to administer rights, a collection mandate and an administration fee are different things. Check the rights, songs, term, territories, payment basis and approvals covered by the deal.

In this planner, keep the agreed writer percentages in the composition pool. Use Publisher / administrator and the agreement reference to record who represents each writer. Those fields do not add another writer share or automatically calculate the publisher’s contractual entitlement.

If no publisher or administrator is appointed, record that accurately, for example self-administered. Before registering with a society or administrator, check the existing representation and use that organisation’s required writer and publisher shares.

Related: Composition shares: the music and lyrics. · Master ownership: this particular recording.

Further reading: Music Publishers Association: publishing explained ↗

Mechanical royalties relate to reproducing the music and lyrics, including physical copies, downloads and eligible on-demand streams. They belong on the composition side of the music business, separate from income for the master recording.

Songwriters, composers and publishers may receive this income through the organisation or administrator authorised to represent their rights. The collection route depends on the territory, use and existing publishing arrangements.

For example, The MLC administers the blanket licence for eligible digital audio streaming and download services in the United States. It matches service usage to registered songs and pays the entitled members. This does not cover every type of music use worldwide.

Before registering, check whether your publisher, administrator or society already handles the relevant rights. Keep the song title, writer names, agreed shares and identifiers consistent. Saving a split sheet here does not register the song or collect royalties.

Related: Composition shares: the music and lyrics. · Publishing, ownership and administration. · Registrations are different jobs.

Further reading: The MLC: how digital mechanical royalties work ↗ · UK Government: mechanical rights for physical music products ↗

Composition covers music and lyrics. The master is this particular recorded performance.

Entered details help you plan. They don’t prove rights or confirm a registration.

The checklist checks what you enter. It does not search rights databases or verify signatures, ownership, licences, eligibility or territorial law. No registrations or submissions are made.

Producer points, distributor revenue splits and performer neighbouring rights are not automatically master ownership. Keep fee, royalty basis and recoupment terms in the contributor agreements.

A producer, performer or session player may also be a writer or master owner. Record those interests separately and confirm them in the agreements.

A sample reuses recorded audio and can involve both the recording and composition. An interpolation re-records the underlying material and needs a composition-rights review. There is no universal “safe number of seconds”.

This tool cannot interpret a licence, establish public-domain status or determine whether a legal exception applies. Unresolved permissions require a rightsholder or qualified adviser’s review.

A distributor handles delivery and specified revenues. Composition performance, mechanicals, neighbouring rights and copyright registration can need separate routes. A “done” status here is your record, not confirmation from an organisation.