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The Artist’s Business Method · Course map

Lesson 05 / 24 · 25 min · preparation time

Separate the song from the recording

The underlying song and a particular recording are different assets. A songwriter may also perform, produce and own a recording, but those roles should be recorded separately. In the UK, copyright protection arises automatically for qualifying work; society registration helps administer royalties and is not a paid copyright-registration service.

One track, two separate rights records

01 · The song

Music and lyrics · composition

Record the writers, agreed shares and any publishing agreement.

02 · The recording

A particular performance · master

Record performers, producer terms, owners and release permissions.

The same person can have both roles. A credit, an ownership share and a royalty split are not the same thing.

Terms in this lesson

Song / composition

The underlying music and lyrics, distinct from a particular recorded performance.

Master / recording

A specific sound recording of a song or other audio work.

Publisher / administrator

A business that represents agreed rights or handles administration under a contract. Check the exact scope.

Work through it

  1. 1
    For your chosen track, list the people who wrote the music and lyrics. Separately list everyone who performed on the recording.
  2. 2
    Record who organised the recording, any producer agreement, label involvement and the written terms about ownership. Do not decide ownership simply from who paid an invoice.
  3. 3
    Make two entries: “song/composition” and “recording/master”. For each, note the known owners, agreements and unresolved points.
  4. 4
    If a publisher, label or administrator already represents you, list the rights and territories they handle. Ask them what they register before duplicating their work.

You are ready to move on when…

You can leave an application or outside reply pending. Record the next step before moving on.

Songwriters / performers / producer / song ownership / recording ownership / existing agreements / questions

Resources for this task

Optional videos

Optional watch

PRS Get Paid Guide: codes and credits Video guides · free
Further reading · Passman chapter references

Optional reading · Passman, 11th edition. Chapters 15–16: copyright and publishing income.

Optional reading from the 11th edition (2023). No purchase needed. US legal context: use current UK sources for local procedures.

Deeper explanation · Before a bigger commitment
A film, television, game or advertising enquiry

Prepare the track, instrumental if available, credits, identifiers and contacts for everyone whose permission is needed. Confirm who can license the composition and recording, plus any additional performer or contractual permissions. Ask for the production, usage, media, territory, duration, exclusivity and fee. Seek advice on the written licence before promising clearance.

MU: recording reuse and sync permissions ↗

Next: Agree credits, shares and permissions.

Notes, readiness ticks and progress stay in this browser. They do not automatically sync across devices. Download a backup to move or protect your work. Keep passwords, bank details and identity documents elsewhere.